On a typical day, a narrator might spend between four and six hours in the booth. One finished hour of tape will take two to two and a half hours to record. (According to Business Insider, non-celebrity narrators can command $100 to $500 per finished hour.)
Author: Douglas McLennan
Dia Foundation Announces Expansion, Consolidation
The Dia Art Foundation has announced plans to revitalize its existing exhibition spaces in New York—in Chelsea, SoHo, and the upstate town of Beacon—while developing an endowment for operations in the future. Funding for the initiatives will come from a $78-million capital campaign, the majority of which will be invested in the organization’s endowment. So far, $60 million has already been raised.
The Fashion Industry Is In Big Trouble
Robin Givhan: “Fashion is no longer defining itself. Increasingly consumers are telling the industry what constitutes fashion. This is a problem. Not because the industry shouldn’t listen to its customers; it should. But then it should merge those demands with its own expertise, vision and standards to create something that is better and more relevant than the consumer ever imagined.”
Ticketfly Ticketing Platform Goes Down In Hacking
The site powers sales for many independent venues across the country. Still, much of the website remains down. Eventbrite, the San Francisco-based company that owns Ticketfly, told The Washington Post in a statement that an investigation into the breach is ongoing, but it confirmed that “some customer information has been compromised as part of the incident, including names, addresses, emails, and phone numbers of Ticketfly fans.”
Is Storytelling The Way To Teach Computers To Think?
“Stories seem to me to be the key to education, to social organization, to creativity, learning, consciousness, self-awareness — the whole works. I think it’s a fundamental differentiating capability of us humans. And machines don’t have it yet.”
Why Immersive Theatre Is Scarily Precarious
There’s greater insecurity to immersive work than its conventional counterpart. Often the producers have to beg landlords for use of the spaces that suits the work, such as disused flats and office buildings ripe for development.
The Science In Shakespeare
Until relatively recently, Shakespeare’s contact with the scientific world has gone largely unnoticed both among scholars and general audiences. Perhaps Shakespeare scholars and audiences don’t notice the way he takes up science because they are unfamiliar with much of the science he was exposed to, while most scientists don’t see Shakespeare as valuable for reflecting on science because they assume he was unfamiliar with it.
Research: Why People Are Skeptical Of Science
People can be skeptical or distrusting of science for different reasons, whether it is about one specific finding from one discipline (for example, ‘The climate is not warming, but I believe in evolution’), or about science in general (‘Science is just one of many opinions’). We identified four major predictors of science acceptance and science skepticism: political ideology; religiosity; morality; and knowledge about science. These variables tend to intercorrelate – in some cases quite strongly – which means that they are potentially confounded.
What Kind Of Critical Press Can You Have If Artists Hold Veto Power?
Many friends and colleagues have stories about a piece that was killed because a living artist took issue with some aspect of it. One colleague even went as far to suggest that we should edit an anthology of essays killed because of the protestations of artists. Others suggested that I should stop writing on living artists. In such a potential minefield, what possibilities remain for academic writing and criticism on the work of living artists (and deceased ones with overly involved estates) when she can register disapproval and silence our work through her curator or editor, or through the withholding of image permissions?
Platforms Instead Of Corporations – Is This A Better Way To Work?
Collaboration tools are opening up space for manager-free forms of work. And contracting costs are likely to fall markedly thanks to the advent of blockchain protocols – algorithms that replace trusted third parties, and instead automatically verify transactions using a huge digital ledger, spread across multiple computers. As a result of these innovations, a new way of working is emerging: a series of interactions that are open, skills-based and software-optimised. Where once we had the ‘corporation’, instead we are witnessing the ascendancy of the ‘platform’. The question is: should we see this as a promise, or a threat?