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The Truth About Plagiarism
By Richard A. Posner, University of Chicago Law School
Plagiarism can be a form of fraud, but it is no accident that, unlike real theft, it is not a crime. If a thief steals your car, you are out the market value of the car; but if a writer copies material from a book you wrote, you don't have to replace the book. At worst, the undetected plagiarist obtains a reputation that he does not deserve (that is the element of fraud in plagiarism). The real victim of his fraud is not the person whose work he copies, but those of his competitors who scruple to enhance their own reputations by such means.
Confusion of plagiarism with theft is one reason plagiarism engenders indignation; another is a confusion of it with copyright infringement. Wholesale copying of copyrighted material is an infringement of a property right, and legal remedies are available to the copyright holder. But the copying of brief passages, even from copyrighted materials, is permissible under the doctrine of "fair use," while wholesale copying from material that is in the public domain - material that never was copyrighted, or on which the copyright has expired - presents no copyright issue at all.
Copying with variations is an important form of creativity, and this should make us prudent and measured in our condemnations of plagiarism.
Especially when the term is extended from literal copying to the copying of ideas. Another phrase for copying an idea, as distinct from the form in which it is expressed, is dissemination of ideas. If one needs a license to repeat another person's idea, or if one risks ostracism by one's professional community for failing to credit an idea to its originator, who may be forgotten or unknown, the dissemination of ideas is impeded.
The concept of plagiarism has expanded, and the sanctions for it, though they remain informal rather than legal, have become more severe, in tandem with the rise of individualism. Journal articles are no longer published anonymously, and ghostwriters demand that their contributions be acknowledged.
Individualism and a cult of originality go hand in hand. Each of us supposes that our contribution to society is unique rather than fungible and so deserves public recognition, which plagiarism clouds.
This is a modern view. We should be aware that the high value placed on originality is a specific cultural, and even field-specific, phenomenon, rather than an aspect of the universal moral law.
I think the zeal to punish plagiarism reflects less a concern with the real injuries that it occasionally inflicts than with a desire on the part of leaders of professional communities, such as journalists and historians, to enhance their profession's reputation.
Their anxieties are understandable; but the rest of us will do well to keep the matter in perspective, realizing that the term "plagiarism" is used loosely and often too broadly; that much plagiarism is harmless and (when the term is defined broadly) that some has social value.


The world in his hands: Britain's most wanted art thief who steals maps to order
The Guardian 19.5.03
'Ripper' who snatches rare prints from top libraries across Europe on the run
Such is the concern that Scotland Yard has just included him on its "most wanted" list alongside men wanted for questioning about murders, sex attacks and gangland crime. He is in effect Britain's most wanted art thief.
Scotland Yard says it is estimated that 4,500 maps, which can be sold for anything up to £10,000, are missing from libraries across Europe.
The thieves are thought to steal to order for collectors across the world - the maps are especially sought after in the US and far east - or dealers who do not ask too many questions. The atlases they are taken from are ruined for ever.

Greek museum plans 'thwarted'
BBC News 19.5.03
Greece highest court has ruled against the government's plans on a new museum at the Acropolis in Athens, according to court officials.
They are quoted as saying the decision was influenced by fears that the construction work on the slopes of the Parthenon - the proposed site for the new museum - could damage nearby antiquities.
Correspondents say such a ruling is a serious setback for the Greek Government's efforts for the return of the Parthenon frieze known in Britain as the Elgin Marbles, which once adorned the Parthenon temple on the Acropolis, from the British Museum in London.

Newer art shows it has legs
Los Angeles Times 19.5.03
Business was even less predictable than usual in this spring's two-week marathon of Impressionist, Modern and Contemporary art auctions. The sales were organized in a climate of war and economic gloom, and the roller-coaster results reflected a bad case of art market jitters.
But when the last auctioneer cracked the last gavel Friday afternoon at Phillips, it was clear that the sales were more successful than might have been expected. It was also evident that the market for Contemporary art -- made from about 1945 to the present -- continues to rise. It seems to be only a matter of time until Contemporary art auctions routinely outshine those of the longtime market leader, Impressionist and Modern art.

