Of 2,300 works in the London gallery’s collections, it now owns a grand total of 21 by women. It last acquired an artwork by a female artist in 1991, when it was presented with five pieces by Paula Rego.
“It’s an insulting term. Most flies I know aren’t conscious at all, and I like to think I’m at least 2% conscious. … I come across this thing as a matter of chance, and maybe occasionally good judgment. I take the risk of shooting it because I think it might be interesting – then my job as an editor is to decide what it is saying, whether I want to use it, in what form, and where I’m going to place it.”
News of the discovery of these Gnostic manuscripts in 1940s Egypt – manuscripts that ultimately upended everything scholars had thought they knew about early Christianity – came with an all-too-colorful story: precious ancient books lying unnoticed in the desert for generations, exotic peasants engaged in blood feuds stumbling upon the volumes, a last-minute rescue from fire. Nicola Denzey Lewis points out just how improbable (and Orientalizing) it all is, looks at what we know for sure about how the codices were found, and works out a more likely, and more unsavory, story.
Even the mathematically averse among us today recognize the basic geometry that Radolph and Ragimbold failed to grasp, for we live in a numerate society, surrounded by countless manifestations of mathematics. Broadly defined as the ability to reason with numbers and other mathematical concepts, numeracy underlies our current information explosion. Its clichés dot popular speech: “do the math,” “crunch the numbers,” “figure the odds.” From birth to death, numbers track our lives institutionally and demographically. Some scorn such customs (think of Mark Twain’s “figures” of “lies, damned lies, and statistics”), but we all acknowledge numeracy as a cultural given, and agree that mathematics fuels the science, technology, and industry of our world.
“[CEO Demos] Parneros’s termination is the latest in a long line of setbacks for a retail giant trying to stay afloat in the e-commerce era. It’s also the latest reminder of the extent to which Barnes & Noble, once the most disruptive company in publishing, has lost its way.” Alex Shephard looks at what he describes as “quite a lot of strategic incoherence.”
“The Bayeux Tapestry is a step closer to returning to the UK after the British and French governments finalised a deal earlier this week. … The 70-metre-long tapestry tells the story of the Norman victory over the English at the Battle of Hastings in 1066. The Bayeux Museum in Normandy, where the work is kept, is due to close for renovations and reopen spring 2024. The historic embroidered piece has not left France since the 11th century.”
It took centuries for the public sphere to develop—and the technology companies have eviscerated it in a flash. By radically remaking the advertising business and commandeering news distribution, Google and Facebook have damaged the economics of journalism. Amazon has thrashed the bookselling business in the U.S. They have shredded old ideas about intellectual property—which had provided the economic and philosophical basis for authorship. The old, enfeebled institutions of the public sphere have grown dependent on the big technology companies for financial survival. And with this dependence, the values of big tech have become the values of the public sphere.
Metro Vancouver, in its way, with its Ferraris and Lamborghinis and its glorious backdrop of the mountains and the sea, is just as much a case study in the dark, broken and ugly side of globalization. At least 20,000 Vancouver homes are empty, and nobody’s really sure who owns them. The rental vacancy rate is less than one per cent. Another 25,000 residences are occupied by homeowners whose declared taxable household incomes are mysteriously lower than the amount they’re shelling out in property taxes, utilities and mortgage payments.
“To me, what is most appalling is the intolerant discourse heard both on the street and in some media,” Lepage said. “Everything that led to this cancellation is a direct blow to artistic freedom.” Lepage said theatre is based on the principle of someone playing someone else or pretending to be someone else.
Prior to the sixteenth century, no one was a genius. Rather, one had genius. The original sense of the word genius was of a “tutelary spirit attendant on a person.” Muses and spirits, almost always in the form of women, influenced the lucky men who channeled them. Great works were a joint effort, a communication with the divine at the service of the community. But as the Enlightenment descended and humanism began to eclipse Christianity, the mind of man slowly became the center of the world.
