Since there is no such thing as a truly literal translation — no two languages’ grammars match, their vocabularies diverge, even punctuation has a different weight — there can be no such thing as a translation that is not “creative.” And while most of us translators think of ourselves as “faithful,” definitions of faithfulness can differ. Because languages function differently, much of translation is about achieving a similar effect by different means; not only are difference, change, and interpretation completely normal, but they are in fact an integral part of faithfulness.
In 2013, Google decided to test its hiring hypothesis by crunching every bit and byte of hiring, firing, and promotion data accumulated since the company’s incorporation in 1998. Project Oxygen shocked everyone by concluding that, among the eight most important qualities of Google’s top employees, STEM expertise comes in dead last. The seven top characteristics of success at Google are all soft skills: being a good coach; communicating and listening well; possessing insights into others (including others different values and points of view); having empathy toward and being supportive of one’s colleagues; being a good critical thinker and problem solver; and being able to make connections across complex ideas.
“One is like the English term – té in Spanish and tee in Afrikaans are two examples. The other is some variation of cha, like chay in Hindi. Both versions come from China. How they spread around the world offers a clear picture of how globalization worked before ‘globalization’ was a term anybody used.”
Over the years, people have asked if I noticed a difference between books on tape and reading print, and the answer is I don’t know. Sporadic reader that I had been, it was hard to say if the words read with my ears reached my brain differently from everything I had read with my eyes. For every study that shows comparably complex brain activity during both methods of reading, there’s a respected author or critic who discredits audio books as shortcuts or cheating.
“Imagine you find a Monopoly board and a handful of street cards plus one little tin hat and a little tin shoe, nothing else,” says game historian Ulrich Schädler. Reporter Natasha Frost looks at some games from the ancient world – and at the ways scholars try to figure them out.
At York Minster, one of the great cathedrals of northern England, the Great East Window – completed 1405-1408 and roughly the size of a tennis court – has undergone a ten-year rehab costing nearly $15 million.
“The critic Sanjoy Roy, who has never reviewed the company before, was approved for a press ticket for the show and The Guardian bought a ticket for me for £73, which offered a side view over the stage.” Here’s a review by both writers of Cirque’s show Ovo – as Gardner writes, “I love the acts. It would be foolish to pretend that Cirque doesn’t showcase some of circus’s most skilled performers.” But …
Want a sense of how much pop culture has changed in the past year? Look at culture from even five or ten years ago that now suddenly seems inappropriate. “Such moments of not-okay-anymore recognition might throw the new era into starkest relief. And squabbles over what was and wasn’t acceptable — plus the accompanying self-righteousness of all parties, whether styling themselves unimpeachably correct or bravely defiant — were surely the most exhausting feature of the last year in pop culture. To dismiss wokeness as the handiwork of P.C. thought police, though, would be to ignore its reality: an altered pop-culture ecosystem, a Great Awokening in full bloom.”
“As humans, we naturally need food, water and shelter to survive. But equally important is understanding. To survive, we need to understand our environment, each other and ourselves. We invented culture to meet this need: we found a short-hand to take the essential values and truths a society holds, and collapse them into coded narrative, sound, images and symbols that mean something to all of us.”
Molina came to the U.S. for an appearance on TV in 1956, and he never left. He formed José Molina Bailes Españoles, which toured the U.S. for 30 years, and taught flamenco and other dances for years afterward. A flamenco teacher who learned from him says, “He would say, ‘Better to do one thing right than 10 things badly.’ And students endured the endless repetition not only because of his expertise, but because he taught with such generosity, warmth, humor and charm.”
None of that was in her original plan of action. “The gallery business started as a bit of a lark. Baum had been working as a docent at LACMA when her friend Silverman approached her about opening a gallery together. The next morning, they found an empty storefront on Santa Monica Boulevard — wedged right between the prominent art spaces operated by Nicholas Wilder and James Corcoran.”
For instance, time to radically reimagine the ballerina and her agency: “That would begin with addressing the various stages of female puberty instead ignoring it. Her blossoming womanhood would not be treated as plague. Instead, ballet would develop a system of support for girls during a time when their bodies seem to be rebelling against them and their susceptibility to eating disorders and chronic body image issues is at its peak. The ballerina could have breasts, hips and muscles and look as strong as she indeed is. She could be different shapes, sizes and shades as well.”
These contrasting scenarios underscore an obvious hypothesis concerning regional fundraising: Location matters. University fundraisers removed from large urban centers and blessed with a built-in audience and strong donor ecosystem have a relatively easier job than those located near large cities or in economically depressed areas.
“Color is one of the longstanding puzzles in philosophy, raising doubts about the truthfulness of our sensory grasp on things, and provoking concerns as to the metaphysical compatibility of scientific, perceptual, and common sense representations of the world. Most philosophers have argued that colors are either real or not real, physical or psychological. The greater challenge is to theorize the subtle way that color stands between our understanding of the physical and the psychological.”
Theatre for a Change, a partnership between the UK and Malawi, is “one of a number of organisations around the world using theatre to educate about sexual consent, the company favours a technique called ‘legislative theatre’. This concept was developed by Brazilian dramatist, director and theorist Augusto Boal, who believed that putting the powerful in the shoes of the disempowered enabled an empathy that could effect legal change.”