Frequenza arte
Nel panorama attuale delle radio pubbliche non esistono programmi dedicati interamente all’arte. Quello che si sente sono singole puntate o brevi rubriche all’interno di generici programmi culturali o di intrattenimento. Dopo le sperimentazioni alla fine degli anni Settanta e la chiusura, qualche anno fa, del programma di successo “L’Arcimboldo”, l’arte è stata relegata in piccoli spazi all’interno di programmi contenitore pomeridiani e serali.
Chi cerca di cimentarsi nell’arte con un linguaggio nuovo, seppur senza regolarità, è Radio 2, storicamente considerata la radio nazionale pop che ha scelto di coinvolgere giovani critici e curatori che presentino gli eventi artistici con un linguaggio semplice e originale.


Confusing the connoisseur
The Guardian 17.5.03
The National Gallery is currently bringing into operation a machine that will allow the visitor to the shop to make his or her own posters of more than a thousand paintings from the collection, to whatever size is required. Eventually one will be able, at the push of certain buttons, to create an instant reproduction of any painting in the collection.The reproductions are created by digital imaging - no traditional photography.
they come at first as a bit of a shock. In the case of a Turner oil-painting, comparison of the new image with a previously state-of-the-art photographic reproduction shows that the old photograph had, in important areas, a great deal of yellow pigment which is simply not present in the original painting. Which does one remember better - the painting itself or the photograph?

More Students in Writing Programs Expect (and Get) Hollywood Offers
The New York Times 17.5.03
In the last five years, for example, recent graduates of the fiction writing program at the University of California at Irvine have published 10 first novels, two short-story collections and one memoir, and have had six screenplays optioned by Hollywood studios.
"The growth of these programs is a function of the amazing number of first-book contracts and film options that are making some young writers rich," said Tamara Strauss, editor of Zoetrope: All-Story, a magazine owned by Francis Ford Coppola that publishes stories with the goal of turning them into films. "About 40 percent of the 600 to 1,000 manuscripts we receive each quarter come from students in these programs."

Big Hot Blurry Painterly Nudes!
The New York Times 18.5.03
When the German photographer Thomas Ruff started looking at Internet pornography about four years ago, it was for research purposes only. He was thinking about making a new series of photographs exploring the genre of the nude, and as he always does when he has a new idea, he began by studying existing images.

Where's the Barbican going? Back to Shakespeare, naturally
Telegraph 17.5.03
Dominic Cavendish says the Barbican has inadvertently paved the way for the RSC to refind its feet in London.


A New Museum as Unconventional as Its Collection
The New York Times 16.5.03
Dia:Beacon, the largest museum yet for contemporary art, reflects Dia's idiosyncratic roots, shifting priorities and sporadic collecting.
The museum, the largest one yet for contemporary art, enshrines part of a generation of big-thinking artists in a former Nabisco factory, a building with nearly a quarter of a million square feet of plain exhibition space. The place sprawls beside the Hudson River, a little more than an hour north of New York City.
The artists are European and American, Minimalists, Conceptualists and Post-Minimalists primarily, who came to maturity in the 1960's and 70's. Serialism, geometry and the grid are the leitmotifs of the work. The effect is subdued. The undercurrent, if you look with open eyes, is theatrical, and occasionally even joyous.

Rhapsody in stainless steel
Telegraph 16.5.03
Frank Gehry, the architect of Bilbao's trend-setting Guggenheim, had doubts whether his dazzling new Walt Disney Concert Hall in Los Angeles would ever be built - but now, after a troubled 16-year genesis, it's finally here.
It is expected to become a landmark which will bring new life and vitality to the area as well as providing a striking addition to the city's cultural and architectural landscape and a new home for the Los Angeles Philharmonic and its conductor, Esa-Pekka Salonen.

Acoustic Tests Begin as New Los Angeles Concert Hall Nears Completion
Los Angeles Times / andante - 16.5.03

For artists only
Christian Science Monitor 16.5.03
MacDowell, the oldest artists' colony in the US, gives some 200 people a year room, board, and a quiet place to think.
Hospitality is just what Marian MacDowell had in mind when she established the colony in 1907 as a haven for working artists on her 450-acre southern New Hampshire farm. It's the oldest of about 100 such artists communities around the United States and among the best known, along with such others as Anderson Ranch Arts Center in Snowmass, Colo.; Yaddo in Saratoga Springs, N.Y.; and the Virginia Center for Creative Arts in Sweet Briar.