The irony is that what “Hamilton” represents now is exactly what opera used to be: a thrilling, contemporary, immersive stage presentation that’s a union of story, text, music, image and movement, and that gets under the skin and into the blood of a wide audience that feels it speaks profoundly to them. There’s something addictive about “Hamilton,” and that’s partly a result of spending three hours fully concentrated on sound and spectacle, straining to get every word, alongside hundreds of other people doing exactly the same thing. You don’t get that from a recording. Nor, often, do you get it in an opera house
The local planning council gave permission for a 1200-seat theatre in a park in the city of Tunbridge Wells, but there’s a challenge: “Former conservative councillor Brian Ransley has submitted an application for judicial review to the high court, which means a judge will review the planning decision made by the council. The claim was based on an objection to the process that was used by the council to come to the decision, according to Ransley.”
Newton, star of Westworld, lays it out: “Science fiction is a projection of a time that hasn’t even happened, so if you don’t populate that place with people of different skin tones, shame on you. What it actually is is the reflection of what those makers do in their daily lives, how little they hang out with people of different skin tones. These are the key people and it’s like, ‘Oops-a-daisy, I don’t have a lot of black friends,’ and that’s a reality.”
During a performance of Swan Lake, “The curtain came down. The orchestra stopped. The house lights came up. There was no announcement. Most people were on their feet, and many started heading for the doors. We debated what to do. We scanned the crowds below, trying to make sense of what we were seeing. In the balcony, we were acutely aware of how high up our seats were and how many people were in the building. Our hearts were pounding. We did not see a threat, but people were reacting as though something were very wrong.”
Peter Sellars, who is re-creating the 2005 opera for a run in Santa Fe, says he’s also reconsidering elements of it. “Here the story is, of course, the Los Alamos laboratory, … but also the ‘downwinders,’ the people living with all these cancers from all the test sites — and the pueblos that are 10 minutes away from Los Alamos, where most people and their families were employed.”
At the time of the profile, the 88-year-old documentarian was editing footage from the New York Public Library, and he had more than 150 hours to cut down to two or three. “While the technique is uncompromising, some of the observations are laugh-aloud funny – as when a telephone operator valiantly attempts to explain that unicorns don’t exist, or a picture librarian demonstrates a system of themed archiving with images of ‘dogs in action’. ‘Everything that I find is coincidental, but there’s nothing coincidental about the final film,’ explains Wiseman, who is not only the director and editor, but the sound recordist and producer.”
Bernard Foccroulle is getting ready to go. What’s his legacy at the Aix-en-Provence Festival? “During the past 11 years he has made the Aix festival … feel more connected: to young artists, whom it has assiduously fostered; to new work, which it has commissioned in quantity and quality; to the operatic canon, which it has refreshed with provocative stagings and musical visions; to new audiences; and to its Mediterranean region, which it has celebrated with forays into North African and Middle Eastern styles without seeming patronizing.”
Elizabeth Rowe has been the face of the orchestra in marketing campaigns, and she and the only other woman who’s a principal in the orchestra were featured soloists in a tour of Japan. Yet “pay disparities can be significant. Ms. Rowe, 44, is paid about $70,000 less each year than John Ferrillo, 62, the principal oboist, based on data in the lawsuit and tax records. That is despite the fact that they play next to each other and are both ‘leaders of the orchestra in similarly demanding artistic roles,’ according to the lawsuit.”
What do they say about us, about our time period? What will historians say in the future, when this time (the time of the superhero) is, at long last, over? “Gone is respect for the rule of law and the importance of tradition and community. Institutions and human knowledge are useless. Religion is irrelevant. Governments are corrupt and/or inept, when not downright evil. The empowered individual is all.”
The curator was pregnant – visibly so – when she “continued to have face-to-face meetings, conversations and correspondence with Mr. Eleey and with Klaus Biesenbach, PS1’s director, according to the complaint. In fact, she says she saw Mr. Biesenbach just eight days before she gave birth to her first child, a son, in late July.” But later, he seemed shocked that she’d had a baby – and the job offer was soon off the table.