Very possibly. Musicologist Laurie Stras writes about a carefully but anonymously published collection of motets, all for treble voices, from 16th-century Italy; about the life of Sister Leonora d’Este, born four years before her notorious mother died; and about why she thinks that Leonora wrote this music but would have to keep her name off of it. (includes video and audio)
Scientists call it “perceptual restoration.” Aylin Woodward explains how it works and what’s just been discovered about it.
“The surprise isn’t that journalists are hard on journalists who fake it: that’s right and just. The surprise is that the punishment is applied so consistently in a field where the practitioners agree on little else about how they do what they do.”
The Hypocrites, one of the city’s many respected storefront companies, ran out of cash in December and cancelled the remainder of this season. “Beginning this month, Hypocrites will pitch two plays to potential ticket buyers and ask them to commit. If interest hits critical financial mass, the shows will go on. If not, they won’t.” Lisa Bertagnoli explains.
“Groupmuse is something of an Airbnb for classical music concerts, so unsurprisingly, millennials are latching onto this relatively new startup in increasingly large numbers. The company pairs up music lovers with a space to offer—a living room, a backyard or something larger if it’s available—with classical musicians looking to make a few dollars and potentially build their fanbase with people in the area.”
The concept of ‘deep time’ was first described in 1788 by the Scottish geologist James Hutton, although only coined as a term 200 years later, by the American author John McPhee. Hutton posited that geological features were shaped by cycles of sedimentation and erosion, a process of lifting up then grinding down rocks that required timescales much grander than those of prevailing Biblical narratives. This dizzying Copernican shift threw both God and man into question.
“Fearless Girl represents basically everything that’s wrong with our society,” argues Jillian Steinhauer. “Could there possibly be anything more patronizing than two massive, male-dominated capitalist companies” – advertising giant McCann and investment firm State Street – “installing a branded statue of the most conceivably non-threatening version of womankind in supposed honor of a day devoted to women’s equality that was founded by the Socialist Party?” Do you think Steinhauer has a point?
“Something theatres have always done well is bring people together. Traditionally people gather to see a show and maybe stick around after for a talkback, but increasingly, and especially since the 2016 presidential election and the inauguration of Donald J. Trump, theatres and theatre people have been looking for ways to bring those people together to make a statement, start a discussion, or support a cause independent of a particular theatrical production, with some initiatives being more openly political than others.”
“On March 2, 1917, Tsar Nicholas II abdicated, handing power to a socialist provisional government; in October, led by Lenin, the Bolsheviks stormed the Winter Place in St. Petersburg and formed a new government. A year later Lenin launched his “Plan for Monumental Propaganda”: painting, sculpture, photography, posters, textiles, and ceramics were all to proclaim the glory of the Bolshevik state.”
“All told, the crowdfunding sector generated $34 billion in free-flowing cash in 2015, and is on pace to do nearly 10 times that within the next decade. (That’s generally broken into three main areas–person-to-person lending, donations, and equity investment–yet about 70% goes toward those in need, according to a Pew Research Center report). The result is a vast pool of money that’s fundamentally shifting who is funding charitable work and how that work gets done.”
This does not bode well for international artists coming to the U.S. The band “was traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States without having to obtain a visa.” But border agents decided not to believe that they weren’t working for pay.
The head of the Academy of Canadian Cinema & Television actually returned from a successful U.S. career for the job, so her perspective might seem somewhat U.S.-ian: “The way the Canadian industry is set up right now, we fund people to make work, but we don’t fund people to market work. If people don’t know a film is out there, and you’re not marketing it to them as American companies do, then you won’t get people to see it. It’s not that complicated, actually.”
Durham, who says he didn’t come to the opening of his Hammer Museum show because he’s had health problems in the last couple of years, says, “I guess you could call leaving New York a statement or position in that I didn’t want to be judged by my monetary success. I didn’t want to be a part of the American dream.”
The Disney Channel wants a hit like “Orange Is the New Black” or “The Walking Dead,” only not sexual and not horror, and for kids.
Look back at de Beauvoir and Sartre, and existentialism: “In times of political turmoil, one may feel overwhelmed with anxiety and can even be tempted with Sartre to think that ‘hell is other people’. De Beauvoir encourages us to consider that others also give us the world because they infuse it with meaning: we can only make sense of ourselves in relation to others.”
