From 2021-27, the budget allocated to the EU culture sub-programme would increase from approximately €450m to €650m, whilst the budget for the media sub-programme would increase from roughly €820m to €1.2bn.
Under the new regulation, passed by the European Parliament in April 2016, arts organisations will need to keep detailed records of which of their customers have consented to be contacted with marketing information, when that consent was given, and what they were told would happen with their data.
“Why are some individuals able to generate outstanding creative products despite repeated, frustrating failures?” asks a research team led by Sergio Agnoli of the Marconi Institute for Creativity in Italy. The answer, they propose, lies in “how people experience and regulate their emotions.”
“Hebei, the province surrounding Beijing, will get a massive arts district of its own next year. [Plans were unveiled] for Valley XL, an RMB 18bn (around $2.8bn) development designed by Arquitectonica across 400 hectares of Hebei’s Xinglong Valley. … The project is billed as an ‘eco-city’ that will include a Modern and contemporary art museum, an art education district and artists’ studios along with commercial and residential areas.”
This year’s edition of the festival generated an estimated $76.1 million (Aus) fot the economy of South Australia, up 9% over 2017. What’s more, “a staggering 19,825 visitors of the annual arts festival last year were interstate or overseas travellers, representing a 44 percent increase on the previous year. Visitor bed nights also rose to 138,021, a 50 percent increase on 2017.”
The city’s historic Assiniboine Park is also the site of what may one day stand as the prairie city’s greatest attraction: Canada’s Diversity Gardens, a 35-acre biodome that Winnipeggers hope will one day earn the city world renown. The new conservatory is already under construction and is set to open in the summer of 2020. The $75-million project is part of what some see as a “continuing renaissance” for the city, a renewed confidence in the idea of Winnipeg as one of the most populous, robust cities in Canada.
Legislation known as the Legacy Amendment, passed in 2008, has provided over $440 million for cultural projects in the state, and that money has had a powerful effect in rural communities like New London (pop. 1,355, about halfway between the Twin Cities and the North Dakota state line).
“Performing arts organizations have long recognized the need to attract younger audiences that will someday support them financially. In addition to retaining their current audiences, Dallas Symphony Orchestra, Fort Worth Opera, Dallas Theater Center and WaterTower Theatre target two distinct demographics to expand their audiences: millennials and children.”
Swift’s team is undertaking an experiment that lists her tickets on Ticketmaster near prices they believe the market demands — much higher than what it usually costs to see a stadium concert. It’s a competitive play aimed directly at pricing scalpers and online bots out of the business, and it could keep large quantities of tickets off the secondary market. The bold move also helps Swift pocket a larger profit from face-value tickets by attempting to eliminate a middleman that legislators have struggled to erase.
Through initiatives that include facilitating collaborations between artists and local governments to address civic issues, capacity-building for small and mid-sized cultural institutions, and increasing visitor engagement through the use of digital technology, Bloomberg Philanthropies works to improve quality of life by strengthening the arts in cities across the globe.
“The 1.2bn krona (£100m) brass-clad structure, designed by the British architect David Chipperfield, would harm the capital’s picturesque waterfront, a cultural heritage site, the land and environmental court ruled on Tuesday. The scale of the building ‘would affect the readability of Stockholm’s historical development as a port, shipping and trading city’, the court said, and cause ‘significant damage’ to the preservation of the old harbour site.”
“The takeover began on Monday when fans began posting photos and memes of the acclaimed actor and recording artist. ‘The One True Donald,’ one user posted on Monday, along with a black-and-white head shot of Glover. … ‘Not a racist. Not a rapist. Can read. Was never bankrupt. Likes Mexicans. Talented. Pays his taxes. Handsome. Loves immigrants. Not a puppet for Russia. Doesn’t want to [redacted] his daughter. Must be the real one true Donald,’ another posted above a picture of Donald Glover. Others posted artwork of Glover and calls to vote for Donald Glover for president.”
This brings up a problem that often arises in conversations about art: how can it participate in networks of power that its content willfully rejects? Often, so-called ‘political art’ simply aestheticises protest or resistance. Sometimes, it has the effect of moral licensing – instilling in its viewer a false sense of having accomplished something. Art and power have always been begrudging bedfellows. After all, Karl Marx and Friedrich Engels wrote The Communist Manifesto from the comfort of La Maison du Cygne, a gilded restaurant in Brussels.
“There is a sense that history’s alleged tendency to repeat itself is particularly pronounced in the cultural value debate, and with respect to efforts to ‘demonstrate’ the value of arts and culture. Have we made progress in the past 30 years, or is it true that we have been going in circles? … Patrycja Kaszynska, the lead on the Cultural Value Scoping Project, spoke to Ian David Moss, founder of Createquity, about ideas and emerging trends in cultural value research.”
