“Arts and theatre organisations, artists and industry professionals will hold a national day of action for the arts on Friday 17 June, to galvanise renewed public support of the culture industries … The day of action will springboard into two weeks of campaigning for the arts around the country … [to combat] the ‘chaos’ caused by recent funding cuts from the Turnbull and Abbott governments.”
“Logically, it makes sense: if an occupation is attractive but probably low-paying, and then there are socioeconomic inequalities in the road to becoming a professional, inevitably that line of work would beckon more people from affluent backgrounds.”
“While the 20th century saw a worldwide expansion of free-speech protections, over the past decade, press freedom and human rights organisations have reported a troubling rise in governments cracking down on free speech, especially in areas related to digital communication.”
“The British Council is hoping to double the amount of UK arts activity taking place internationally with a refreshed global arts strategy and increased budget.”
” It’s easy (if you’re not poor, that is) to be swept away with excitement by the sight of all that quivering, umami, gleaming, exciting food. Smoked whitefish with rice from Ivan Ramen! Hibiscus doughnuts from Dough! Popsicles made from cherry blossoms! Wow! But when you finally eat them, the revolutionary pleasures they seemed to offer are compressed out of all existence by the crowded, uncomfortable, competitive space, the lackluster culinary skills of the food workers, and the pressures of doing what is in effect the unpaid job of Instagramming, tweeting, and blogging about the hyped-up food you just ate.”
“That’s a death blow that will generate plenty of schadenfreude, not least among some glib members of the Fourth Estate who don’t think Gawker’s brand of journalism deserves the name. But it won’t last long: the Peter Thiels of the world are coming for you next. Ask not for whom the oligarchy tolls; it tolls for thee.”
“Being publicly squeezed by everyone from the Emanuel administration to Chicago business and community groups hungry for the jobs and tourist dollars that the Lucas Museum would bring, the park advocacy organization finds itself being painted as the obstructionist in the museum saga.”
“The Live Cinema in the UK Report 2016 defines live cinema as films augmented with additional activity, including soundtracks played live by musicians, site-specific screenings, and interactive singalongs. This is distinct from event cinema – such as live and recorded screenings of theatre and opera – though the two have a comparable economic impact. In 2014, Secret Cinema’s live cinema production of Back to the Future grossed £3.5m, while the National Theatre’s event cinema screenings of War Horse grossed £2.9m.”
“The pilot droneport program will launch later this year in Rwanda, the mountainous, landlocked East African country nicknamed “Land of a Thousand Hills.” Three droneports, to be completed by 2020, will allow the drone network to send supplies to 44 percent of the country.”
Petr Pavlensky told the crowd that they are living in a society controlled through “uninterrupted terror”, that surveillance in Russia is on the rise but that people’s own fear is making them prisoners. That was the stark message the artist wanted to send when he conceived “Threat” and selected the headquarters of Russia’s powerful security service, the FSB, as his canvas – or target.
“I am involved but not a micromanager. There is no chance that I could be. I am deeply involved but fully delegate to people who have the responsibility … I am not a coercer or a dictator but if I feel strongly about something I will advocate for it.”
Tim Berners-Lee: “It controls what people see, creates mechanisms for how people interact. It’s been great, but spying, blocking sites, repurposing people’s content, taking you to the wrong websites – that completely undermines the spirit of helping people create.” So this week Berners-Lee met with a group of his peers to consider ways to create a Web that’s less centralized and less subject to control by governments and corporations.
Turns out the answer is different in different places – and, with one famous exception, less change gets collected than you might think.
Caroline Miller “becomes the ballet’s seventh leader in five years. The leadership turmoil has been accompanied by significant financial struggles, even as the ballet seeks to raise millions for a new headquarters.” Christopher Barton “replaces veteran leader David Schillhammer, the only executive director the Philharmonic has ever known. The Phil has an unblemished record of balancing its budget but is in the midst of a large fundraising campaign to renovate its new home.”
“For years technology had seemed to be the masculine form of the word culture. If you wanted to sell men on a culture story, you did well to frame it as a tech story — a story about the plumbing or stock price of Netflix rather than a story about the pixels that constitute ‘Bloodline.’ Technology is built stuff that aims to be elegant and engaging. Apps are founded on science in the same sense that a watercolor is founded on science, where the chemistry of pigments and the physics of brush strokes are the science. But the resulting painting, if successful, hints at transcendence or at least luminous silence, something whereof we cannot speak.”
