by Palle Yourgrau
Where does this strange notion of non-punishable crimes come from? … Isn’t it high time it were proclaimed that every discernible crime is a punishable one …? —Simone Weil, The Need for Roots
When the finger points at the moon, the idiot looks at the finger. —Confucius

What Happened at Verbier
At the 10th anniversary of the Verbier Festival and Academy in 1994, in Switzerland, there was an extraordinary performance of Bach’s Concerto for Four Claviers (based on a Vivaldi Concerto for Four Violins), an electrifying piece of Baroque rock n’ roll performed by an insanely gifted group of musicians that included the Russian Evgeny Kissin, who rocked the house, eclipsing even the legendary Martha Argerich.[1] Luckily for us, the performance was captured on film, now available on dvd. Unluckily, the cinematographer or director[2] was, as usual, a criminal. What passes for a representation of four pianists playing Bach is in fact, for much of the time, a gallery of four faces of four pianists playing Bach, though fortunately for us, the faces are noble ones, especially the Beethovenian countenance of Argerich-in-winter counterpointed by the seraphic visage of the ever-child-like-Kissin. Still, every now and then, thanks to a merciful God, actual piano playing emerges on screen as a kind of afterthought, including even passages that musically deserve to be center stage.
Now, what happened in Verbier in 1994 is by no means an anomaly. It is as common as sand on a beach. It is, sadly, the norm when cinematographers and directors set out to capture a cultural event or an historic or otherwise important performance in music or ballet, or other artistic venues like figure skating. There is, to cite another example, a dvd containing performances by four pianists, including Joanna MacGregor and Angela Hewitt, of Bach’s complete Well-Tempered Clavier, where the cinematographer/director puts to shame the crimes committed at Verbier. Read more »

This year marks the 25th anniversary of the publication of 
An intransigent form of identity politics in combination with neoliberal ideology has left the modern university, if not in ruins, then lacking imagination and cultural capital. It has become a place of sequestered spaces—symbolic and real—where too many students and faculty fear discussing issues deemed to be controversial, inappropriate, or “political.” Across the social sciences/humanities, politics, religion, sex, sexual orientation, climate change, science, gender, economic inequality, poverty, reproductive rights/regulations, homelessness, race, Trump, democracy, capitalism, patriarchy, anti-Semitism, Israel, terrorism, gun violence, sexual violence, and white supremacy are just some of the topics that today make students and even some teachers uncomfortable. At best maybe these topics are addressed by creating some kind of false equivalent in an effort to feign neutrality and keep people comfortable. Discomfort in the classroom from ignorance, tension, power imbalances, conflict, disagreement, or any degree of affective and cognitive dissonance is no longer tolerated. While it used to be considered a fundamental part of the critical learning experience, discomfort of this sort now signals a flaw in pedagogy and/or the curriculum and a betrayal of trust. Learning should always feel good, be nurturing (maternalistic), and, above all, fun. If it’s not then there is hell to pay.



It doesn’t take much. A small piece of gravel, spit out by a truck’s wheel, ricochets off the windshield, taking a tiny chip of glass with it. A microscopic divot and discreet little lines, like crow’s feet at the corner of an eye. Barely noticed for months, the accordion of heat and cold compress and expand, adding and relieving pressure. Then finally, the scratches spread out across the glass like an avant garde spider web.
by Leanne Ogasawara
employees, a move that could increase wages and benefits for hundreds of thousands of struggling workers. […]
We’ve seen a couple of these artists before. FernLodge is this guy Joe from Canada, whose music is (as is all of this music actually; follow the links) available on Bandcamp. However, while most artists, even when giving their music away for free, allow you to “name your price” (which in turn allows you, if your price isn’t zero, to put that music into your Bandcamp “collection,” available to download whenever you want), Joe simply sets the price at “free” (which means you can’t put it into your online collection even if you want to). As you can tell by listening, Joe is being way too modest, as
Someone else gets more quality time with your spouse, your kids, and your friends than you do. Like most people, you probably enjoy just about an hour, while your new rivals are taking a whopping 2 hours and 15 minutes each day. But save your jealousy. Your rivals are tremendously charming, and you have probably fallen for them as well.
