The design of selfie-driven “museums” seems to align with other experiential selfie spots like Color Factory, 29Rooms, and Dream Room. They revolve a highly successful business model: sell tickets for $35 to people itching to Instagram themselves, then immerse them in hyperpigmented landscapes funded by corporate sponsors.
The Museum of Ice Cream. The Museum of Feelings. The Candy Museum. And, inevitably, the Museum of Selfies. Mitchell Kuga argues that these often-corporate-sponsored projects (the Museum of Feelings was an advertisement for Glade air freshener) could change Americans’ idea of museums – and not for the better.
“The canon is lousy with authors who yearn to be admired for their sensitivity to the full range of female personhood, be that personhood luscious, pert, or swelling coyly against a sheer camisole. These are writerly men confident that they’ve nailed women’s psyches, all because of how single-mindedly they want to nail women.” Katy Waldman calls out “the ridiculousness that ensues when bookish men perform interest in women’s inner lives out of a misbegotten sense of nobility. No one is fooled. “
“The sons, Roger and Brian, claim that the sale of 270 films under their father’s New Horizons Picture Corp banner – which they refer to as ‘stolen film properties’ – violated an irrevocable trust agreement that would have provided them and their two sisters with $30 million-$40 million each. They are also suing [purchasers] Ace Film and Shout! Factory, claiming they ‘knew or should have known that the purported sale of the New Horizons catalog included film properties owned by the trust.'”
America’s geography continues to be reshaped by a polarized pattern of socioeconomic sorting. This process is driven by a selective population shift of the most affluent, the best-educated, and the young to expensive coastal metros like the San Francisco Bay Area, Los Angeles, Seattle, and the New York–Boston–Washington corridor, with the less affluent and less educated flowing into cheaper Sunbelt metros, and the even less advantaged trapped in Rust Belt areas.
Few writers come close to possessing the power and influence advice-givers wield. They literally tell people what to do! And people listen! Even though they often aren’t licensed to be giving advice; frequently their only qualifications are their imperviousness to embarrassment and their penchant for popularity.
Despite centuries of research, nobody fully understands how the convoluted mesh of biological tissue inside our heads produces the experiences of our everyday life. Gazillions of electrical, chemical, and hormonal processes occur in our brain every moment, yet we experience everything as a smoothly running unified whole. How can this be? Indeed, what is the organization of our brain that generates conscious unity?
Just as the advent of the commercial recording industry (and, later, the evolution of analog recording formats, from wax cylinders to 78-r.p.m. disks and long-playing vinyl records) changed the way musicians write and produce songs, so, too, has streaming. With everything now cleaved from its original time and circumstance (and, it feels worth noting, its cultural and historical context), young songwriters can cull influence from all sorts of disparate sources and make work that feels, somehow, both new and ancient.
Scientists studying the site have been able to present some remarkable theories. For one, we haven’t found any direct evidence of a king. The city’s extensive mural paintings contain no obvious images of royalty, and, to date, no one has found signs of a royal burial under the city’s pyramids. Archaeologists David Carballo at Boston University and Linda Manzanilla at the National Autonomous University of Mexico suggest that this is because Teotihuacán’s government may have been closer to a democracy than a dictatorship: It likely involved shared power, and the people may have had more say in selecting their ruler than in many ancient societies.
Reporter James Barron follows Keith Christiansen, the chairman of the Met’s European paintings department, up into the rafters and onto the roof to see why the skylights need replacing, why the project will cost $150 million, and how the museum will shift around some of its most celebrated artworks as the work proceeds.
Says director Gemma Bodinetz, “I wanted to make a modern audience sit up and feel something of what a Jacobean audience must have felt at seeing a black man commanding an army.” Star Golda Rosheuvel: “Some men have a terrible fear of women, particularly powerful women. They would prefer not to see change, and this Othello is part of change. She is a woman who has power over all these men, all that testosterone. How does she negotiate that? Then she goes further and brings her lover – Desdemona – into that arena. It’s a scary thing to do.”
“During the 1990s, Mr. Nabay took the speedy beat of music that had been heard for centuries in parades and celebrations and transferred it to Western instruments. His songs became hits as civil war tore Sierra Leone apart and were claimed by both sides, although his music increasingly held direct antiwar messages.”
I recently attended a production of Our Town presented by Triad Stage, a professional theater company based in Greensboro, NC. It had been decades since I had seen the play but I’ve always had a soft spot in my heart for it. I thought it was very well done, but this is not a review. What this is … read more
AJBlog: Engaging Matters Published 2018-04-03
Morbid Fascination: The Undead Haunt the Met Breuer’s “Like Life” (with video)
“Ewww, gross!” exclaimed a seasoned critic (not me), disconcerted by one of many creepy, gruesome works that affront delicate sensibilities in the Met Breuer’s Like Life: Sculpture, Color, and the Body (1300–Now), … read more
AJBlog: CultureGrrl Published 2018-04-03
April 3 Birthdays, Scott LaFaro’s Among Them
The Jazz West Coast listserve often begins its posts with the names of jazz people born on the current date. The April 3 list is a profusion of such names. … read more
AJBlog: RiffTides Published 2018-04-03
Much of the analysis that followed focused on the show’s politics: Star Roseanne Barr is an eager champion of debunked right-wing conspiracies, and the premiere’s storyline hinged on her character’s support for President Donald Trump. And since the 2016 presidential election, television programmers have been working to find ways to reach working-class whites who voted for Trump. The success of “Roseanne” only reaffirmed those efforts. But looking ahead to 2018-19, “Roseanne” may be a harbinger of a less titillating, more significant programming shift — the revitalization of the broadcast comedy after years of emphasis on drama.
What is it about dance, a non-verbal art, that allows it to do what words cannot? Is it that it is physical/gestural rather than verbal, or instead that it is characteristically artistic experience rather than everyday discourse? To answer this, we must also consider for comparison the two other possibilities: non-verbal non-art and verbal art (literature/poetry).
Italy’s far-right Lega party, which won almost 18% of the vote in the general election on 4 March and could form part of the next coalition government, wants to turn a former Fascist party headquarters in Como, in the Lombardy region, into northern Italy’s biggest museum of Modern art, architecture and design.
To assess their creativity, all students performed a series of problems from the Alternative Uses Task, a common measure of creative ability in which one is asked to come up with novel uses for a common object. Half came up with offbeat uses as they walked down the virtual corridor (whether or not doing so necessitated breaking down walls), while the others did so immediately afterwards. Either way, “superior creative performance was observed in the ‘break’ condition,” the researchers report. This result supports the thesis that the “bodily experience” of breaking down barriers “would spread to conceptual processing.”
How is it that human thought is so deeply different from that of other animals, even though our brains can be quite similar? The difference is due, Andy Clark believes, to our heightened ability to incorporate props and tools into our thinking, to use them to think thoughts we could never have otherwise. If we do not see this, he writes, it is only because we are in the grip of a prejudice—“that whatever matters about my mind must depend solely on what goes on inside my own biological skin-bag, inside the ancient fortress of skin and skull.”