Artist Michael Lewy’s comprehensive, clever and surprisingly humorous take on an imaginary experimental settlement explores the ramifications of having human potential promptly assessed and harnessed for work, and work alone.
What kind of culture is produced by a society that lives and governs itself by opinion polls?
The more cerebral visitor may leave “Collision18:present” wondering if, like the classic definition of what constitutes pornography, ‘cyberart’ is firmly situated in the eye of the beholder (or of the curators).
ROUND: Cambridge is a testament to what can be accomplished using smart phones, GPS coordinates and a Google map.
In its program, the A.R.T. links today’s 1% with the French aristocracy, a stab at relevance that does both the snobby thugs of the French Revolution and the super well-off of today a disservice. Say what you will about the 1%, but they aren’t stupid.
Art and science rebuffed each other in this show. Visitors are unlikely to leave with either a greater understanding of cosmology or of Josiah McElheny’s art.
Based on Public Editor Arthur S. Brisbane’s recent New York Times column on arts criticism, he and others at the newspaper haven’t much of a clue regarding what a serious arts review is supposed to be.
Reading “The Storytelling Animal” is akin to listening to a series of terrific humanities lectures given by a polymath professor with a P.T. Barnum streak.
WGBH is not even attempting to make any excuses, not bothering to put in the energy to explain why the station isn’t using funding from its supporters to hire first-class journalists or to create news programming that builds community and educates because it challenges, investigates, and digs deeper.
This is the first of a series of occasional essays where Fuse Dance Critic Debra Cash will reflect on dances made for camera and new technologies. As they used to say, don’t touch that dial!