“Archaeologists around the world, who have long relied on the classic tools of their profession, like the trowel and the plumb bob, are now turning to the modern technology of drones to defend and explore endangered sites. And perhaps nowhere is the shift happening as swiftly as in Peru.”
There are more out-of-use terminals around than you’d think, some of them architectural landmarks (Saarinen’s TWA terminal at JFK) and all of them expensive. Jonathan Glancey looks at what’s been tried, from the triumphant repurposing of Berlin Tempelhof to Saarinen’s building to poor old Montreal Mirabel.
“I have come to believe that advertising is the original sin of the web. The fallen state of our Internet is a direct, if unintentional, consequence of choosing advertising as the default model to support online content and services.” Ethan Zuckerman, who wrote the code for the very first pop-up ad, points out some downsides of the ad-based business model and argues that there’s still time to
come to Jesus work out a better system.
“China’s culture-watchers have pitted Han Han and Guo Jingming against each other since they were teenagers. The two men, both now in their early thirties, make for a tempting juxtaposition, a sort of Mailer-Vidal rivalry” – except that Mailer and Vidal didn’t write million-selling Young Adult novels, record pop albums, and direct hit movies.
Laura Miller argues that few of us realize “just how commonplace plagiarism charges are, how thin most of the evidence is and how poorly the average person understands the nature of the transgression. … We’re a plagiarism-obsessed society, partly because we know how much damage we can do to someone’s career and life by accusing them of it, but largely because so many of us don’t really grasp what plagiarism is.”
Publishers, record labels, digital distributors, streaming music services – these days it seems like everyone involved in creative works can earn some money except the creators themselves. (Rosanne Cash earned $114 from 600,000 streaming audio plays.) Here are the stories of two struggles – by John Steinbeck’s descendants and by one particular singer-songwriter grand-nephew and his partner – to claw some income back.
Lumenocity, a collaboration between the Cincinnati Symphony, Cincinnati Ballet, and video artists Brave Berlin – projecting intricate images onto the façade of Music Hall – was that media market’s top-rated TV broadcast last Saturday. And all 42,500 free tickets available for the three-night run were snapped up in 12 minutes. (includes video)
Summer is the high season for large-scale outdoor concerts and festivals — “a city like Jerusalem has festivals practically every week”. And though local performers are inured to the threat of attacks, local police are refusing to grant permits for outdoor gatherings. The result is that hotels, restaurants and bands take a financial hit. “Suddenly, they’re stuck in Europe for two days. If they’ve got a large entourage and crew, putting them up can be quite expensive.”
“Mapping the geography of cultural migration does gives you some insight about how the kind of culture we value has shifted over the centuries. It’s also a novel lens through which to view our more general history, as those migration trends likely illuminate bigger historical happenings like wars and the building of cross-country infrastructure. At the end of the video you see Florida blowing up in red. More proof that indeed, the sunshine state is a damn nice place to die.”
Joshua Rothman, responding to William Deresiewicz’s broadside against the Ivy League and its students: “I tend to draw the opposite conclusion from Deresiewicz’s data: the fact that you can feel soulless in such an intellectual paradise suggests that the problem is bigger than college. … Deresiewicz makes a mistake in ascribing to his students, as personal failings, the problems of the age in which they live.”
Wim Pjibes complains in an open letter that the city is “dirty, filthy, and too full”, with too many badly behaved visitors, hashish coffee shops, and whores in shop windows, not to mention a “medieval way of dealing with rubbish”. Opponents are not only calling Pijbes a killjoy, but suggesting that he’s in league with the forces “artwashing” the red-light districts for the sake of real estate interests.
“In our data- and metrics-obsessed era the imaginative ground without which art cannot exist is losing ground. Instead of art-as-art we have art as a comrade-in-arms to some more supposedly stable or substantial or readily comprehensible aspect of our world. Now art is always hyphenated. We have art-and-society, art-and-money, art-and-education, art-and-tourism, art-and-politics, art-and-fun. Art itself, with its ardor, its emotionalism, and its unabashed assertion of the imagination, has become an outlier, its tendency to celebrate a purposeful purposelessness found to be intimidating, if not downright frightening.”
“The music that moved us in our youth stays with us for a lifetime. It imprints itself on our brains when our personalities are still forming. It mingles with our memory functions and defines our sense of pleasure. It restores a sense of wholeness to even the most fractured souls. But its effect may also account for something else – the fact that people tend to love throughout their lives the music (and movies and books and television) they loved as kids and teenagers. That’s another way of saying there might be a neurological reason baby boomers can be so boring when they insist their music was so much better than anything that came before or after. They can’t help it.”
“If left to our own devices we academics might become more and more out of touch with what the society really needs. That tradition of criticizing elitists, criticizing the kind of snobbery that often goes with elite education, that’s I think a very healthy American tradition for good, democratic reasons.”
“A lot of fans are basically fans of fandom itself. It’s all about them. They have mastered the ‘Star Wars’ or ‘Star Trek’ universes or whatever, but their objects of veneration are useful mainly as a backdrop to their own devotion. Anyone who would camp out in a tent on the sidewalk for weeks in order to be first in line for a movie is more into camping on the sidewalk than movies.”