Study: The Ideal Numbers Of Students For Online And In-Person Classes

Laurence Tomei and Douglas Nelson say that, as mentioned, online undergraduate classes should have no more than 12 students. In person, on campus classes should be no larger than 18 students and hybrid models should be only 17 students. Undergrad classes should likewise have an upper limit of 18, while graduate classes should have no more than 14 students and doctoral classes should be just nine or fewer students, though Tomei advised more research around that doctoral level finding. – Forbes

How A Girls Choir Pivoted And Is Thriving Online

Amazingly, not only has the group continued the girls’ education online, it has used the constraints to its advantage by bringing in guest artists for master classes and increasing one-on-one instruction. At a time when many of the girls are deeply moved, not to mention upset by recent events, the continuation of study has doubtless been a lifeline. – San Francisco Classical Voice

The Radicalism Of Current Black Playwrighting

Something is palpably different among playwrights of the millennial generation, who are envisioning, demanding and conjuring into existence a new and more diverse spectatorship. Their relationship with audiences, rather than operating in the quid pro quo manner of our commercial theater or the insider code of the avant-garde, is charged with protest, clarifying anger and targeted love. – Los Angeles Times

Why Milton Glaser’s Iconic “I [Heart] New York” Worked

Glaser scrawled the first draft of the logo in the back of a cab, in 1976, red ink on a scrap of envelope; the sketch is now, fittingly, in the possession of the Museum of Modern Art. He made it for a marketing campaign for New York State, in 1977, which was a tricky moment for the city in particular—it didn’t seem very lovable. In the final design, the typeface is American Typewriter, friendly and approachable, with a cartoonish cast (notice the rounded bent knee of the “N”) that was Glaser’s signature, as if he anticipated the logo’s ascendance as kitsch. – The New Yorker