Here are a few posts from last week's Greenpage that might be worth your time:
Nobody Knows What The Hell They Are Doing
99U: By nature, human beings are comparers: our happiness depends, at least partly, on feeling better off than others. Studies have shown that many of us would rather earn more than our co-workers, even if that meant earning less money overall. And we judge our creative output similarly: we deem it a success if it’s as good or better than other people’s.
Artists as Change Agents
The Clyde Fitch Report: I’ve had the privilege of attending five of The People’s Institute for Survival and Beyond’s Undoing Racism/Community Organizing workshops. I’ve attended it when it was all women of color, when it was for social workers and educators, and when it was for religious organizations. Each workshop is a unique experience, but the one that will always stick out in my mind is the one for artists and arts administrators I attended in January 2013.
Could Exoskeleton Suits Make an Appearance on the Jobsite?
Remodeling: In August, Lockheed Martin received a contract through the National Center for Manufacturing Sciences for the U.S. Navy to evaluate and test two of its industrial exoskeletons.
The exoskeleton, called the Fortis, is a lightweight, unpowered suit that increases the wearer’s strength and endurance by transferring the weight of heavy loads from the operator to the frame of the device.
Joseph Haj Makes the Case for Co-Directing
AMERICAN THEATRE: Directing is a lonely business. There was the time, long ago, when an actor-manager, also working as a member of the acting company, would take on the role of director. In recent history, and certainly in our current moment, the director is the auteur, an artist trained and expected to have a “vision,” a “concept,” an “approach” to a production. This vision, ideally, springs fully formed from the isolated brain many months before the show is cast.
Theatres are not catering for the working class majority
Culture professionals network | Guardian Professional: After many years working in theatre, including five as artistic director of the Broadway in Barking, I’ve attended my fair share of conferences about ways to encourage diversity in audiences for the arts. Race, youth and disability are always discussed but class remains the unnamed elephant in the room, often dismissed in a cursory mention of lower ticket prices. In my experience, class is the biggest barrier to accessing the arts, cutting across all the other marginalised groups.
No comments:
Post a Comment