To This Far
Artnet.com Magazine 12.5.03
When Rudi Fuchs, director since 1993 of Amsterdam's Stedelijk Museum of Modern Art announced that he was stepping down from his position, it was front page, full-color, prime-time-TV news.
Few museum directors anywhere have engendered as much controversy over the courses of their careers as Fuchs, who is second perhaps only to Guggenheim chief Thomas Krens in this regard. From the day he arrived in the international spotlight as organizer of Documenta 7 in 1982, Fuchs has been lauded and condemned for his unorthodox approach to art, an approach heavily influenced by the late critic Clement Greenberg and formalist criticism.
Fuchs' exhibitions consist largely of juxtapositions (the word has become practically a hallmark of his career) of art works, pieces he places beside or against each other not on the basis of chronology or style or any similar quality external to the works, but for the connections he discerns within the works themselves. If art is about looking, if looking at art is about seeing, Rudi Fuchs has spent his formidable career teaching us to see.

No clues in theft of Renaissance figurine from Vienna museum
San Francisco Chronicle 13.5.03
Vienna's Art History Museum said Tuesday it would consider negotiating with whoever stole a 16th-century, gold-plated sculpture by Florentine master Benvenuto Cellini, a significant Italian Renaissance work valued at $57.5 million.

Fellini : hommage à Cannes, résurrection à Paris
Le Monde 13.5.03

Le gouvernement autrichien refuse une subvention au Festival de Vienne
Le Monde 12.5.03
L'apport fédéral ne représente que 2,7 % du budget des Wiener Festwochen, assuré par la municipalité sociale-démocrate de la capitale. Mais pour la directrice de la programmation théâtrale, Marie Zimmermann, c'est un signal très négatif-: "Ce pays risque de se provincialiser." Piqué au vif, Bondy annonce une "repolitisation" : les forums quotidiens organisés sur le thème : "Le siècle américain et la nouvelle Europe" n'en seront que plus animés.

È quasi fusione tra Aol e Bertelsmann
Il Manifesto 13.5.03
Per combattere le difficoltà dovute a contrazione delmercato e pirateria, la tedesca Bertelsmann e il Aol Time Warner starebbero studiando la fusione delle rispettive attività nel settore musicale, in modo da poter competere con il colosso Vivendi Universal.

Una piattaforma satellitare in cielo
Il Manifesto 13.5.03
È stata presentata ieri, nella scintillante cornice di Cinecittà, Sky Italia, la pay tv nata poche settimane fa dalla fusione di Stream e Telepiù, ossia lo sbarco in forze di mister Rupert Murdoch nel mercato tricolore.
"Per questo il nostro intento è quello di farlo crescere anche offrendo un'ampia scelta e una programmazione interessante. Al momento la nostra idea è puntare su tutto quello che la gente vuole vedere: calcio, cinema, news, cartoni animati e programmi per bambini" ha detto l'amministratore delegato Tom Mockridge.


Old Buildings? He Loves Them and Their Values
The New York Times 13.5.03
Mr. Gunther, 46, is the new president of the Institute of Classical Architecture and Classical America, two eccentric and dusty professional organizations that merged last year. It is his goal to elevate the institute into a front-line force, one that will make the case for classical discipline in architecture.
"Classical architecture is an important design tradition that has been dropped by the academy with the rise of modernism," he said on Sunday, in an interview the day before he stepped into his new job. "It is not taught in many architecture schools. It is a void we have stepped into. Imagine going to a music conservatory and never learning classical music, yet this has happened in architectural education."


Le "pays noir" wallon fait revivre ses vestiges industriels
Le Monde 10.5.03
Pilotée par l'Institut du patrimoine wallon (IPW), une politique réfléchie se met en place dans cette région francophone. Il s'agit de préserver les plus beaux fleurons de son architecture industrielle en leur trouvant de nouvelles fonctions.
La sélection est difficile : c'est ici, entre Mons et Charleroi, sur le bassin houiller qui prolonge celui du Nord-Pas-de-Calais, que la révolution industrielle, venue de Grande-Bretagne, a fait ses premiers pas sur le continent, dans les premières décennies du XIXe siècle.
La crise du XXe siècle finissant a laissé derrière elle une masse de chômeurs et les innombrables carcasses d'une activité défunte.