Saying that the move would send “a strong signal that culture is the foundation for our open and democratic society,” culture minister Monika Grütters announced that Angela Merkel’s government plans to increase the arts budget by 23%. In the five years that Grütters has been in office, the national culture budget has grown by 38%, roughly $548 million.
“The fierce, unwavering Ms. Argento added that there were those in the auditorium who needed to be held accountable for their conduct toward women. ‘You know who you are,’ she said, ‘but, most importantly, we know who you are, and we are not going to allow you to get away with it any longer.'”
Spencer Kornhaber: “The New York Times article, ‘Welcome to the Age of the Twink,’ that Twitter has gleefully torn apart this week is a bit too slight to sustain a full reckoning with the very real questions it raises. … Certainly, if it’s the age of the twink now, it’s been the age of the twink all along. Slender, smooth types have achieved dreamy superstar status at a pretty steady pace over the years … Yet there’s something poetic in the otherwise risible idea that the ’emo boy’ of 2006 is the hetero ‘twink’ of 2018. Because if anything has shifted with regards to straight men’s bodies, it’s that they have slowly begun to be subjected to the same scrutiny women’s and gay men’s have.”
Buried in an otherwise harmless act, passed by the House and now being considered in the Senate, this new bill purports to create a new digital performance right—basically the right to control copies of recordings on any digital platform (ever hear of the internet?)—for musical recordings made before 1972. These recordings would now have a new right, protected until 2067, which, for some, means a total term of protection of 144 years.
“In a world of hot takes, criticism is cold, slow and distant … and, once everyone can voice an opinion, their value is diminished. … Readers want to consume art, not consider it. They’ll take recommendations, sure – but reviews? Save your prose for Medium.” What the Web and social media have nurtured instead, writes Rowland Manthorpe, is fandom. “Fandoms do provide criticism, albeit of a different sort. For one thing, it’s more likely to be well-informed. … [Fans] also have a more creative relationship with the creator, so criticism takes the form of remixes, or fan fiction, or animation, or cosplay. The critic has been replaced by the co-creator.”
Factors including the invention of movies, a decreasing child mortality rate, and the rise of broadcast radio in the 1920s had led to an astonishing realization for society: Children had personalities. They weren’t just imperfect adults who needed to be ignored until they could behave properly, and they were becoming increasingly less likely to just drop dead, which meant it was safer to like them. They had qualities that were appealing in their own way, the most important of which was cuteness.
As our community relationships developed, we recognised that barriers to engagement with the arts include time, cost, lack of awareness of what’s on, childcare and a sense of it being ‘not for me’. We realised that we could work with retail chain Heron Foods, which has busy stores in the areas in which we work, to learn more, build personal relationships and start to address some of those barriers. Heron Foods is already our main auditorium sponsor and offered us space to trial our visits.
The aftershocks of the cultural revolution of the 1960s and the backlash that followed are with us. We are still looking at dystopian and apocalyptic fantasies, still running from zombies, still watching cities erupt, still fighting over basic human rights. The movies have been conscripts in this continuing culture war and to look back at 1968 is to understand what has and hasn’t changed.
“Thanks to a new breed of neural network machine-learning algorithms, compelling yet fictitious video, images, voice, and text can be synthesized whole cloth. Photos of imaginary faces can be realistically fabricated by computers — their emotions, skin, age, and gender dialed in by a knob on a machine. … Videos of politicians can be produced as you might control a puppet. … But in a way, this technological leap could actually be good news for journalists.” (Says a journalism professor.)
Live Nation is by far the largest ticket provider in America, thanks in part to President Barack Obama’s Justice Department, which approved the company’s merger with Ticketmaster in 2010. Ticketmaster controlled over 80 percent of the market before the merger, and that holds true of Live Nation today, buttressed by its role as the nation’s largest concert promoter and owner of over 200 venues. Because Live Nation manages over 500 major music artists, they can demand that venues wanting to host concerts exclusively use Ticketmaster instead of a competitor.
It is 50 pages long, penned by Bard College Berlin curator and scholar Dorothea von Hantelmann, and it was offered to all takers at the pop-up. Lest there be doubt that this pamphlet holds an answer to the lingering “why” hanging over the entire enterprise, it opens by asking grandly: “If the theater was the ritual place of Greek antiquity, the church that of European medieval times, and the museum that of modern industrial societies: What is the new ritual space for the 21st century?” For those who are still asking, “How can New York afford the Shed?” the manifesto, in essence, boldly asks back, “How can New York afford not to have the Shed?”