The Dutch capital’s huge success as a vacation destination “has spawned eye-poppingly long queues outside the biggest attractions … so much so that Amsterdam officials recently decided to ‘make some savings’ in its marketing budget … [and] Mayor Eberhard van der Laan has appealed directly to visitors to seek accommodation in other often overlooked cities such as Rotterdam, The Hague and Utrecht.”
How Muslims handle the all-day fast, why there are arguments every year over when exactly the holy month begins and ends, how to be respectful of your Muslim friends and acquaintances, and what the whole Ramadan thing is really about, anyway.
“‘With my experience of social media, I thought that idiots were going to idiot,’ she said in an interview with the Observer. ‘But what can you say? That’s the way the world is. Noma was chosen because she was the best actress for the job.'”
“You can see exactly what articles people are looking at. … You can see exactly which comment they’ve thumbs-up’d.”
“The project’s many critics, including local residents’ groups, political parties and heritage organisations, have lodged multiple appeals, angry that the centre, to be built next to the National Museum on Blasieholmen peninsula, will replace a 140-year-old customs house and other historic harbourside buildings.”
“There’s a small subset of words that trigger this nauseous reaction when we encounter them. We want to analyse what it is about these words that makes them so objectionable to us. They sit at the intersection of Jargon, Buzzwords, and Office Speak.”
“In his January report, New York state attorney general Eric T. Schneiderman looked at the number of tickets available to the general public. Analyzing the top grossing shows in New York between 2012 and 2015, it found that fewer than half of tickets sold were typically available to the general public for any given concert.”
“The advice pack – put together by Index on Censorship and Arts Council England – hopes to create a more cohesive approach to policing across different forces, with an emphasis on avoiding censorship. Its publication follows protests in recent years against performances at the Edinburgh Festival Fringe and the Barbican Centre, which resulted in the cancellation of both shows.”
The number and frequency of posts on the blog had been falling rapidly in recent weeks; since the most recent redesign of nytimes.com, most of the content that would have appeared on ArtsBeat has simply been posted directly to the site’s main Arts page.
“Although the city’s arts and homeless communities intersect frequently in the present tough economic climate — with increasing numbers of artists and arts organizations being displaced from their homes and workplaces, artists creating art about living on the streets, and homeless services organizations offering arts activities to people in shelters — the collaboration is certainly unusual.”
“The majority of jobs being created today do not require degree-level qualifications. In the US in 2010, 20% of jobs required a bachelor’s degree, 43% required a high-school education, and 26% did not even require that. Meanwhile, 40% of young people study for degrees. This means over half the people gaining degrees today will find themselves working in jobs that don’t require one.”
“Art and content are not the same. Content is produced with a specific, marketable goal in mind. Patreon turns artists into content-makers whose creativity is moderated by their patrons. Patrons with more money have more clout, and the ability to withhold funding shapes what creators make. In this sense, Patreon reproduces key elements of the old patronage model, in which the power to commission and influence artists rests in the hands of those who can pay.”
Anna Holmes: “Here’s how I see it: Empathy is the ability to respect and maybe even understand another’s point of view, revealing larger truths about ourselves and others. Exploitation is the use of another’s experience for personal gain.”
James Parker: “To the degree that you are using a person, a character, simply to propel your plot or give shape to your ideas, to that same degree you are denying this character his or her full reality – and your story will suffer accordingly. Where empathy stops, in other words, exploitation starts.”
“It’s only May, but the international architectural press has already highlighted the Harbin Opera House, designed by the bad-boy architect Ma Yansong, as one of the year’s most interesting new buildings. … While cultural (and financial) capital becomes ever more concentrated, the dream of creative rebirth can be a seductive Pied Piper for administrators of languishing cities. After all, if every reader of design websites knows where Harbin is, then a full-throated recovery can’t be far off, right?”
The attempt to address equity as a large, systemic ecosystem in and of itself, and not zeroing in on a sub-strata of that system (e.g., structural racism, or funding inequities) makes the AFTA statement both a useful tool and starting point for discussion and consideration by individuals and organizations (a good thing), and a simultaneous failure to advance actually doing something as just that much more “talk”, with little emphasis on action – especially action now, not later.