The audiences have to be the “archive” of the dance project. “Audience-watching, art-watching and dance-watching form equal parts of the intimate experience. The dancers morph into living, breathing sculpture — at once molding, and being molded, by an environment devoted to the collection and display of objects.”
It’s on Netflix, but it’s really about theatre: “On the show, she plays Ms. Julie, who teaches a performing arts class to five puppet pupils. Over the debut season’s 13 episodes, Ms. Julie and celebrity guests (including Alec Baldwin, Idina Menzel, Josh Groban, Carol Burnett and David Hyde Pierce) inspire the eager young thespians to create and perform an original musical.”
One thing would be not to pretend that everything was perfect before. “Ms. Eltahawy expressed exasperation at the end over the number of people during the event, most of them white, who made claims of exhaustion and asked the panelists for advice on how to keep up unflagging opposition. Ms. Eltahawy suggested in the firm tone that she used all night that those people realize how privileged they have been to have not felt besieged by politics before now.”
All topics are converging. Teen Vogue covers politics, The Atlantic covers pop culture – and Time, apparently, covers Amal Clooney in a way it thinks will appeal to Millennial women (but really, will it?).
Atwood, in a Reddit Ask Me Anything: “I cannot tell you how strange this feels. I wrote the book hoping to fend it off, and I believe it will be fended off: America is very diverse, a lot of people have been jolted out of political slumber and are paying attention, and the Constitution still stands.”
This is a rather urgent issue, particularly as the Baby Boomer generation ages. “At a time when theatre is becoming far more aware of its lack of inclusiveness in relation to gender, race and economic and social privilege, ageism is often left out of the diversity conversation.”
There’s an igloo concert hall in Sweden where performers play percussion and string instruments made of ice. Of course, “one of the major problems with conducting an ice orchestra is that the instruments eventually fall out of tune due to body heat from the performers and audience.”
For instance: Several years ago, a small tech company called Jetpac identified and categorized the content of 150 million photos posted publicly on Instagram to build a directory of businesses searchable by their characteristics. If the photos taken at a restaurant showed a lot of mouths wearing lipstick, Jetpac’s app would tag the spot as ‘dressy.’ If most of the faces in a photo of a bar were male, it would tag the spot as a gay bar.”
Possibly. It’s called the “Protein Jive Sutra” and, as you may be able to tell from the name, was created and filmed in 1971, at Stanford. Watch the entire 13-minute film for a lot – a *lot* – more info about the way RNA works (or for the bright leotards and balloons of the 200 volunteers).
“Previous research shows that the vast majority of people who enjoy music show an increase in heart rate or skin conductance—where a person’s skin temporarily becomes a conductor of electricity in response to something they find stimulating. Musical anhedonics, however, show no such physiological change to music. A recent study, published in the Proceedings of the National Academy of Sciences, took those findings a step further by studying neural responses to music.”
“We equipped the socks with pressure sensors and vibration motors to monitor and guide the feet movement of the pair dancers. These are controlled by a master application running on an Android phone. The steps are indicated by vibration signals at specific positions of the foot, at the heel for a forward step, etc. When a user makes a mistake or gets out of sync, negative feedback is provided. It is possible to dance in the socks for several minutes without making a mistake.”
“Building on a foundation laid by his predecessor Joe Dowling — a visionary leader who built the Guthrie’s new home but became somewhat isolated from his staff and the community by the end of his 20-year tenure — Haj is bringing new voices and more resonant programming into the mix. He and his leadership team also are pressing the flesh in the community in ways that have been a pleasant surprise to Twin Cities arts leaders.”
The court ruled that Koons had copied the work of a photographer…
The many online apologists for Ethan Iverson and Robert Glasper have been dismissing their sexist remarks as the clumsy gestures of good ol’ boys. But inadvertently sexist remarks, like inadvertently racist remarks, can be more telling, because they often point to more fundamental and systemic discrimination. The jazz world has a right — and, some would say, a duty — to criticize speech that promotes sexist culture, whether that speech had a malicious or benign intent.
Patrick Moore, who has been with the museum since 2011 as its director of development. He takes the place of Eric Shiner, who announced last summer that he would step down from the top spot to take a job at Sotheby’s, a nonprofit-to-for-profit move that is rarely seen in the art world. Moore had been serving as interim director in the intervening time.