“In a word, protectionism. The legacy publishers will tell you that they can’t make digital textbooks both high quality and affordable, but that’s not the issue. It’s that they don’t want to.”
Author: Matthew Westphal
Matt Mattox, 91, Jazz Dance Pioneer And Top Hollywood Dance Man
After a very successful film career (“He’s up there on Mt. Everest with Fred Astaire and Gene Kelly,” says Jacques d’Amboise), Mattox left Hollywood, “headed to New York City and then Europe and became a major figure in the evolution of jazz dance.”
A Non-Oscar Story About Michael Haneke: He Directs Mozart In Madrid
The filmmaker behind Amour talks to the BBC World Service’s arts programme, The Strand, about his new production of Così fan tutte at the Teatro Real.
Vienna’s Kammeroper Saved By A (Not Really) Hostile Takeover
“The Austrian federal government’s decision to eliminate entirely its support, which constituted half of the company’s governmental subsidies (the other half coming from the city) [had] effectively put the Kammeroper out of business.” The company’s white knight (to stick with the corporate merger metaphor) was the innovative Theater an der Wien.
Philly Fringe/Live Arts Festival To Get HQ At Last
“When completed, the $7 million complex will house the organization’s offices, studios, a restaurant/bar and an outdoor plaza. Its centerpiece will be a 240-seat theater. Says the organization’s chief, “We always knew it was unsustainable to pop up every year in a new space and still grow and serve our mission.”
Mixing Algorithms And Modern Dance And Using The Result As Scenic Design
Ranjit Bhatnagar “and his compatriots in the ‘hacker collective’ NYCResistor are figuring out a way to project each quiver of a ballet slipper and every choreographed step on a wall facing the audience, giving them a literal new perspective on the nuances of choreography.”
Ethics Without Religion – Why Is It A Tough Sell In America?
“The reality is, no system of secular ethics has managed to displace religious approaches to ethics in the contemporary popular imagination. It is worth asking why.”
The Birth Of Pantone (What Would We Do Without It?)
“In the early 1960s, as Lawrence Herbert drove to work in a blue Cadillac with cherry red seats, he mulled over a problem: How to create a ‘universal language’ of color. … Each company defined colors differently, and when you ordered ‘wheat’ or ‘taupe’ or ‘cream,’ you couldn’t predict what you’d get.”
How The Mango Became The Fruit Of Chairman Mao
“Mangoes don’t have an obvious connection to the Chinese Cultural Revolution; in the 1960s, they weren’t even cultivated in northern China.” Yet they’re featured with the Great Helmsman in a lot of propaganda art from the late 1960s – thanks to a convergence of the Cultural Revolution, the Pakistani ambassador, and the Worker-Peasant Mao Zedong Thought Propaganda Teams.
Paul Taylor Explains (Sort Of) Why He Makes Dances
“I make dances because crowds are kept at a safe distance. That’s what proscenium arches are good for. I make dances … because it’s possible to build a whole universe with steps, because I want people to know about themselves, and even because it’s a thrilling relief to see how fast each of my risk-taking dancers can recover after a pratfall.”