Here’s how a dispenser works: It is shaped like a cylinder with three buttons on top indicating a “one minute,” “three minute” or “five minute” story. (That’s how long it takes to read.) When a button is pushed, a short story is printed, unfurled on a long strip of paper. The stories are free. They are retrieved from a computer catalog of more than 100,000 original submissions by writers whose work has been evaluated by Short Edition’s judges, and transmitted over a mobile network. Offerings can be tailored to specific interests: children’s fiction, romance, even holiday-themed tales.
Tag: 04.16.18
How NYCBallet Planned Its Season Post-Martins
The new team chose two of the six premieres City Ballet will present in the 2018-19 season, reaching beyond the traditional ballet world to commission works by Kyle Abraham and Emma Portner. They learned the puzzle-like intricacy of planning a year’s worth of ballets, which must be chosen so subscribers won’t see too many repeats and scheduled so the whole company — dancers, orchestra, costume shop and more — can handle the workload. And they learned to use analytic tools — think Moneyball, but for ballet — which forecast how well each dance will sell.
Is The College Experience Converging With The Retail Shopping Experience?
As online learning extends its reach, though, it is starting to run into a major obstacle: There are undeniable advantages, as traditional colleges have long known, to learning in a shared physical space. Recognizing this, some online programs are gradually incorporating elements of the old-school, brick-and-mortar model—just as online retailers such as Bonobos and Warby Parker use relatively small physical outlets to spark sales on their websites and increase customer loyalty. Perhaps the future of higher education sits somewhere between the physical and the digital.
UK Arts Diversity Study: It’s Not!
Although differences emerge within the sector, the overall picture is of a homogenous workforce whose social networks are largely limited to other culture professionals and whose values are markedly different to those of any other occupation. Cultural workers are ‘the most liberal, most pro-welfare and most left wing of any industry.’ These same descriptions apply both to makers of culture and consumers: cultural workers attend four times as many cultural activities as people in working-class occupations. ‘Many in the sector really do have a distorted picture of just how unlikely it is for a working-class person to visit their institution,’ says Dr O’Brien. ‘Basically, you have a set of people who look very much like the audience that they are serving. We could consider the cultural sector a closed segment of society.’
Study: Few Artists In UK Come From Working Class Backgrounds
The percentage of people working in publishing with working-class origins was given as 12.6%. In film, TV and radio it was 12.4%, and in music, performing and visual arts, 18.2%. “Aside from crafts, no creative occupation comes close to having a third of its workforce from working-class origins, which is the average for the population as a whole,” the report said.
The Small Gallery Owner Who Fell Behind Owing Dealers And Artists
“We have been friends for years, our families have stayed with each other and I believed we were close,” James White wrote to Marlowe Goring after his visit. “That is why I have tried to believe in you and refused to accept that you could steal from me and create a story of lies.” “I have been sitting here, knowing that this moment would come and I have dreaded this more than anything in my life,” Goring replied. He blamed sluggish sales, high overhead costs and unpaid taxes. And then he cut to the chase: “I have no money and I also have none of your art.”
Bayreuth’s Other Opera House Restored To Its Glittering Baroque Glory
The Margravial Opera House, built in 1478 by Frederick the Great’s sister and now one of the best-preserved 18th-century theaters in Europe, is reopening after a six-year, €30 million renovation with one of the operas performed when the house was new, Johann Adolf Hasse’s Artaserse.
Paris Opera Ballet Dancers Condemn Leadership And Complain Of Harassment In Internal Survey
“The complaints were compiled in a survey conducted by Paris Opera Ballet’s internal ‘artistic expression commission’ and sent to 132 dancers. It found that some 77 per cent said they had either been a victim of harassment in the workplace or seen a colleague mistreated … The survey was also damning for dance director Aurélie Dupont as it found that almost 90 per cent of dancers felt that they ‘did not have a quality management’. ‘The current director doesn’t seem to have any management skills or any desire to acquire such skills,’ reportedly wrote one dancer.”
Producer Of Broadway ‘To Kill A Mockingbird’ Files Angry Countersuit Against Harper Lee’s Estate
Responding to the suit filed last month by Tonja Carter, Lee’s attorney and executor, arguing that Aaron Sorkin’s script deviates too much from the novel, a $10 million countersuit filed Monday argues that “the Agreement did not give Ms. Lee approval rights over the script of the Play, much less did it give her a right to purport to edit individual lines of dialogue. It certainly did not give such rights to Ms. Carter, who is not an author, editor, literary agent or critic, and has no known expertise whatsoever in theater or writing.”
Merce Cunningham Trust Plans Worldwide Celebration For His Centennial
“More than 60 presenting organizations and dance companies from around the world are expected to participate, and the Royal Ballet in London will be one of several to tackle Cunningham for the first time. … A highlight of the centennial will be a ‘Night of 100 Solos’ to be performed on the evening of Cunningham’s 100th birthday, April 16, 2019. One hundred dancers will perform anthologies (called Events) of solos from the 1950s to 2009” in Paris, London, New York, and Los Angeles.