Here are a few posts from last week's Greenpage that might be worth your time...
Variety: “Midnight Rider” director Randall Miller and producer Jody Savin’s Film Allman are pointing to a newly discovered email to show that they were not expressly denied permission to shoot on a CSX trestle on Feb. 20, 2014, when a train plowed through their shooting location and killed a camera assistant, Sarah Jones, and injured eight others.
Reason.com In 1974 a carpet layer from Michigan spent $2,000 to build a replica of the Starship Enterprise bridge and made Paragon's Paragon, one of the first serious Star Trek fan movies. In 1985, a fan convinced George Takei, who played Sulu on the original series, to reprise the role in Yorktown: A Time to Heal. In subsequent years, putting original cast members in fan productions became increasingly common, with Walter Koenig (Chekov) and Nichelle Nichols (Uhura) starring in the feature-length Star Trek: Of Gods and Men in 2007. For decades these efforts were largely welcome.
Fast Company | Business + Innovation: In May, Google research scientist Douglas Eck left his Silicon Valley office to spend a few days at Moogfest, a gathering for music, art, and technology enthusiasts deep in North Carolina's Smoky Mountains. Eck told the festival's music-savvy attendees about his team’s new ideas about how to teach computers to help musicians write music—generate harmonies, create transitions in a song, and elaborate on a recurring theme. Someday, the machine could learn to write a song all on its own.
Chicagoist: At least four performers and three members of management have exited famed improv institution The Second City within the last several day—in part due to racist remarks made by audiences who feel bolstered by Donald Trump’s rhetoric, some involved parties said.
Former ETC player Peter Kim, 33, confirmed his departure with WBBM on Thursday.
“I really think [Trump] gave people carte blanche to act and behave hateful,” he told CBS Chicago.
AMT Lab @ CMU: Art is for everyone. At least, it should be. Across the country, arts organizations are thinking more and more about what they can be doing to make sure their art and spaces are accessible for all types of people, including the physically and mentally disabled. Many of them are employing technology in order to do so. The use of audio guides, sensory friendly performances and beacons are increasingly becoming the norm in the arts. There are a select few arts institutions leading the way towards inclusivity, many of them led at some point by Danielle Linzer.