Companies like Netflix, Amazon, Facebook, Spotify, Apple and Google have subsidized what they offer (super-cheap or free content, faster service and better accessibility) to capture audience and attention in ways that have played havoc with culture producers and artists everywhere, whether or not they create on any of these platforms.
Some Thoughts on Bradley Cooper’s “Maestro” Movie
Maestro isn’t really a movie about Leonard Bernstein or his career, or even about music per se. It’s not really a “biopic,” in the traditional Hollywood sense of the word.
Is the Universal Translator Finally Here?
We’re entering a new age of global communication, and universal translators are only the first step. Avatars and synthetics will be as routine as today’s TikTok video filters.
How to Think About How AI will Change the Arts?
At the moment “how to think about it” may be the most important place to start.
American Orchestras Could Learn Something from South Dakota
Infinite choice of music in a few clicks sounds like a dream. In reality it can dull your desire and lead to what the social psychologist Barry Schwartz calls the “paradox of choice,” a kind of paralysis in decision-making that causes many of us to disengage altogether. Culture is like relationships; you get more out […]
Inflection Point? A Crisis in Paying for Culture in the Age of Abundance
Our consumption of culture has never been higher. So why are culture producers melting down?
Still Amusing Ourselves to Death: Information as Cautionary Tale
It might seem like our current information glut is without parallel, but throughout history observers have worried about the impact of too much information on our ability to rationally process and make sense of it. When we moved from an oral storytelling culture to print with the invention of the printing press. Or with the […]
The UnderTow: What the new Edinburgh Fringe Tells us about a Post-COVID World
How has COVID changed what people want when they decide to put down their screens and go out? We’ll explore what Edinburgh thinks it is.
The UnderTow: The High-flying Oil Industry fears “Demand Destruction.” Should the Arts?
Oil prices are at a record high. And profits are rolling in. But there’s an intriguing phenomenon in the oil industry called “demand destruction.” It means when prices get too high for too long, consumers invest in alternatives and don’t return. The arts have faced their own version of demand destruction when COVID shut down live performances. Is there anything to be learned from how the oil industry approaches what sounds like an existential threat?
The UnderTow: Subscriptions are the New Business Model of Choice. So Why are Subscriptions Failing in the Arts?
Is it the subscription model that’s not working or is it the way the arts do subscriptions?
This Week’s UnderTow: Why are Police Playing Disney Songs? And Why did this Orchestra Fire its Conductor for… Conducting?
This week’s podcast of The UnderTow, ArtsJournal’s new weekly podcast, features three stories from the past week. Sometimes stories are not exactly about the things they seem to be about at first look.
Introducing our New Podcast: The UnderTow
Today we introduce a new podcast — ArtsJournal’s “The UnderTow” – a more or less weekly deeper look at two or three stories from the past week.
Post-COVID Arts Observations: #3. The Future is Hybrid (or Not)
There are plenty of strategic reasons to use hybrid content to further artistic goals that don’t have to be around making money. But ultimately the model, whatever it is, has to make sense.
#2. Five Observations about COVID and the Arts: The Great Resignation and Beyond
The arts workforce, and those being recruited into it, is changing. “We’ve never had as many openings at one time. And we recognize that in hiring so many positions at once, we have a huge responsibility — and opportunity.”
Observations on the Arts 18 Months into COVID: Finances
Many arts organizations are coming out of the COVID shutdown in better financial shape than they were going in.
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