Les usines tenaient le cadre urbain
Architecte -conseil du gouvernement wallon, Maurice est chargé de mission à l'Institut français d'architecture.
Comment expliquer la découverte pour le moins tardive de cette architecture ?
Culot:"Par la conjugaison de la mauvaise conscience et de la recherche du profit maximum.
La crise venant, on a tenté d'effacer les traces de l'exploitation de l'homme par l'homme. En même temps, on voulait faire disparaître ces outils obsolètes pour les remplacer par des espaces de "zoning industriel", beaucoup plus rentables.
Les premières conséquences de cette politique ont été la destruction de pans entiers du tissu urbain. Dans le nord de la France ou en Belgique, on a commencé par raser systématiquement les édifices "inutiles." Du coup on s'est retrouvé face à un urbanisme défaillant. Bien souvent, les usines tenaient le cadre urbain. Elles étaient la référence, le pivot à partir duquel on pouvait redessiner la ville. Après leur disparition, cela est devenu plus difficile."
Quels sont les problèmes posés par la réhabilitation d'une architecture industrielle ?
Culot: "Le préalable à toute rénovation est une affectation intelligente. La pire des choses, c'est d'entreprendre la restauration d'un bâtiment sans savoir à quel usage on le destine.
Si l'on veut associer des artistes à la rénovation d'une architecture industrielle, il faut le faire dès le départ. Cette association peut être très positive. Un dessinateur comme François Schuiten pourrait nous aider à définir le sens d'une réhabilitation du lavoir à charbon de Binche : on sait par ses travaux qu'il est très sensible à la magie d'un tel univers. A Beez, l'intervention de Yann Kersalé, qui utilise la lumière comme matériau, est en totale symbiose avec l'esprit de l'édifice."
Que pensez-vous de la charte de Venise, qui définit le cadre de la restauration du patrimoine ?
Culot: "Elle est complètement dépassée. C'est un outil de spécialistes pour les spécialistes, qui appartient au passé. D'abord parce qu'on est confronté à un patrimoine qui bien souvent n'est pas protégé par le classement ou l'inscription. Aussi faut-il imaginer d'autres méthodes d'intervention. Ensuite parce qu'on n'est plus dans la logique du monument traditionnel. Les matériaux industriels, composites, expérimentaux dans bien des cas, ne sont pas encore éprouvés par le temps. Ce qui impose des équipes pluridisciplinaires.
De plus, la démocratisation des processus de décision a fait des progrès considérables depuis les années 1960. Aujourd'hui, on crée des groupes de travail où plusieurs types de profils sont rassemblés. C'est d'ailleurs le meilleur moyen de peser sur les politiques et les maîtres d'ouvrage."

Definitivamente autonomi i poli museali
la Repubblica of the Arts 11.5.03
Il Consiglio dei Ministri ha deliberato oggi il regolamento per l'autonomia contabile e finanziaria delle soprintendenze speciali per i poli museali di Napoli, Roma, Venezia, Firenze e della Soprintendenza archeologica autonoma di Roma.

Las Vegas Venetian Resort's Pop Culture Museum Folds
Los Angeles Times 10.5.03
The Venetian Resort said Friday it is closing its Guggenheim Museum, ending a high-profile commercial effort to deliver pop culture to the gambling masses. The museum's only show featured the history of the motorcycle as art.
The 63,700-square-foot, hangar-like space designed by renowned Dutch architect Rem Koolhaas will be converted into a more conventional showroom for stage productions and will open next year, said Venetian President Rob Goldstein.
The Venetian's other venture — the Guggenheim Hermitage Museum, which displays old-world masterpieces and other fine art — has been more successful, drawing about 1,000 visitors daily. The smaller museum, alongside the lobby, will remain open, Goldstein said.


How will the artists get paid?
By Dan Bricklin
Throughout history there have been a variety of ways that artists have gotten paid so they can create their work:Through an ecosystem which looks to a mixture of amateur, performance, patronage, and commission forms of payment. This essay explores that ecosystem.
There is a lot of controversy about digital media, copy protection, fair use, and internetworking. In most cases from the viewpoint of legislators trying to react to lobbyists, as I understand it, it boils down to one question: How will the artists get paid? My answer is simple: The same way artists have always gotten paid. Let's examine that issue to see how it applies to today's world.

A museum to illuminate our global village
So what is going on behind the imposing façade of the BM? Last month Mr MacGregor gave his first detailed interview, to The Art Newspaper. We began by asking about money, and discovered that there has been a surprising rapprochement with government.
Mr MacGregor then went on reveal bold plans which will transform the way that major civilisations are displayed inside the museum.


A Vincennes, on visite en langage des signes
Le Monde 7.5.03
M. Aillagon a présenté lundi six mesures pour "l'intégration des handicapés à la culture". Le ministre de la culture et de la communication, Jean-Jacques Aillagon, a présenté, lundi 5 mai, six mesures destinées à favoriser l'intégration des handicapés à la culture et à l'audiovisuel, à l'issue d'une réunion avec la commission nationale Culture-Handicap.


