“It is difficult to prove that digital technologies are actually making people into worse writers. It is likely that the world is just seeing more unfiltered thoughts written down than at any other time in history. People are not writing worse so much as writing and publishing far more. But the internet is changing language.”
“New regulations on the international movement of rosewood have hit hard in parts of the music industry, which has long relied on rosewood as a ‘tonewood’ used in many kinds of instruments, including guitars, cellos and clarinets. The reason for the [customs] crackdown, and for Katz’s anxiety? China. Specifically, Chinese consumers’ growing demand for rosewood or ‘hongmu’ furniture.”
Among the most complex of the installations was the effort to mount a large-scale drawing that was a preliminary study for a fresco in the Vatican’s Pauline Chapel. The work arrived inside a metal case weighing 650 pounds, and required not only a forklift to install it securely, but also scissor lifts and 40 people to help with the task. Marcello Venusti’s famous copy of Michelangelo’s Last Judgment was even heavier, weighing in at 750 pounds.
Despite its libidinous carnival, sexy music and skimpy clothes, Brazil is also a deeply conservative and religious country – and it is currently witnessing a culture war between those two sides of its national character. The battlefield for those skirmishes has been the country’s museums and cultural institutions.
Always a mystery. Sure, sure, some of the books were only (we are being sarcastic here) reviewed by daily book critics, not in the New York Times Book Review, but seriously, NYT, WYD?
This lovely piece is by a woman who worked as a book wrapper: “In the weeks before Christmas the Chinook was loud and warm and full. Toddlers threw stuffed monkeys from the two-story playhouse in the children’s book section; men in hiking boots and dirty ski jackets bent over topographical maps they’d pulled from tall oak chests containing all the landscapes of the West: every vein, every slope, from the prairie to the Pacific. Shoppers balanced tall stacks of books in their arms, left stacks of books on the wide black counter while they went back for more.”
On the other hand, if they hadn’t moved “Vermonica,” who knows what might have happened? “We were recently contacted by the property management at that strip mall and we were told that [the lamps] needed to be removed — I think, because they are redesigning the parking lot or there will be construction going on there. … The timeline sped up because one day they started doing some work over there and they called and said, ‘We need to have two lights removed immediately.’ Our sense of urgency was to protect and preserve the streetlights so that they wouldn’t be damaged or removed by someone other than us.”
Almost all of the women said they felt betrayed by a man they had considered a mentor. Israel Horovitz, “as the founding artistic director of Gloucester Stage, a respected regional theater that called itself a ‘safe harbor for playwrights,’ and as an Obie-winning writer whose work was produced frequently in New York and Paris, has had the power to offer roles, jobs or a helping hand to generations of actors.”
Nine of the 13 members of the editorial staff lost their jobs, including all the top editors and all but one of the staff writers.
Chaz Reetz-Laiolo alleges that Emma Cline sold him her computer with spyware installed, which she used to gain access to his email and other private accounts, stealing from drafts of screenplays he was writing for scenes and language in The Girls. His suit says Cline used the access to “systematically surveil his private email obsessively over a period of years”. Cline’s countersuit acknowledges that she used the spyware to look into Reetz-Laiolo’s alleged infidelity during their relationship, but says she had no access to the software once she sold the computer.
“Data from industry body UK Theatre has revealed that total box office income for member venues in 2016 was £470 million, up from £397 million in 2013. This was due to a 10% rise in average ticket price paid over the period, equivalent to a £2.15 increase per ticket, as well as improved ticket sales, fuller theatres and more productions.”
“Virtually every news organization in America has seen its audience decline (and in some cases crater) since the record numbers of last winter. Some blame the Google and Facebook algorithms (could real news getting caught up in the fight against the fake stuff?). Others speculate that readers and viewers are simply tiring of the 24/7 onslaught of crazy. Either way, declining audience equals declining advertising revenue, and we know what that means.”
Researchers speculate that evoking strong imagery may make the content of a poem easier to mentally process, and thus make the experience of reading it more enjoyable. Alternately, “readers might pay closer attention to poems that are vivid,” the researchers write.
“More, more, more. Here, hardly a season goes by without the announcement of yet another new art museum or expansion – all fueled by the homegrown excitement and international attention surrounding the Art Basel Miami Beach fair each December, and all primarily focused on Basel-style contemporary art at the expense of virtually every other artistic milieu. Left behind is the math underlying this increasingly crowded landscape: Can Miami afford all of these art museums?”
“Louvre President and Director Jean-Luc Martinez said that he hopes to secure a loan of the most expensive artwork ever sold for a blockbuster Leonardo show the museum is planning to mark the 30th anniversary of its ‘Grand Louvre’ renovation and expansion in late 2018.”
“To minimise its risk, the auction house found a third party willing to ‘guarantee’ the work. In other words, the painting was pre-sold to an undisclosed buyer for an undisclosed sum.” That third party was, according to one rumor, the owners of another work on sale at the same auction, Warhol’s Sixty Last Suppers – which was, in turn, guaranteed by Dmitry Rybolovlev, seller of Salvator Mundi. Hence the “double-bind.”
“Gomer was a recognizable kind of American hero: a good-hearted, gentle, unsophisticated sort (not unlike Forrest Gump of a later era) who encounters a harder, more cynical modern world – in this case embodied by Southern California – and helps redeem it. … To fans who knew him only as Gomer, his full-throated, almost operatic baritone was surprisingly striking, if strangely incongruous.”
Says the citation for Christopher Bollen’s The Destroyers, “The judges felt that there are parts in the book where Bollen goes overboard in his attempts to describe the familiar in new terms, leading occasionally to confusion. In the line quoted … they were left unsure as to how many testicles the character in question has.”
“The first time around, many paywalls simply did not work. But times have changed. The New York Times success in transforming itself into a company that is markedly less dependent on advertising than it has been in recent years has emboldened many other publishers. The Times now makes more than 20 percent of its revenue on digital-only subscriptions, a number which has been growing quickly. In absolute terms, last quarter, the Times made $85.7 million from these digital products. The question is: Can media organizations that are not huge like the Times or The Washington Post, or business focused like Financial Times or The Wall Street Journal, create meaningful businesses from their paywalls?”