In making this argument, Philip Auerswald is using a very broad definition of the word code – one that includes recipes and procedural protocols as well as binary numbers and computer languages.
“[Derek] DelGaudio devises performances that combine sleight-of-hand with more theoretical preoccupations drawn from performance art, conceptual art and what’s known as relational aesthetics … [He] likes to nod to well-known conventions (pick a card, any card), only to slyly deconstruct them, in a manner that either heightens or thwarts their payoffs. His animating goal is not for observers to ask, ‘How did he do that?’ but, ‘Why?'”
“Do today’s young writers, who live in a time when it is regarded more as a chronic condition than a death sentence, feel unqualified to approach the subject? Is it akin to the recent debates around cultural appropriation in writing, most recently stoked by Lionel Shriver: are writers uncomfortable with their right – or perceived lack thereof – to fictionalise experiences not their own?”
“In 2012, several media headlines touted the narrative of what seemed like a groundbreaking study, which claimed that techniques used to make people think analytically can make them less religious. Half a decade on, however, the study’s findings are being brought into question with multiple papers that suggest its underlying methods were flawed – and, what’s more, the authors agree.”
An essay in “Tin House” from a few weeks ago opened the floodgates. But still, no names are out there. For instance: “A former visiting professor was still the stuff of legend for, in the words of one woman, ‘trying to fuck everyone.’ Years later, that man had a regular NPR slot and every time I heard his voice I thought, ‘The guy who tried to fuck everyone is telling America what books to read.'”
Let’s pretend, counterfactually, that the NEA no longer funds the sort of rubbish that once immersed it in the culture wars, e.g., “Piss Christ” (a photograph depicting a crucifix immersed in a jar of the artist’s urine) and “Genital Wallpaper” (don’t ask). What, however, is art? We subsidize soybean production, but at least we can say what soybeans are. Are NEA enthusiasts serene about government stipulating, as it must, art’s public purposes that justify public funding? Or do they insist that public funds should be expended for no defined public purpose?
“The NEA estimates that, on average, its grantees raise $9 for every $1 of federal funding they are awarded. The power of that money, cumulatively, is extraordinary; arts organizations revive the fortunes of inner cities and small rural towns; arts programming improves academic outcomes for children; art therapy treats veterans suffering from PTSD. And those programs are the kinds that NEA grants fund, in addition to the things you might think of when you hear of the arts.”
“In the last few years, and with greater intensity in the last 12 months, people started paying for online content. They are doing so at an accelerating pace, and on a dependable, recurring schedule, often through subscriptions. And they’re paying for everything. You’ve already heard about the rise of subscription-based media platforms — things like Amazon Prime, Netflix, Hulu, HBO, Spotify and Apple Music. But people are also paying for smaller-audience and less-mainstream-friendly content. They are subscribing to podcasters, comedians, zany YouTube stars, novelists and comic book artists. They are even paying for news.”
“Across the country, museums associated with universities are organizing social events: The Princeton University Art Museum in New Jersey holds evenings when graduate students meet curators, for example. Beyond that, museums directors are seeking ways students can play a role in curating and experiencing artworks.”
“Later this year, Dubai-based education technology firm ATLAB will release into classrooms across the United Arab Emirates a swarm of cutesy robots with cartoon eyelashes, penguin-arms, and robustly apportioned 3D cameras and infrared sensors … The platform, called TeachAssist, will function as a sort of in-class librarian, helping students locate and check out books, responding to questions, and pulling research materials from the cloud.” (Anyone else think it reminds them of the Jetsons’ robot maid, Rosie?)
The proposed legislation is modeled on the European Union’s “right to be forgotten” rules mandating removal of certain material from search engines upon request from the subject of that material. Eugene Volokh argues that, regardless of the legal principles involved in Europe, this law would be unconstitutional in the U.S.
“The animals won’t need a ticket, but there will be human spectators who do. The cast will definitely be performing for the animals, and the audience are there to watch that encounter.” Lyn Gardner reports.
Born on Long Island to a father who had been a leading baritone at La Scala, Dr. Contino founded her first opera company at age 27 and spent five decades as a verismo specialist, conducing and teaching at universities and regional companies across the U.S – including two decades as artistic director of Opera Illinois in Peoria.
Midweek Extra: Howard McGhee With A Classic Ballad
McGhee, one of the essential bop trumpeters, plays “Lover Man,” accompanied by Richard Davis, bass; Ted Dunbar, guitar; and Roy Haynes, drums; at Jack Kleinsinger’s “Highlights In Jazz” tribute to Charlie Parker … read more
AJBlog: RiffTides Published 2017-03-15
“On the surface, this is a startling coup for New York. In her 17 years as head of the L.A. Phil, Borda has made it the most successful and glamorous orchestra in America and the most progressive major symphony in the world, premiering an unprecedented amount of new music, staging operas and rethinking every aspect of the symphony orchestra for the 21st century.”