City Slights
The New York Times
Big cities have become safer and cleaner; suburbanites are far more willing to send their children to urban universities, or to go downtown to take in a show or even a ballgame, than they were a decade or two ago. But the cities themselves remain woebegone, in part because so much of their potential taxable wealth lies in the suburbs, beyond their reach.
In New York Mayor Michael Bloomberg hopes to raise $1.4 billion by reviving a commuter tax that the state allowed to lapse in 1999, and increasing it so that suburban commuters would pay the same New York City income tax as New Yorkers, a figure topping out at 2.85 percent.
Suburban legislators have denounced the commuter-tax idea. Their constituents are already facing big property-tax increases, as well as large hikes in tolls and rail tickets, and lawmakers are not likely to vote for anything that will increase the burden.
We are, perhaps irretrievably, a suburban nation. But we are no longer the anti-urban nation that we were. Cities no longer mean ''menace''; they mean ''culture'' and ''pleasure'' and even ''history.''

Cirque Du Soleil: Aiming Too High?
The New York Times
What began as a troupe of street performers — fire-eaters and stilt-walkers performing for loose change — has grown into a billion-dollar business, with a $40 million headquarters in Montreal, five traveling productions on two continents, a permanent show at Walt Disney World in Florida and two more in Las Vegas, with another — an erotic show called "Zumanity" — to open there in July.
"By making themselves so accessible on television, and by making tickets so expensive" — prices can reach three figures — "have they priced themselves out of continued growth? Will their popularity level off now that their style has entered our culture as a language of performance, with the element of surprise that's so important to them removed?"

Springing for Art
Chistian Science Monitor
In New York museums have mostly been able to maintain, or even increase, their pre-9/11 staffing and programs, and the attendance has bounced back to pre-9/11 levels or even higher, despite an overall decline in tourism.
The Performing Arts Research Coalition reported "overwhelming support for the nonprofit performing arts". The survey also notes: "The notion that the performing arts appeal only to a narrow segment of the general public does not appear to be accurate."
Even further, people who attend arts events are more active in their communities than those who don't attend, according to the survey. And they're more likely to be involved as volunteers in a range of activities, not just those that are arts-related.

Fine Arts Fund exceeds $9.6M goal
Cincinnati Enquirer
The Fine Arts Fund raised $10,003,550 in its 2003 campaign, 7.5 percent more than last year.
"This is a vote of confidence for the arts in Cincinnati," campaign chairman A.G. Lafley, chairman and chief executive of Procter & Gamble Co., said.
In a difficult economy that has arts groups across the country slashing budgets, the largest-ever campaign easily beat its $9.6 million goal.

13 of the 15 main lottery-funded building projects are over-budget
The Guardian
A report by the national audit office found that only four of the major new buildings and refurbishments backed in the early days of the lottery were finished on time, with cost overruns reaching £94m.
Sir John Bourn, head of the National Audit Office, said most of the new museums, theatres and galleries had delivered in terms of the quality of their work, the number of visitors, and the facilities they offered.
"It is disappointing that two have had to close and that on most the construction work did not go to plan, with delays and cost overruns which resulted in 10 needing additional funding," he said.
"Where things go wrong the arts council should be prepared to stop funding and at all times it must ensure that lottery funds are protected so that it is in a position to recover its money in the event of projects failing."


Steven Hanry Madoff on the Venice Biennale. One for all
It is hard to believe that only two years have passed between Harald Szeemann's immensely hopeful "Plateau of Humankind," the central exhibition of the last Biennale, and Bonami's "Dreams and Conflicts: The Dictatorship of the Viewer." The world, splintered by September 11 and the calamity in Iraq, is changed, and the Biennale—at 108 years, the world's oldest international art exposition, unfolding in the peaceful precincts of the Giardini and its environs—faces the pressures of a thunderous geopolitical climate. Which, it turns out, will be much its point.
"One person with one vision isn't a logical way to do this kind of exhibition any longer," Bonami explains. "That's too monotonous for a show that's so big, and with so little time to prepare. And especially with bombs dropping, the world is telling us every day that there is no unifying subject. So I wanted to present a fragmentary set of identities in art—even if people say there is not enough of a connection and I get fried for it."
With a budget cut to about $6.2 million from Szeemann's $6.6 million and with more than twice the number of artists in their shows (Szeemann had 130), Bonami and his colleagues have had their hands full bringing the sheer amount of art—let alone great art—to Venice.One thing is clear: Whether the art is collectively prescriptive or personally therapeutic, an international exhibition so full of hard questions about why humans can't get along and how they might couldn't be more perfectly, if sadly, timed.

