“Rather than diffusing controversy and polarisation, it seems as if statistics are actually stoking them. Antipathy to statistics has become one of the hallmarks of the populist right, with statisticians and economists chief among the various “experts” that were ostensibly rejected by voters in 2016. Not only are statistics viewed by many as untrustworthy, there appears to be something almost insulting or arrogant about them. Reducing social and economic issues to numerical aggregates and averages seems to violate some people’s sense of political decency.”
Blog
Turkey Sues Wealthy Art Collector And Christie’s Over 5000-Year-Old Stone Idol
The dispute has cast an awkward spotlight on a closely held company better known for its discretion as well as on a hedge-fund pioneer — and a member of Christie’s advisory board — who has repeatedly been caught up in disputes about the provenance of antiquities linked to him.
Richard Florida’s Creative Class Problem
After fifteen years of development plans tailored to the creative classes, Florida surveys an urban landscape in ruins. The story of London is the story of Austin, the Bay Area, Chicago, New York, Toronto, and Sydney. When the rich, the young, and the (mostly) white rediscovered the city, they created rampant property speculation, soaring home prices, and mass displacement. The “creative class” were just the rich all along, or at least the college-educated children of the rich.
Can Arizona Theatre Company’s New Director Make It More Diverse?
As the state’s only member of the elite-tier League of Resident Theatres, with a $7 million budget and audiences in both Tucson and Phoenix, Arizona Theatre Company is better equipped than any other Valley company to be a leader on the issues of equity and representation for women and people of color — which, ironically enough, makes Ivers, who formerly led the Utah Shakespeare Festival, something of a “great white hope” for theater diversity here.
The Dramatic Courage Of Taking Artistic Selfies (OK, Self-Portraits) During The Cultural Revolution
This was a move against erasure. “‘For me and my generational peers, this period of history is unforgettable, almost beyond belief,’ Mr. Wang, now 67, said in an interview. ‘Our entire youth was taken away. We didn’t fight a war, we didn’t learn anything, and when we came home, many of us couldn’t find jobs. We had nothing to show for ourselves.'”
Does British Theatre Have A Toilet Problem? Let’s Do A Survey
Yes, seriously: “A nationwide survey on access to toilets in theatres has been launched. The Association of British Theatre Technicians, which is running the survey, hopes it will help to address ‘issues of accessibility and inclusivity.'”
In Venezuela’s Turmoil, Gustavo Dudamel Has Become A Target – And Helped Win A Release For An Imprisoned Violinist
Los Angeles’ “Dudamel was involved in the talks to release Wuilly Arteaga, a Venezuelan violinist who gained a following on social media for playing music in the middle of violent street protests against President Nicolas Maduro. National guard forces arrested Arteaga during a demonstration last month; he was released Tuesday.”
Leslie Jones (Or Maybe Society) Has Come A Long Way Since Last Year’s Twitter Debacle
Jones on making fun of getting hacked by racist, sexist haters after Ghostbusters came out: “That’s what comics do. You’re not a good comic if you don’t face your pain right off. That’s like the No. 1 rule on a comic’s list. You help a lot of people when you do that. You can’t ignore the elephant — you’ve got to make the elephant laugh. Me and the elephant are friends.”
What’s It Like Being A Black Female Millennial Composer At The BBC Proms?
Hannah Kendall: “I’m a millennial composer! I have to make money to survive financially in London. I realised early on you need a range of skills for that. As a composer it’s incredibly helpful for me to understand press and marketing and fundraising, as I’m likely to have to do it for myself. It’s not so easy juggling working in an office with teaching composition at the Junior Royal Academy of Music and then trying to write your own stuff.”
When Sue Grafton Started Her Series With ‘A Is For Alibi,’ Few People Knew She’d Get To The End Of The Alphabet
How did this all get started? Grafton says, “I was reading an Edward Gorey cartoon book called ‘The Gashlycrumb Tinies.’ And that’s little pen-and-ink drawings of Victorian children being done in in various ways. A is for Amy, who fell down the stairs. B is for Basil, assaulted by bears. C for Claire, who – you know, and on down the alphabet. I thought, what a keen idea.”