“Featured in the lineup are Eevee, Mimikyu, Rowlett, Psyduck (my personal favorite here) and Pikachu. Grabbing all of them requires making separate purchases, including buying an expansion pack from the Pokémon Center. (How to get a Pikachu card remains a mystery for now, though.)” The line of cards is being launched on the same day that a major Munch restrospective opens at the Tokyo Metropolitan Art Museum.
Lyn Gardner: “While everyone may in theory have the right to failure in theatre, I believe we need to look much harder at who gets the opportunity to fail upwards. We’ve talked a great deal in recent years about who gets the opportunity to make work. But we also need to talk about who, once an opportunity has been secured, is allowed to fail and who isn’t.”
“While a rapidly emerging force in modern arts philanthropy, AEFs are markedly different from other institutional foundations. What’s more, there are different kinds of AEFs, and how these institutions operate is very much a work in progress. AEFs face unique and complex accounting, governance and management challenges that can stymie the best philanthropic intentions.”
The total amount of investment needed in theatre buildings, according to the survey, is likely to be closer to £1 billion. This takes into account planned major works outside of the theatres that responded. However, 50% of respondents were confident or very confident they could raise the money needed.
Rocío Molina conceived (ahem) the work, titled Grito Pelao, with singer Sílvia Pérez Cruz as a celebration of pregnancy and motherhood. “I will stop performing [the piece] in October because I will no longer be able to dance,” says Molina, “as I’ll be almost eight months pregnant. I’ve always liked the idea of the piece dying when I give birth to a new life, so I think that is ultimately what will happen. I can’t talk about being pregnant if I no longer have the baby inside of me.”
“At the start of the Cold War, a prominent group of women, who had worked their way up in broadcast media in the 1930s and ’40s, were poised to use the new medium of television to create the kind of inclusive, intersectional content that is only today finding traction. Then, the blacklist, a vicious, hearsay-riddled manifest of Hollywood talent with ties to Communism, silenced their creative output. It effectively turned back on the dial of progressive representations on TV by decades.”
“In 1960, Kosugi cofounded Group Ongaku, a Tokyo-based collective widely considered the first improvisational music ensemble formed in both the country and the world. … After allying himself with the Fluxus movement and participating in Happenings, he toured in a Volkswagen van from Rotterdam to the Taj Mahal as part of the Taj Mahal Travelers. With the group, he sketched out hallucinogenic, highly processed jams with an electric violin, radio oscillators, and his voice. … Between 1995 and 2011, Kosugi was the musical director for the Merce Cunningham Dance Company.”
Says Vicky Featherstone, artistic director of London’s Royal Court Theatre, the first in Britain to completely revamp its policies for handling harassment allegations, “What we’ve uncovered is absolutely monumental and I feel we’re further away than we’ve ever been from getting to a place of truth or change. It’s really distressing.” On the other hand, four out of five theatres in the UK have overhauled their policies, and some actors say they feel a real change in the audition and rehearsal rooms.
Testimony happens any time you believe something because someone else vouched for the information. Most of our knowledge about the world is secondhand knowledge that comes to us through testimony. After all, we can’t each do all of our own scientific research, or make our own maps of distant cities. All of this relies upon norms of testimony.
The report is based on a nationally representative sample of over 3,000 adults, and it updates a similar study that was conducted two years ago. According to the survey, Americans are highly engaged in the arts-as attendees, arts makers, art purchasers and arts advocates-and they believe that the arts promote well-being and help us understand other cultures in our communities. They also support public funding of arts and cultural organizations in their communities, and believe in the critical role of the arts in K-12 education.
Paying seven figures to buy a place in Manhattan or San Francisco might have always been dubious. But what’s the point of paying New York prices to live in a neighborhood that’s just biding its time to become “everywhere else”?
“The industry is experimenting with so-called immersive technologies including: virtual reality, where participants put on a headset to enter a computer-generated world; motion capture, which enables an actor to control a digital avatar through their own movement in real time; and projection mapping, where scenery is projected on to a physical environment and can be changed in the blink of an eye.”
The modern separation among scholars between intellectual history and the history of mathematics is untenable as mathematics might be the ultimate intellectual endeavour. In the words of the 19th-century German mathematician Carl Friedrich Gauss: ‘mathematics is the queen of the sciences’; like literacy, widespread numeracy is one of the defining features of modernity. In fact, one of the great shifts of modernity has been how mathematicians changed their view of mathematics, transforming the focus of their work from the study of the natural world to the study of ideas and concepts.
