This week headlines were defined by legacy, the friction of institutional power, and the adoption of artificial intelligence, suggesting ongoing re-evaluation of what is permanent, what is fair, and what is real.
The era of the starchitect lost a giant with the passing of Frank Gehry at age 96, whose swooping, metallic forms indelibly marked cities across the globe (Los Angeles Times). At the same time, reports suggest AI is already fundamentally reshaping architectural workflows, offering dramatic speed and option generation capabilities (ArchDaily). But the scale of building continues to prompt ethical debates, with sharp criticism aimed at Norman Foster’s new JP Morgan tower, an “obscene essay in steel” due to its colossal resource consumption (The Guardian). But what do these monuments signify? Contemporary artists are challenging the idea of traditional monuments, embracing ambivalence and impermanence as a form of cultural resistance (Hyperallergic).
The Kennedy Center faced a tumultuous week as a former Director of Dance spoke candidly about a pervasive climate of instability and “mass firings” during her tenure (Forward). Separately, the institution is facing allegations of financial misconduct, with a report claiming that it has been stiffing performers on their fees for months after their shows (The Hollywood Reporter).
In the literary world, the CEO of Waterstone’s and Barnes & Noble made a pragmatic statement, saying the chains would sell AI-authored books—provided they are clearly and honestly labeled (BBC/Yahoo!). This comes as critics analyze why AI writes with its distinct, often disquieting, style, and question why audiences are increasingly willing to consume it (The New York Times).
Finally, new research suggests that highly fantastical programming can impair cognitive attention in children immediately after viewing (PsyPost). This study runs parallel to the idea that the “decline of our education system” is a pervasive and long-running cultural trope, though one that finds new objective truths in the present day (The Atlantic).
All our stories below.