“First, men clearly outnumber women four-to-one among producers, directors, cinematographers, writers, and key assistants. Second, every movie or miniseries is essentially a miniature start-up, where predators and jerks can abuse or harass actors and assistants knowing they might never have to work them again after a three-month shoot. Finally, actresses are vulnerable, not only because men dominate powerful occupations, but also because women are cast to portray the very quality of vulnerability.”
Alley administrators, Gregory Boyd, 66, and several board members refused to respond to requests for interviews about the surprising departure, which comes after Boyd signed a five-year contract in 2016 and was weeks away from the Alley’s first production of 2018.
Here’s a snapshot of prices at more than 200 United States institutions, beginning with the pricing and going down from their, to free and suggested admission. (All of these are members of the Association of Art Museum Directors. About 34 percent of the 240 members of the AAMD are free.)
YouTube appears to be stepping up its response after it was also widely criticized for its initial statement that it released on the video last week, which read, in part, “YouTube prohibits violent or gory content posted in a shocking, sensational or disrespectful manner.” Many saw the platform as issuing a milquetoast condemnation that did not directly address the way the video treated suicide.
With rare exceptions, artists who were hot when they started out found that galleries, and certainly museums, cooled to them as years passed. They kept making art, but weren’t being shown or bought. Carter Burden’s mission is to give them a wall, “because walls are the thing we need,” Vaccaro said.
Sales are slowing. Browse the official Ticketmaster website and you will see availability, pretty good availability, for midweek shows in January, and these are not resale inventory. They’re as yet unsold. They will be sold, by show time. But they won’t command the same prices and those weekly grosses will not be $3 million. It behooves “Hamilton” to leave with audiences still wanting more, leaving some room for a return by popular demand.
In an article previewing the coming centennial year of the composer-conductor, Los Angeles Times classical critic Mark Swed devotes a few paragraphs to Tom Cothran, who was a high school friend: “I don’t know how Bernstein ultimately felt about Tom. He was a verboten subject. Nor could I ever get Tom to talk much about the personal side of Bernstein. He felt it was his job to keep Bernstein from being too neurotic, but he may well have made him more so in the process. Still, as Bernstein’s inner monster grew, so, too, did his giving side. Shamans can be like that.”
Charles McNulty: “Directors who have taken advantage of the casting couch, actors who have grotesquely exploited their stardom, conductors who have preyed on their young charges deserve to have the rug pulled out from under them. If the work they’ve done lives on, it will do so apart from the memory of their shameful deeds. This will take time. … But like many who feel a pang of obligation to due process, I can’t help wondering if in the collective rush to right historical wrongs we aren’t in danger of losing sight of other values. Justice, as symbolized by the scales, is an art of delicate calibration. But watershed movements aren’t subtle. They can’t afford to be.”
The MFA’s newest security employee is Riley, a three-month-old Weimaraner who belongs to the museum’s director of security services. Known for their powerful sense of smell, “Weimaraners are a particularly good breed for such tasks since they have stamina and can work for long hours without getting bored.”
“The new accusers said they were angered by Dutoit’s initial denial and wanted to show the scope of his sexual misconduct during his globe-trotting career. They said the Swiss-born conductor attacked them in Paris, Montreal and the United States over a four-decade period, starting in the late 1970s.”
A spokeswoman for the national broadcaster wrote in response to a query, “While the allegations made towards Charles Dutoit are serious, we truly believe that removing these recordings entirely from our broadcasts would unjustly diminish the efforts of the many talented musicians who are featured in them. At this point, we are no longer crediting Mr. Dutoit as conductor.”
Peter Dobrin: “This is an old conundrum, though what’s different about classical music now is that it has worked so hard to personify orchestras through the image of the conductor, and it’s going to be especially tricky to separate podium stars from the music they produce – not to mention the ensembles they lead.”
“The Isabella Stewart Gardner Museum … doubled the reward to $10 million last May, but said at the time it would revert back to $5 million on Jan. 1 if no one came forward to collect the windfall before then. When announcing the increased reward with an expiration date, museum officials said they hoped it would send an urgent message to anyone withholding information about the artwork’s whereabouts and dispel any doubts about their intention to pay it.” That tactic didn’t work, and so the offer has been extended indefinitely.
“[Josie] Rourke will step down in 2019, after eight years as the Donmar’s artistic director, and [Kate] Pakenham, the executive producer, will leave this June. The pair made up the first female partnership to lead a London playhouse.”
“Her predecessors at the Donmar, Michael Grandage and Sam Mendes, had turned the 251-seat venue in Covent Garden into an international player, through movie-star casting and regular West End and Broadway transfers. Although thrilled to be the first woman to run a central London theatre, Rourke knew the risk of becoming a theatrical equivalent of John Major after Margaret Thatcher or Gordon Brown after Tony Blair. After a nervous start, she made the theatre her own with a programme that forefronted women – notably Phyllida Lloyd’s magnificent trilogy imagining Shakespeare tragedies as performed by female prisoners – and politics.”