Un "Printemps des musées" peuplé de mystères
Le Monde
Pour la cinquième fois, l'opération "Printemps des musées" sera organisée dans toute l'Europe.
Le dimanche 4 mai, de l'Oural à l'Atlantique, 1 200 musées ouvriront gratuitement leurs portes aux visiteurs, histoire de drainer un nouveau public.
Le thème de cette édition met l'accent sur l'intimité des artistes et les œuvres oubliées ou méconnues.
En 2002, le succès avait répondu aux attentes des organisateurs. En effet, la fréquentation des musées ouverts dans ce cadre avait été évaluée à plus d'un million de visiteurs en une seule journée - essentiellement des visiteurs de proximité.

How will American museums survive the financial crisis?
The Art Newspaper
Prescriptions for a sector that is as varied in mission, scale, audience, donor- and user-base and financial circumstance risk being generalized to the point of banality or of widely varying relevance. But here goes:
- Museums need to take an informed and realistic view as to the most likely scenario they will face with respect to trends in their contributed and earned income and plan around that scenario, rather than the invariably more upbeat accounts they use for fundraising and other promotional purposes. Planning and bidding are, alas, not the same thing and if you succumb to your own rhetoric you will be planning on a false prospectus.
- Those that see, realistically, grounds for believing that resources are going to be constant or decline are going to have to face up to the possibility of doing fewer things but doing them better, concentrating on what they believe to be their core areas
- Earned income strategies also need to be better grounded. It is difficult to make money without underlying assets that have a commercially exploitable value (intellectual or physical property); the resources to invest in its development; the ability to apply relevant entrepreneurial skills. All three are needed. Better not to enter the game than to enter it hobbled.
- Contributed income-primarily from individuals-is and will remain the principal fuel for most traditional museums in the US. There is, at its simplest, no alternative to long-term cultivation of donors who have the capacity to give or get and who are enthused by the mission, values and activities of the institution.


Le choix d'Henri à la fondation HCB
Lignes nettes, dimension in time, arrière-plan sonore de cris et de rires enfantins échappés de la cour de récréation voisine. On entre de plain-pied dans un minuscule hall d'accueil avant d'enfiler l'escalier à rampe d'acier qui conduit aux deux salles d'exposition superposées du premier et du deuxième étage. Le troisième niveau, sous la verrière, propose un espace de détente et de consultation (vidéos, DVD et dernières publications consacrées à l'artiste), tandis que les mezzanines abritent les bureaux et les places de consultation réservés aux «chercheurs». Dans le secret des sous-sols se trouvent les réserves destinées au «fonds» Henri Cartier-Bresson, où ces mêmes chercheurs pourront, d'hygrométrie requises, consulter les documents les plus précieux.
Puisque les photos d'Henri Cartier-Bresson sont à Tolbiac, la Fondation a choisi de bâtir son exposition inaugurale avec des oeuvres qui ne sont pas de lui mais qu'il aime et qui ont à ses yeux valeur de référence. Ces «choix d'Henri», celui-ci les aura sélectionnés, sur livres, tout au long de l'année passée, par éliminations successives, jusqu'à la dernière, opérée avec Robert Delpire. Au final, 93 photographies, dont la présentation privilégie autant que possible les tirages originaux, prêtés par les artistes eux-mêmes ou par des musées, des collectionneurs et des galeries.

In bid to halt digital piracy, anything goes
The Christian Science Monitor
"People are offended that music companies don't really seem to add a lot of value, they just get in the way of consumer interaction with the artist," says Drew Borst, an industry analyst with Bernstein & Co in New York. "It also doesn't help the industry that relationships between the artists themselves and the labels have been strained."
As a result, people don't feel any guilt in stealing from the labels, who the artists themselves have cast in the role of the bad guy.
Borst says the music industry, at least, has begun to find a new direction, especially with the more comprehensive, legal music sites coming online. This is not to say that music companies have abandoned hard-line tactics.
Balance is what's needed, says Rob Atkinson of the Progressive Policy Institute in Washington. If it's not found, there will be a "significant backlash both at the consumer and the congressional level," he predicts. "The industry cannot be overzealous, or it will come back to bite them." He cites measures to control content that consumers have legally purchased - such as making CDs that won't play on a computer drive or forcing home viewers to sit through movie trailers on a DVD.


