Geniuses And Muses (The Latter Being History’s Code For Female Artists)

Prior to the sixteenth century, no one was a genius. Rather, one had genius. The original sense of the word genius was of a “tutelary spirit attendant on a person.” Muses and spirits, almost always in the form of women, influenced the lucky men who channeled them. Great works were a joint effort, a communication with the divine at the service of the community. But as the Enlightenment descended and humanism began to eclipse Christianity, the mind of man slowly became the center of the world.

Surprise: Open Office Designs Cause Workers To Keep To Themselves More

The authors call the social withdraw they captured in data a “natural human response” triggered by a change in environment, but they acknowledge their findings contradict an established theory about collective intelligence. When forced to share space, humans behave much like swarms of insects. This has appeared to be true in a range of contexts, the authors note, citing studies involving the US Congress, college dormitories, co-working spaces, and corporate buildings.

Why “Hamilton” Is The Opera Of Our Time

The irony is that what “Hamilton” represents now is exactly what opera used to be: a thrilling, contemporary, immersive stage presentation that’s a union of story, text, music, image and movement, and that gets under the skin and into the blood of a wide audience that feels it speaks profoundly to them. There’s something addictive about “Hamilton,” and that’s partly a result of spending three hours fully concentrated on sound and spectacle, straining to get every word, alongside hundreds of other people doing exactly the same thing. You don’t get that from a recording. Nor, often, do you get it in an opera house

How Bottom-Up Programming Is Changing A Dutch Capital Of Culture

The bottom-up programming means that events are spread across non-traditional sites throughout Friesland – which lacks an extensive network of conventional venues – using a model that seeks out and seeds local producers and companies who then source alternative ways of funding. Of course it wouldn’t be an ECoC without the punctuation of the big international shows, but even these are carefully geared to the local spirit of ‘iepen mienskip’ or open community.

AJBlog Weekend Highlights 07.08.18

  • Watrous Plays Rifftides readers sent so many interesting comments about the passing of Bill Watrous, and about Alexandra Leh’s remembrance the following day, that the staff has voted to reward you all with video of … read more
    AJBlog: RiffTides Published 2018-07-06
  • When the king is a queen In today’s Wall Street Journal I review two of the Hudson Valley Shakepeare Festival’s new productions, Richard IIand The Taming of the Shrew. Here’s an excerpt. * * * Seven years ago, it was … read more
    AJBlog: About Last Night Published 2018-07-06

The Women Of Rare Books

Although it’s true that old white men have always run the large, moneyed, century-old rare-book trade—buying and selling books for a living—women have made enormous inroads as private and institutional collectors. Things started shifting in the seventies. Second-wave feminism gave women a voice, and female collectors started patching the historical holes by seeing value and relevance in objects that men had ignored. When you put your gaze on a manuscript and call attention to it, you create value in the eyes of others. Curiosity creates a market.

Are Branded Projects A Threat To Theatre… Or An Opportunity?

Ironically, this idea of shows presented by consumer product companies, while relatively rare for theatre, harks back to the days of radio and the early years of television, when brands were often intimately involved in sponsoring programming as part of their marketing efforts. It wasn’t surprising to hear that such and such a series was “brought to you by” a single sponsor – and sometimes those sponsors held sway over the content of the shows as well, sometimes resulting, as we later learned, in meddling and outright censorship.