WeWork Is Now The Top Leaser Of Commercial Space In New York. It’s Changing The Way We Work

Co-working spaces are the spatial expression of the casualisation we see in the labour market. In theory, they cater to the “digital nomad”, offering a place and a community as an antidote to the isolation and loneliness of most casual forms of work. In practice, they are not about co-working per se, but about constructing and profiting from a workplace culture that is essentially based on trepidation. – The Guardian

Why The Baltimore Symphony Is In Trouble

Carol Bogash: “One thing is clear to me: The root cause of the financial problems that the BSO has faced over these past five years is directly related to decisions made by the management and board. Budgets have been approved that were built on wishful thinking. Huge amounts of money were spent on guest artists and guest conductors with the hope of being recouped through ticket sales and donations. Major projects were undertaken without sufficient underwriting. They were artistically worthwhile but financially went into the red. These are the business practices that lead to serious systemic problems and debt.” – Washington Post

“World” Music? What Is That? (Time To Retire The Label)

Founders of the term provided vague justifications for lumping together anything that wasn’t deemed to be from a European or American tradition – “looking at what artists do rather than what they sound like”, as editor of fRoots magazine Ian Anderson said. The World of Music, Arts and Dance Festival, AKA Womad, which was founded seven years before the term gained prominence, similarly used it as a catch-all for its roster of international artists. – The Guardian

Same Old Blah – Why We Need To Reinvigorate Arts Criticism (Get Some New Voices!)

Can anyone argue that our largely white critical contingent in Boston is interested in generating hard hitting debate, controversy, and unconventional ideas? In the hands of these white critics and their editors, arts coverage is shrinking into terminal boredom — in the Globe, ARTery, and elsewhere — as critics embrace the role of diplomat/consumer guides, dispensers of ad-copy happy talk. Reviews that market to the lowest common denominator may sell tickets, and that reassures the powers-that-be. But so what? We need criticism to become critical again. – Arts Fuse