Without interfering with its orbits in any way, by just presenting the data scaled up to our range of hearing, we hear what we readily identify as harmonious music.
Tag: 05.23.17
Roger Tomlinson: Measuring An Audience? But What Are You Measuring?
“I have been a champion of audience data for a long time. I conducted my first year-long audience survey at the Vic in Stoke on Trent in 1969, supervised by Keele University. I have been commissioning research surveys for over 40 years and the Arts Council published my book ‘Boxing Clever’ on turning data into audiences in 1993… So, I ought to be welcoming the concept of quality metrics and what Culture Counts proposes to deliver for Arts Council England… But I am left with a lot of uneasy questions, mostly methodological.”
How Julie Kent Is Making Over Washington Ballet
Unlike some incoming directors, Ms. Kent has not tried to remake the company in her image by quickly replacing large numbers of dancers with her recruits. (S he has not let anyone go, though she has added four dancers.) Ruthlessness is not her style.
What Really Determines The Size Of An Orchestra Audience? The Conductor? Program? Place?
“Professionally, of course, I’m always interested in the size and composition of whatever audience turns up for a concert. It’s an ongoing fascination to try and work out what factors have gone into a particular turnout. The reality can sometimes be surprising.”
Why Terrorists Attack Performance Venues Like The Manchester Arena And The Bataclan
Alyssa Rosenberg: “The killers who carry out such acts of terrorism aren’t simply launching assaults on Western culture. They’re attempting to destroy the particular freedom that comes from surrendering to art, exploiting the very vulnerability that accompanies that surrender.”
Does Streaming Live Arts Performances Help Or Hurt Live Audiences? The Data Say…
“Our behavioural data analysis of National Theatre (NT) Live screenings in 2014 (in partnership with Nesta, and referenced in the AEA report), showed that if anything there may be a small net increase in arts attendance in areas where there had been a screening.”
The Great Violin Collector Of Seattle
“Over the years he has owned eight Strads, eight del Gesùs, and 14 other instruments (violins, violas and cellos) with names such as Bergonzi, Guadagnini, Amati, Rugeri, Montagnana and Testore. His bow collection included 17 Tourtes, 14 Pecattes and seven others, most collected with the help of bow experts Paul Childs and Charles Beare.”
Mysterious Chemical Reaction Is Destroying Famous Masterpieces
Conservation scientists say that tiny formations of lead-based soaps—each about a tenth of a millimeter in diameter—are threatening to mar paintings by artists ranging from Rembrandt van Rijn to Georgia O’Keeffe. A team of experts has spent years researching why these microscopic white pockmarks appear—but they can’t figure out how to stop them.
Claim: Boston Theatre Critics Reward Unadventurous Most Popular While Art (And Artists) Suffer
“Technological change, along with its radical re-structuring of the American economy, is decimating the business of culture and throttling artists, particularly those just starting out. Jonathan Taplin’s excellent new volume Move Fast and Break Things: How Facebook, Google, and Amazon Cornered Culture and Undermined Democracy explores the ways that the mind-boggling concentration of power in the hands of internet monopolies is widening the gulf between the haves and the have-nots, especially those in the arts. The major players (stars, etc) benefit from centralized control of eyeballs. The big names are raking in bigger bucks than before, while those lower down on the food chain — artists and groups who decades ago were able to make a middle class living through their efforts — are getting less and less.”
How Cultural Facilities Could Better Support Artists
“The evolution of ticketing systems and related analytical tools provides a tremendous opportunity for facilities to support artists. Facilities can provide subsidized access to these systems and additional modules that producing organizations can use to advance audience development and fundraising efforts on their own.”