At the end of this month, the label Impulse! is releasing Both Directions at Once: The Lost Album, "a full set of material recorded by [Coltrane's] quartet on a single day in March 1963, then eventually stashed away and lost. The family of Coltrane's first wife, Juanita Naima Coltrane, recently discovered his personal copy of the recordings, which she had saved, and brought it to the label's attention."
"A new paper takes a deep dive into the connection between culture and economic development in New York and London. The paper ... looks at the ways in which culture and cultural capital interact with economic factors (such as changes in median income and house prices) to shape urban economic development. And because urban economic development and culture are increasingly seen to be associated with rising gentrification and deepening inequality, it also looks at the effects of cultural capital on housing prices and housing affordability in these cities."
Whatever it recommends, the government will probably wind up horse-trading production and promotion commitments in exchange for no direct regulation: think the Netflix deal Minister of Canadian Heritage Mélanie Joly announced last fall but (here’s hoping!) more detailed and more enforceable. Cunningly
"The first thing the dance company does when we arrive is to measure the stage. They have to reset the dance to fit that stage. So you also have to reset the time of the music: In a larger theater, you must play slower. In a smaller theater, you have to play faster. The relation of time and space in music is dynamic. I have a range of speed in mind. If the players don’t pay attention to that, it will look really funny. You can see the stage fill up with dancers because they are playing at the wrong speed."
"In this presentation we explore the science of improvisation, with rapper GoldLink, jazz pianist Jason Moran, and comedy duo Andy Bustillos and Alex Song of Upright Citizens Brigade. We'll get inside the artists' heads to see how their quick creative process allows them to step into the spotlight — without knowing what's coming next." (multimedia feature)
"The posters and films produced in the Soviet Union and Nazi Germany in the 1930s and 40s have become totemic representations of the genre, and as such the idea of 'propaganda' is now synonymous with aggressive, bold representations of utopian ideals, spouting malicious untruths against enemies, or manipulating and controlling their compliant populations. Such a simplistic conception undermines the often complex, creative and thoughtful productions of propagandists whose work in that crucible of political agitation still appears fresh and thought-provoking today."
"In the piece below, Biesenbach, who is the director of MoMA PS1 and chief curator at large at the Museum of Modern Art in New York, narrates the founding of the Biennale and its first edition, working with artists like Sarah Sze, Christoph Schlingensief, and Carsten Höller in a very different Berlin."
A facade of Europeanization couldn't fix everything: "The new Europe ... never really made it into everyday life, into council estates and suburbs, other than when the former were demolished to make way for something more 'aspirational'. If the centre of Manchester became like a cheaper, rainier Barcelona, its suburbs and satellites remained resolutely part of 80s England, with all the retail parks, developers’ housing, and dreary jobs that entailed. Lottery-funded arts complexes couldn’t replace skilled work, secure housing and a sense of purpose."