Roughly speaking, the most common defense of diversity has two parts. The first focuses on the educational and social benefits of diversity. The second attempts to show the inherent value of a diverse environment, one that is in some sense representative of the diversity of the American, or perhaps global, population.
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2018 Dictionary.com’s Word Of The Year: Misinformation
“In 2018 we need to be talking about misinformation because misinformation is what’s driving people’s choices, behaviors, and action. There has been a lot of misinformation about what’s happening around the world, and it’s creating a lot of chaos.” Misinformation is defined by Dictionary.com as “false information that is spread, regardless of whether there is intent to mislead.”
Is Shame A Sign Of A Failure Of Moral Standards?
Most philosophers agree that shame is about failing to live up to our moral ideals, but stories such as Lucy Grealy’s and others’ seem not to fit this definition. For example, it’s common for people who suffer from mental illness to feel shame. People who experience povertyfeel shame because of it. It’s also common for women to feel shame more often than men, and for black people to feel shame more often than white people. To argue that all these people must feel shame because, deep down, they feel like moral failures, we’re assuming that entire populations are suffering from delusion. Maybe the problem isn’t that these cases are irrational. Maybe the problem is that shame isn’t about ideals in the first place.
William Goldman Wrote “The Best Book Ever” About The Theatre
Its primary accomplishment is its bluntness, reflected in the subtitle A Candid Look at Broadway. No writer has better captured the way theater insiders actually talk about their craft. Goldman listens in on artists discussing how to fix shows out of town, to curmudgeonly patrons and critics on the aisle, and to producers working out how to make money—even on flops. Goldman never wrote another book about the theater, and he wrote this one with the unmistakable swagger and detail of someone who can burn every bridge because he knows that his subsequent career will be elsewhere.
The Open Office Promised To Boost Creativity. Instead…
The borderless fluidity of open offices seems perfectly suited to the ambitions of the internet age—while also replicating its failed aspirations toward “connectivity.” Just as hyper-modulated online interactions, contrary to the promise of their conceptual foundations, cordon people into niche micro experiences, so the open office counterintuitively isolates office workers. A recent study from Harvard Business School confirms this deterioration of face-to-face interaction.
What Taylor Swift’s New Recording Deal Might Mean For Other Artists
The rise of streaming via Spotify, Apple and Amazon has put a music industry once racked by plummeting CD sales back in rude health. That transformation has been seized on by Swift, who has led the fight for artists to get a better share of revenues in the age of the digital giants.
Arnold Schoenberg survived Nazi Germany, Vienna and Hollywood. But Boston?
Opera thrives on iconic figures, whether from mythology or history. But maybe composer Arnold Schoenberg (1874-1951) hasn’t been gone long enough – or was never outwardly heroic enough – to fill Tod Machover’s new opera Schoenberg in Hollywood.
How South Dakota Shows What Orchestras Are For
The American orchestra that most shows the culture of the community can only be the South Dakota Symphony. The SDSO subscription audience is by far the most diversified in age I have ever encountered at a professional symphonic concert (and I have been around). And yet the programing is bold.
Čači Vorba Delivers a Mystery Song
Čači Vorba was one of the more cohesive and likable bands at this years Crossroads Festival, which takes place immediately preceding the huge Colours of Ostrava festival in Czech Republic. Violinist, singer and songwriter Maria Natanson definitely struts her stuff, and has a great grasp of Roma music.
“I have cap and bells”
After a prospective student played Maurice Ravel’s “Alborada del gracioso,” I asked the not-so-simple question: “What’s the melody?”