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ISSUE145 What we’ll be eating in 2018

FOODIE TRENDS

Why Boston is booming A CITY ON THE UP

Tesla boss Elon Musk is almost sure that it isIS LIFE A COMPUTER SIMULATION?

The new rules of patronagePATREON VS KICKSTARTER

Can the arts change the fortunes of a city?

CULTURE 2.0

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EDITOR-IN-CHIEF OBAID HUMAID AL TAYER

MANAGING PARTNER & GROUP EDITOR IAN FAIRSERVICE

EDITORIAL DIRECTOR GINA JOHNSON

GROUP EDITOR MARK EVANS [email protected]

SENIOR ART DIRECTOR OLGA PETROFF [email protected] DESIGNER RALPH MANCAO [email protected]

SUB-EDITOR SALIL KUMAR [email protected]

EDITORIAL ASSISTANT LONDRESA FLORES [email protected]

GENERAL MANAGER – PRODUCTION SUNIL KUMAR [email protected]

PRODUCTION MANAGER R MURALI KRISHNAN [email protected]

PRODUCTION SUPERVISOR VENITA PINTO [email protected]

CHIEF COMMERCIAL OFFICER ANTHONY MILNE [email protected]

GROUP SALES MANAGER MICHAEL UNDERDOWN [email protected]

The business of life & living

Exclusive to Emirates First Class and Business Class

Emirates takes care to ensure that all facts published herein are correct. In the event of any inaccuracy please contact the editor. Any opinion expressed is the honest belief of the author based on all available facts. Comments and facts should not be relied upon by the reader in taking commercial, legal, financial or other decisions. Articles are by their nature general and specialist advice should always be consulted before any actions are taken.

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Printed by Emirates Printing Press, Dubai

LA FABRICA P28A cultural hub in the centre of Madrid

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74HOTELA seaside enclave in Cape Town

80WHAT TO PACKFrom Dakar to Lisbon, we’ve got you covered

84FOOD TRENDSWhat 2018 will bring in the culinary world

88EXHIBITIONA Modigliani exhibition in London

90COLUMN The science of our relationship with money

LIVING

UPFRONT12ROOMS WITH A VIEWInside Emirates’ new First Class cabins

16NEW YEAR’S RESOLUTIONS DECODEDHow to make sure you keep yours

22 SIGHT SEEKERSHow one Asian entrepreneur is aiming to fight blindness

36TORONTO CHARMAn ultra-modern suburban mansion with a difference

CONTENTS

33,349 copies January - June 2017


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10INTERNATIONAL MEDIA REPRESENTATIVES

AUSTRALIA/NEW ZEALAND Samford Media; Tel + 618 9447 2734, [email protected] CHINA IMM International; Tel +852 2639 3635, [email protected] GERMANY IMV Internationale Medien Vermarktung GmbH; Tel +49 8151 550 8959, [email protected] GREECE Global Media;

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FEATURES38THE CULTURE BUSINESSHow cities are competing with each other in the new culture arms race

46PATRONAGE 2.0There’s never been more ways for creators to get paid. We investigate the race between Patreon and Kickstarter for the creative dollar

54THE LOUVRE EFFECTDoes Abu Dhabi’s new gallery signal a shift in the global art scene?

60THE SIMULATIONWhy everyone from tech billionaires to scientists believe we could be part of a giant simulation

66BOSTON ROCKSThe Massachusetts capital is on the rise. We meet the people making it happen

CONTENTS


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UPFRONT

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Emirates’ Boeing 777 First Class private suites are taking air travel to a whole new level of luxury

Best in class

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vice-versa, in an S-Class car.The new cabin interior uses a

new colour palette of soft greys, cream and champagne, conveying a contemporary, open and airy feel. Created in collaboration with Boeing, Rockwell Collins interior systems, Panasonic, Jacques Pierre Jean Design studio and Seattle-based design firm Teague, each fully enclosed private suite combines smart technologies and intelligent design to deliver function, as well as luxury and comfort: both vital to the in-flight experience.

