“Maybe the abolition of privacy will kill the novel. But more likely, as with the invention of trains or rockets or sex, it will make it new. One of a writer’s rewards is to find himself alive in the detail of his stories, and the age of the internet provides a whole new funfair of existential provocations. In my childhood, the visiting funfair was called “The Shows”, and that is what I found when I went looking for heroes in the fiction machine, carnivalesque people who are bent of shape – by their pasts, by their ambitions or by their illusions – under the internet’s big tent. In a world where everybody can be anybody, where being real is no big deal, some of us wish to work back to the human problems, driven by a certainty that our computers are not yet ourselves. In a hall of mirrors we only seem like someone else.”
Tag: 06.17.17
Stadiums Of The Future – A Full-Senses Experience
“As home entertainment systems become ever more elaborate, allowing fans to watch the action from every conceivable angle in ultra-high-definition, the conventional football stadium is having to up its game to lure people from the comfort of their homes. The promise of a pie, a pint and a good singsong in the stands just is not enough.”
Does It Matter If There Are Publishers Who Are Canadian?
Interestingly, governments make little fuss about nationality when they hand out money to the interactive industries: various federal and provincial tax credits – and even some grants – are available to any company as long as the jobs go to Canadian workers and Canadian consumers have access to the content thus created. There it’s all about employment; on the publishing side, it’s all about “telling Canadian stories to Canadians.”
Charles Isherwood: It’ll Take More Than A Weak “Julius Caesar” To Critique Trump
“I attended a small rally supporting the Public Theater at Astor Place on Thursday, and then headed uptown to see the production about which so much digital ink has been spilled. I left in a state of some dejection. As many critics and Eustis himself have naturally pointed out, “Julius Caesar” is hardly a play that advocates the assassination of overweening political leaders. In turning to violent means, the assassins destroy themselves, and Rome’s already endangered democracy. Blood begets blood, and, as in many Shakespeare plays, the stage ends up littered with corpses of Romans noble and otherwise. But there is a bit of sophistry involved in critics’ defending the production on the basis of the complexity of Shakespeare’s play and the ideas about rulership and politics it embodies.”
Residents Of Dover Protest Removing Banky’s Anti-Brexit Mural
“The Dover Banksy is an iconic artwork. Our town is the gateway and guardian of the nation—and on the frontline of Brexit,” he said in reference to the mural’s highly significant location, adjacent to ferry terminal that connects the UK with continental Europe. “Dover is this Banksy’s rightful home,” he continued, “to demolish it would be a crime against culture.”
Last Month They Made Sam Durant Take His Sculpture Down In Minneapolis. He’s Okay With That
The artist’s concession has not been without controversy. At least one anti-censorship group described the decision as “hasty” and said that it “set an ominous precedent” that could put a chill on difficult, politically minded work.
A Young Artist About To Break Into The Big-Time Was Killed In The Grenfell Tower Fire
Like all of the stories from those who died in the fire, Khadijah Saye’s is terrible – and the timing is also deeply awful: “Her work was being exhibited as part of a showcase of emerging artists at the Venice Biennale, and now an important gallery was offering to show her art. The director had wanted to meet at her studio, not knowing she worked out of the 20th-floor flat she shared with her mother.”
The 73-Year-Old Senegalese Woman Who Is ‘The Lighthouse At Sea’ For Many Dancers
Germaine Acogny, who says dance is the mother of all the arts, “is best known for fusing West African and modern dance. She has been sharing her decades-old technique with young artists from across the continent at L’Ecole des Sables, French for the School of Sands, in a remote fishing village in Senegal.”
There’s An India That Only Exists On British Screens, And It’s Not The Real India
Direct talk from a critic: “What is India really like? British TV doesn’t really care. Instead, the point of India on telly is to serve as an exotic backdrop to western dramas of self-discovery.”
Another Noose – The Third In Recent Weeks – Found Near A Museum In D.C.
This time, it was by the National Gallery of Art. The first two were at the Hirshhorn and the National Museum of African American History and Culture.