“Throughout history and in all cultural contexts – not just religious ones – people seem to spontaneously endow certain things with special powers, and to proclaim that contact with these persons and things, even by proxy, will have miraculous effects. … Why do humans so often ascribe special powers to things? One place to search for an answer is the cognitive processing that underlies the human understanding of force.”
“We are simultaneously more connected than we ever have been and more disconnected. The way we communicate is through screens, which are essentially prosceniums” like the traditional stage that separates the actors from the audience, says Zach Morris. “When we seek culture, perhaps we want to be able to engage in it in a way that doesn’t have a membrane between us and it.”
Ben Duke’s dance-theatre piece Stroke Odysseys, now touring Britain, puts five stroke survivors onstage, alongside dancers and musicians, to tell their stories — including how performing Duke’s specially-tailored choreography has improved their conditions.
“Based on real events, Kler (The Clergy), by the director Wojciech Smarzowski, which includes testimonies of survivors, features an alcoholic priest who encourages his lover to have an abortion, a priest accused of abusing a young boy, a senior cleric engaged in corruption and blackmail, and a grotesque, foul-mouthed archbishop cutting deals with politicians and mobsters, all operating with impunity.” Despite denunciations by conservative laypeople and churchmen, the film is breaking box office records and encouraged many victims to speak out.
Not that much. “In two major respects — fewer weeks of work and a smaller permanent orchestra — the agreement was in line with what management had been seeking. But the musicians noted that … further cancellations would be destructive for everyone involved; and that a long strike would hurt their colleagues in the company’s other unions, which had already agreed to new labor deals when the orchestra walked out.”
One particularly pernicious form of disagreement arises when we not only disagree about individuals facts… but also disagree about how best to form beliefs about those facts, that is, about how to gather and assess evidence in proper ways. This is deep disagreement, and it’s the form that most societal disagreements take. Understanding these disagreements will not inspire optimism about our ability to find consensus.
I thought it’d be tough. I thought it’d be hard work. But I also thought I’d be able to do it. I mean, I read quickly. But it was a huge ask. It did just swallow up my year. I got to a point where I was actually dreaming mash-ups of the books I was reading. I would wake up in the morning and go, “Did that happen?”
Lucy Guerin Inc performs Guerin’s Split at the Baryshnikov Arts Center,
October 13 through 15.
My pal went into the Donmar’s Measure for Measure expecting a fight. She’d read that Josie Rourke’s production presents the cut-down text twice. The first, set at the time of Shakespeare’s 1604 premiere, where deputy governor Angelo attempts to coerce soon-to-be-nun Isabella into sex to save her brother’s life. The second, set today – same plot but with a female minister harassing a young man. Pal was having none of it.
Massachusetts Institute of Technology is taking a particularly ambitious step, creating a new college backed by a planned investment of $1 billion. Two-thirds of the funds have already been raised, M.I.T. said, in announcing the initiative on Monday. The linchpin gift of $350 million came from Stephen A. Schwarzman, chief executive of the Blackstone Group, the big private equity firm. The college, called the M.I.T. Stephen A. Schwarzman College of Computing, will create 50 new faculty positions and many more fellowships for graduate students.
Democracy shamocracy, right? “Sweet Fruit, Sour Land by Rebecca Ley is the winner of the 2018 Not the Booker Prize. Our three judges have taken the brave decision to overrule the public vote and put their weight behind this dark dystopian novel in the place of Ariel Kahn’s optimistic and gentle Raising Sparks.”
Whose fault is that? Well … “Many Australian film-makers are locked out of cinemas. Australian producers too often lack the resources to compete with the massive marketing budgets of US films, while Hollywood cinema distributors dominate our screens. Like stocks in supermarkets, the bigger the marketing spend, the greater the shelf space accorded at the local multiplex.”
Daniel Mendelsohn: “While our forebears looked confidently to the text of the Aeneid for answers, today it raises troubling questions. … Two thousand years after its appearance, we still can’t decide if [Virgil’s] masterpiece is a regressive celebration of power as a means of political domination or a craftily coded critique of imperial ideology — a work that still has something useful to tell us.”
The magazine’s chief of fact-checking, to Radcliffe: “You have to project confidence, so the person doesn’t start quarrelling with everything that you ask.”
Radcliffe: “I’m more nervous about this than I am about going onstage tonight.”
Hope and its doleful twin, Hopelessness, might be thought of as the co-muses of the modern eco-narrative. Such is the world we’ve created—a world of wounds—that loss is, almost invariably, the nature writer’s subject. The question is how we relate to that loss. Is the glass ninety-five per cent empty or is it five per cent full?