The monetization opportunities IoT offers broadcasters are many, but the most obvious is the various forms of data they will have access to, such as demographic, location, behavioral and user preferences, coming from a wide range of devices and systems. Broadcasters will be able to put together detailed consumer profiles and use them to deliver real-time, personalized content across multiple screens and devices.
“Children’s books have always been political, of course — that’s why they are fixtures on lists of banned or censored books. … [But] if the old image of a writer for children was a wise-child genius in the mold of Maurice Sendak — one who spoke up for kids and when necessary challenged the political powers that be, but indirectly — these days, children’s authors might not only hold signs at protest marches, they may also volunteer to strategize for a State Assembly race, or even run for office.”
“We call it scratch architecture,” says architect Steve Tompkins, referring to the process of scratch theatre pioneered at BAC, where ideas are tested out live in the early stages of development, with audience feedback used to evolve the performance. “It’s not about a perfectly authored finished product, which is a difficult idea for architects to stomach,” he adds. “But we wondered if we could do a parallel process by insinuating ourselves into the productions. What would it mean for us to relinquish tyrannical control over the project?”
If other humans are beyond our comprehension, what hope is there for understanding the experience of animals, artificial intelligence or aliens?
When Joyce Maynard published her memoir At Home in the World, about when, 25 years earlier, she dropped out of Yale to go live with the 53-year-old author (and got abruptly dumped seven months later), she endured a wave of criticism for kissing-and-telling that to this day hasn’t entirely abated. Here she writes, “Though I believe that if the book I wrote 20 years ago were published today it would be received differently, it does not appear that enlightenment concerning the abuses of men in power extends retroactively to women who chose to speak long ago, and were shamed and humiliated for doing so.”
“One of the challenges of designing systems for buildings like the [now-destroyed National] Museum of Brazil is balancing the fear of fire itself with the damage that typical fire suppression systems like sprinklers can inflict on precious artifacts. But according to the experts I spoke with,” writes Rachelle Hampton, “that balance can really only be considered post-mortem.”
Alexis Soloski talks with the artistic director of the British theatre company Forced Entertainment, whose show Complete Works: Table Top Shakespeare charges through the plays with a cast of household items.
The death of The Voice isn’t just about the end of a newspaper. To some of us at least, it’s about the end of New York as a cultural and political center, as the place that the world turned to for art, for music, for leadership in new and uncomfortable ideas, often perceived by the mainstream to be dangerous or weird.
Several days ago, I went to the New York Botanical Garden to see its summer exhibition, Georgia O’Keeffe: Visions of Hawai‘i. It included several paintings I knew nothing about. And, as I soon discovered, from talking with friends and posts on Facebook and Instagram, neither did many other art-lovers.
When Paul Taylor died of renal failure on Wednesday, August 29th, and I was coping with that news, I started to think not just of the 140 dances he made during his remarkable career, but of his connection to the great figures of 20th-century dance whose pantheon he joins.
Scott Reeves Jazz Orchestra, Without A Trace (Origin)
Wayne Escoffery, Vortex (Sunnyside)
Ivo Perelman, Octagon (Leo Records)
Ella Fitzgerald & Louis Armstrong, Cheek To Cheek: The Complete Duet Recordings (Verve)
“Some people see British poet Ira Lightman as a champion of poets whose verse is being shamelessly ripped off. Others view him as a blowhard who delights in ruining other people’s reputations. … Does Ira valiantly defend the original words and ideas of struggling poets? Or is his sleuthing just a way to feed his need for schadenfreude? In this episode of [The World in Words], Leo [Hornak] and Nina [Porzucki] do a little sleuthing of their own.” (podcast)
Madani Younis will be in charge of the Southbank Centre’s literature, dance, performance and free programmes, working in a new management structure alongside the director of music, Gillian Moore, and the director of the Hayward Gallery, Ralph Rugoff. His arrival follows the departure of one of the UK’s highest-profile arts leaders, Jude Kelly, who was artistic director for 12 years. The centre stressed that Younis was not replacing Kelly and would be taking a new role.
Kevin Young analyzes two notorious cases of text theft: Harvard undergrad Kaavya Viswanathan, whose How Opal Mehta Got Kissed, Got Wild and Got a Life got national press before it was published and even more publicity after reporters and writers discovered that it was almost entirely pastiche, and Adam Wheeler, who plagiarized his way into and through Harvard, nearly got a Rhodes Scholarship and Stanford admission with stolen material, and used so much fake material on his resumes that he ended up in jail for fraud.
The Mary Boone Gallery’s 2012 tax forms reported a false business loss for the previous year of about $52,000 although the gallery actually made a profit in 2011 of about $3.7 million, according to documents filed by the United States attorney’s office.
“[The STC] has reached across the Atlantic and tapped British director Simon Godwin as its new artistic director effective next August, signaling a commitment to large-scale classics on its two downtown Washington stages.”
“The horse-ridin’, pistol-packin’, Donald Trump-backed conservative had signed a release before meeting for the show with Baron Cohen, who was posing as an Israeli anti-terrorism expert. But the suit filed today in D.C. District Court (read it here) claims that the release Moore signed ‘was obtained through fraud’ and therefore is ‘void and inoperative.'”
“The complaint was filed on behalf of Alexandra Waterbury, against NYC Ballet and her former boyfriend Chase Finlay, and alleges … [that a] ‘fraternity-like atmosphere’ … led [him] to share naked pictures and videos of her in intimate situations with fellow dancers, NYC Ballet employees and donors.”
“Timed to the 50th anniversary of Duchamp’s death, the gift [from Aaron and Barbara Levine] includes 35 works by Duchamp as well as 15 portraits and related photographs and works on paper by his contemporaries Tristan Tzara, Man Ray and others.” Says the Hirshhorn’s board chair, “This is the art-world equivalent of the Wizards getting LeBron James.”
“The warehouse-like buildings of Redrock Stockport beat five other shortlisted candidates to win the Carbuncle Cup, awarded by Building Design to what its readers deem to be the biggest architectural eyesore of the past year. Judges were left unimpressed by the ‘awkward form, disjointed massing and superficial decoration’, while readers called it an ‘absolute monstrosity’.”
“This month, Naharin, 66, will transition from artistic director to house choreographer, handing the management reins to Gili Navot, a former dancer with the company. … Navot comes to the position as a longtime member of the Batsheva family, having performed with the troupe for nearly a decade, from 1999 to 2008, before serving as rehearsal director and as a senior Gaga instructor — teaching both that method and Naharin’s work at companies around the world.”
Mark Shenton: “As welcome as all this activity is, it is also slightly worrying that the deluge of productions arriving simultaneously could dissipate the audience. Yes, musical aficionados will want to see them all; but a wider public may not have the funds or inclination to do so. It will also be an added challenge for producers to establish their shows in such a crowded marketplace.”