As jazz — the music, business and culture of it — depends on an intricate and widespread network of activists, altruists and advocates to thrive, and celebrating local doers at least used to be a way to focus attention on the out-of-the-spotlight work necessary to make anything worthwhile happen, the
The first audience for your art is becoming a machine. The question isn't just how to optimize for that machine, it's what you give it to say, and whether what it says is worth a conversation.
I don't mean to be pedantic, but I think defining what we mean by excellence really matter if we're really going to figure out the place of AI in creativity. Four stories this week suggest layers to this debate:
Maribeth Stahl, Chief Development Officer of The Cleveland Orchestra, shares why Data, Depth and Discovery are key ingredients for successful fundraising.
[A human named David Szalay]. Paul Bloom posted this note on Substack: I’ve always thought that I would never want to read an AI-written novel, no matter how objectively well-written it is. But I’m starting to question this. I’m on a real David Szalay kick these days; last night, I finished “London
The infrastructure carrying culture to audiences — legal, technical, financial, corporate — was not built for the creative sector. It was built by and for technology companies, telecommunications firms, and entertainment conglomerates.
(Kudos to the art director who chose that American flag done with handprints – it’s perfect). I enjoyed reading Becca Rothfield’s “Listless Liberalism” in The Point, in which she reviews Ezra Klein and Derek Thompson’s Abundance, and Cass Sunstein’s Liberalism, and also asks the question of why the aesthetics of a liberal society, barely addressed
Rachel Thompson, Program Manager at the Curb Center for Art, Enterprise & Public Policy at Vanderbilt, talks about building curricular ties between students and the arts and art institutions.
The popular guy in charge of the DSA is a greedy, paranoid sociopath, a malevolent narcissist, and is probably experiencing dementia. It’s a tactic that works for him, even as it destroys the DSA.
I was at a seminar yesterday given by Professor Philip Hackney of the University of Pittsburgh School of Law, given (via web) at the Marxe School at Baruch College, on “Tax Policy Toward Arts Nonprofits: Democracy or Plutocracy?” It’s a good question! I won’t try to summarize what Professor Hackney
In my past life I spent some time in university administration, and one of my jobs at this public university was to take proposals for new degree programs that the university had approved of to the state board of higher education, for their necessary approval. In those proposals we had to include