The secrets hidden in Iris's library
Daily Telegraph
The secrets hidden in Iris's library
A collection of annotated books belonging to one of our greatest writers is up for sale. Iris Murdoch's husband, John Bayley, is selling her working library at next month's Antiquarian Book Fair at Olympia, where a selection of the 1,000 or so volumes will be on display.

What Trevor did next
Evening Standard
Trevor Nunn launches his new career barely a month after handing over to Nicholas Hytner the role of director of the National Theatre.
Nunn has opted for serious repertoire for his first production - Ibsen's Lady from the Sea - but hardly a low-profile venue. The Almeida might have seemed a somewhat local choice for a man whose West End and Broadway credits include Cats, Les Mis and My Fair Lady, the reopening of the north London theatre next Thursday after nearly £7 million worth of refurbishment guarantees his efforts will not pass unnoticed.
The Lady from the Sea runs 8 May-28 June at the Almeida

London v New York
Evening Standard
London is, apparently, the only place to be. Well, I am afraid that I disagree. As someone who lived in Manhattan for five years, I can tell you that the quality of life is still far higher there than it is here.
I am afraid it will take more than a vibrant art scene to make this a more attractive city to live in than New York.
Compared to the centre of the universe across the Atlantic, London still feels like a Third World city.
Prola di Toby Young
How to Lose Friends & Alienate People, a play based on Toby Young's book, is playing at the Soho Theatre until 17 May

The Museum Follies
New York Observer
Last year the main focus of the Museum Expansion Follies was indeed the Guggenheim, which found itself obliged to acknowledge that its tomorrow-the-world ambition to become the McDonald’s of the international art scene turned out to be a financial disaster, bringing in its wake a radical cutback in the museum’s program and staff as well as the "de-accessioning" of nearly $15 million worth of art objects. This year it is, yet again, the turn of the Whitney Museum of American Art, with its shamefaced announcement canceling its latest pie-in-the-sky expansion project. This particular pie would have consisted of a new 11-story addition to the Whitney designed by Rem Koolhaas at an estimated cost of $200 million. Exactly how much money has already gone down the drain in pursuit of this folly has not been disclosed, but it’s safe to assume that Mr. Koolhaas’ services do not come cheap even for projects that are never realized.
And tomorrow, or next year—well, who knows?

Italy cracks down on CD piracy
BBC News
Italy is fighting back in the battle against music piracy by introducing tough laws for those illegally buying and selling pirated music on street stalls.
Buyers of illegal CDs, who up until now have gone unpunished, will be fined 154 euros (£106)

Guggenheim Grows: The Next Stop Is Rio
The New York Times
Yesterday Thomas Krens, director of the Solomon R. Guggenheim Museum in New York, and Cesar Maia, the mayor of Rio de Janeiro, signed an agreement to build a $130 million museum on Mauá Pier in Guanabara Bay. Rio will be the sixth city with Guggenheim museums and exhibition spaces, joining Berlin; Venice; Las Vegas; and Bilbao, Spain, as well as New York.
The Guggenheim Rio de Janeiro will be financed by Rio as part of a larger project to revive its waterfront.
The French architect Jean Nouvel has been hired to design the Guggenheim Rio de Janeiro. Groundbreaking is expected in June, and the building is to open in 2007.
Mr. Nouvel, who will receive $12 million for the project, has designed a compound with about 240,000 square feet of interior space.

Apple’s New Online Music Service
The New York Times
You can buy any of its 200,000 songs for $1 each; it's the first music service that requires no monthly fee. You can also buy an entire album for $10; it's the first music service that makes downloading an album less expensive than buying a CD. And you can do almost anything you like with the music you buy (like copying it to CD's, to other Macs or to iPods); it's the first music service that doesn't view every customer as a criminal-in-waiting.
Apple's new service is called the iTunes Music Store (www.applemusic.com).

Proms headline at Brixton Academy
The Gurdian
Search for younger audiences takes institution to pop venue
The BBC Symphony Orchestra is to play Brixton Academy, the hip south London venue more used to garage and the likes of Ms Dynamite as part of a long-term strategy to funk up the season of 72 concerts.