Stoppard’s occasionally engaging and frequently frustrating play puts two minor characters from ‘Hamlet’ in a universe where physical laws don’t apply, free will is an illusion, insanity is the norm, and a hideous fate inevitable. Sounds eerily familiar.
COVID ravages the world. America bails out Boeing, Wall Street, and if all goes to plan, assorted chunks of 45’s cancerous financial empire. Meanwhile, Germany rolls out support to its artists and musicians, a nod to what that nation holds dear and what it finds worth defending.
In honor of a plague-affected World Piano Day, the German record label Deutsche Grammophon virtually brings together a number of celebrated pianists to help us remember that our mostly corrupt, degraded, and base species nevertheless has had moments of glory.
“Be it ever so crumbly, there’s no place like Rome” said Bugs Bunny and was he ever correct. In the face of a real problem, our farcical economy is exposed once again as a house of straw and sticks on quicksand with vultures above and weasels beneath. And I apologize to vultures and weasels everywhere.
So why are funders so keen to request data from the [arts] sector, while apparently being so careless with their own? The answer may be in the symbolic role of data. The academic Eleonora Belfiore believes that “the taking part in the auditing process itself becomes a performative act: it is the very fact of gathering data and publishing, more than the concern for what the data tell you, or the rigour (or lack thereof) of their collection that becomes paramount… The situation is convenient for funders, as it reinforces their power while making it harder to hold their own performance to account. It also provides useful work for consultants and researchers. For arts organisations themselves, however, the advantages are less obvious.”
Like everything that has been baptised in the fire of Big Data, connoisseurship has been replaced by “intel” – what we know is what we can count. When it comes to the data-driven art market, to pinpoint value is to minimise risk, and without risk—well, then faith is obsolete anyway.