Tag: 07.19.05

Critical Conversation: Do Critics Make The Art?

Sydney music critic Peter McCallum observes that great critics don’t reult in great art. “The vigorous state of criticism in London may be a better measure of its democracy than of its art, particularly as far as composition is concerned. That isn’t entirely the critic’s fault. Producing the sort of society which values music is more than critics can achieve. It goes to much deeper values built up over time and is particularly complex in a modern metropolis, which, of its nature, has several powerful forces which are somewhat antithetical to art. It also has the critical mass to enable diverse artistic activity to take place but, as we would all be aware, there are also many deadening effects. In the long term it is the art that is important, not the critics. Criticism is a good measure of social a democratic health but that doesn’t automatically imply artistic health.”

Mind Over Machine?

“Researchers at the Princeton Engineering Anomalies Research program, or Pear, have been attempting to measure the effect of human consciousness on machines since 1979. Using random event generators — computers that spew random output — they have participants focus their intent on controlling the machines’ output. Out of several million trials, they’ve detected small but “statistically significant” signs that minds may be able to interact with machines. However, researchers are careful not to claim that minds cause an effect or that they know the nature of the communication.”

Burning Man Revolt Charges Artistic Batteries

The annual Burning Man festival is 20 years old this summer. Last year a number of artists were upset about what they perceived as a decline in artistic merit of the event. So they staged a revolt. “BORG2, made up of artists and others upset by the lack of art at last year’s Burning Man, did not meet the $250,000 fund-raising goal set at the beginning of the revolt, but did manage to start a nonprofit, elect an art council, raise more than $20,000 and hold an election to decide which artists would get the cash.”

Does New York’s Arts Funding Make Sense?

New York City’s Department of Cultural Affairs “gives more money for the arts, officials there say, than any other government agency in the United States, including the National Endowment for the Arts. The way they do it, however, doesn’t have everybody cheering. ‘It’s inequitable, it’s irrational, it doesn’t satisfy anybody,” says Norma Munn, who has been following the city’s arts budget since she helped found the New York City Arts Coalition two decades ago. ‘The bulk of the organizations that get the money use it extremely well. But as a city policy, the way it’s distributed just doesn’t make much sense’.”

Baltimore Symphony Board Offers Music Director Job To Alsop

“Despite pleas by its musicians that it consider other candidates, the board of the Baltimore Symphony Orchestra Tuesday formally offered the post of music director to Marin Alsop, the principal conductor of the Bournemouth Symphony Orchestra in England, who will become the first woman to head a major American orchestra.” The orchestra’s musicians responded: “The musicians of the Baltimore Symphony Orchestra are disappointed in the premature conclusion of the music director search process. However, this will not dampen our enthusiasm and zest for music-making. We will work together with Marin Alsop and every other conductor to present the inspiring performances our audience has come to expect.”

Public Broadcasting Bias? Polls Say No

What’s behind charges that American public broadcasting is biased towards the left? “Indeed, poll after poll shows that Americans consider PBS to be one of their most trusted and valued institutions… A poll of 6,000 Americans last month revealed 66 per cent believe PBS has no bias, while 21 per cent say it leans to the left and 13 per cent see a tilt to the right. So where do all the charges of liberal bias come from?”

Why Is Cable Programming Gaining On Broadcast Fare?

“Cable’s programming system is more viewer-friendly. Rarely does a cable network introduce a series and then yank it off the schedule after a few weeks because of low audience ratings. Normally, 13 episodes are produced, aired and repeated. If a series doesn’t find an audience, it will go out of production. But at least viewers know they can make a 13-week investment. Contrast this to network television’s operations.”