concentration   1919

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Opinion | The Economics of Rihanna’s Superstardom - The New York Times
When I saw the multitalented Questlove, leader of the Roots, in Miami Beach recently, he lamented the highly skewed nature of the business. “In my world I’d just like to see a balance,” he told me. “It’s like just one person and no one else. And whoever is the most digestible gets that spotlight and that attention. Meanwhile, there are zillions and jillions of artists who are just as worthy of getting these things. My position is, more or less, while the spotlight is still warm, to show people options.”
music  market  markets  economics  economy  concentration  statistics  mathematics  power  parecon 
24 days ago by msszczep
Opinion | It’s Time to Break Up Facebook - The New York Times
Detailed argument for breaking up #Facebook as we broke up #AT&T and #StandardOil - When firms become so dominant that they control business sectors and culture, they have to split #monopoly
facebook  hightech  pointofview  2019  Q2  founder  zuckerberg  social  network  monopoly  regulation  breakup  ATT  example  innovation  market  power  privacy  instagram  whatsapp  acquisition  competition  concentration  politics  data  artificial  intelligence  advertising  bullsi  reference 
6 weeks ago by csrollyson
Concentration Time: Starship Edition!
Here's 3 hours of background noise to help you drown out the noise around you, and concentrate on work. Even better, it sounds just like the background rumble of a starship from the Star Trek universe. Code long and prosper!
share  concentration 
9 weeks ago by incredimike
Trinh T. Minh-ha on Vimeo
"Trinh Minh-ha operates on the boundary of documentary, experimental and traditional film, focusing on several powerful themes. As well as the status of women in society, she examines the life of migrants, portraits of whom she depicts in the background of the dynamic relationship between traditional and modern societies. The artist calls these figures the “inappropriate/d other”, and says in one of her interviews: “We can read the term “inappropriate/d other” in both ways, as someone whom you cannot appropriate, and as someone who is inappropriate. Not quite other, not quite the same.”

However, anyone expecting objective documentaries in this exhibition will be surprised. Trinh Minh-ha draws on her own experience, transforming the personal into the public and socially engaged, and in this way her films becomes “poetic-political” works. The artist’s sensitivity and empathy is not simply a way of presenting political themes in a user-friendly way, but is also manifest in unobtrusively recurring motifs of love and friendships.

What are the most powerful impressions we receive from films by Trinh Minh-ha? Firstly, there is a balance to her treatment of themes that offers the viewer the possibility of examining things from many different perspectives. Then there is the persistence with which she attempts to offer a three-dimensional image of “those others”.

However, even upon a first viewing our attention is caught by something else. Trinh Minh-ha works with the viewer’s senses, which she attempts to provoke into total vigilance. The sounds and music she uses are not any in any sense background, but at certain moments take over the narrative role, at others withdraw discreetly in order to allow the actors themselves to speak. The combination of stylised interviewers and theatrical scenes, modified in the postproduction stage by archival materials and linear film narration, along with sounds and suggestive colours, creates an almost synaesthetic experience, in which words express the same as sounds and colours. However, concentration on the part of the viewer is essential. How, otherwise, might they perceive all these levels simultaneously with the same intensity? How can such films be shown in a gallery? How does one create an environment in which the visitor does not just gaze, but accepts the role of a genuine film audience? Walls and chairs soundproofed in soft foam and the proximity of the screen will perhaps make it easier to accept the role of attentive viewers, who will insist on following a film from beginning to end."
trinhminh-ha  2015  film  documentary  migration  othering  vigilance  sensitivity  empathy  society  others  appropriate  inappropriate  innappropriated  gaze  concentration  attention 
9 weeks ago by robertogreco
Why Remainers were shocked by the referendum result, but Leavers less so | Coffee House
This is not just a mathematical quirk. This unequal distribution of Remain and Leave voters tells us why the referendum was such an upset and shock to some. It tells us why Remainers were shocked, but Leavers less so. This pattern of asymmetric distribution explains why you get Remain voters who say that they don’t have any Leave friends, but you get far fewer Leave voters who say the same thing of Remainers.
Brexit  forecast  review  concentration  comparison  politics  UK  Spectator  2019 
march 2019 by inspiral

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