It wasn’t that long ago that commercial air travel was a rather different experience. In the days before pressurised

cabins, planes weren’t able to fly much above 10,000 feet, which meant pilots would be forced to navigate straight through turbulent weather. In terms of in-flight entertainment, you were restricted to the conversation of your fellow passengers, and in-flight catering was a distant dream. Combine that with sky-high prices and incredibly long, multi-stop trips, and it’s hard to believe how far we’ve come. If you need a reminder, just explore the new First Class private suites on Emirates’ Boeing 777s. No expense has been spared, with floor-to-ceiling sliding doors, design features inspired by the Mercedes-Benz S-Class and 40 square feet of person space, this is a giant leap for the inflight experience.

“Emirates pioneered the First Class private suite concept back in 2003, and today it’s the industry benchmark when it comes to first class travel,” said Sir Tim Clark, President, Emirates Airline. Over the years we have continually improved on our private suites, adding thoughtful refinements and features. We are very excited about our new fully enclosed suite, which is a real game-changer in terms of privacy, comfort and thoughtful luxury. This is the first time an Emirates product has been so influenced by another luxury brand, but it is a natural fit as both Emirates and Mercedes-Benz have the same unwavering commitment to fine detail, uncompromising quality, and a drive to push the boundaries.”

Emirates’ latest product gives a nod to the design philosophy of the Mercedes-Benz S-Class, bringing together two global brands renowned for innovation and

comfort. The collaboration inspired several design details in the private suite including the soft leather seating, high-tech control panels, and mood lighting.

Combining that trademark inflight experience with exclusive on-ground services, Emirates and Mercedes-Benz have extended their partnership to provide a fleet of S-Class cars as part of the complimentary chauffeur-drive service. Emirates First Class passengers arriving or departing in the UAE will enjoy a seamless journey from aircraft to home, and

2003 Year

Emirates pioneered the private

suite concept


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The soft leather seat reclines into a fully flat bed and can be placed in a ‘zero gravity’ position inspired by Nasa technology, giving a feeling of relaxation and weightlessness. The roomy suites also have ample space for passengers to change in privacy even after the bed has been made. To ensure all First Class passengers have a view, Emirates is introducing the industry’s first virtual windows for suites located in the middle aisle. These virtual windows project the view from outside the aircraft using real time camera technology. In the other suites, binoculars are available for customers who want to explore the sky outside their windows.

Passengers can easily communicate with the cabin crew, or request for room service using the video call function. The suites

also come with a service window where customers can be served drinks and canapes undisturbed.

Emirates has retained and updated the most popular features of its private suites such as the personal mini bar; and wireless controls to adjust seating positions, as well as to navigate Emirates’ award-winning inflight entertainment system, ice.

Even the mos demanding TV and movie buff will be satisified with more than 2,500 channels of on-demand entertainment on a 32-inch Full HD LCD tv screen, or project content from their own devices. The viewing experience is now enhanced with brand new Bowers & Wilkins Active Noise Cancelling E1 headphones created exclusively for Emirates. These headphones were designed by award-winning audio brand

Bowers & Wilkins to ensure the sound was optimised for the First Class cabin environment.

Each suite is fitted with an ‘inspiration kit’ featuring a luxury Byredo skincare collection found only on Emirates, Hydra Active moisturising pyjamas, and Bulgari amenity kits.

“The inflight experience is the heart of our brand and service proposition,” said Sir Tim. The new 777 interiors that we are unveiling today is part of Emirates’ ongoing investment to continually raise the bar and exceed our customers’ expectations. Aside from our new fully enclosed private suites, Business Class features our latest fully flat leather seats with personal minibars, Economy Class seats have adjustable full leather headrests, and the inflight entertainment system has been upgraded for all cabin classes.”

Indeed, the only problem most passengers will now have is not wanting to leave. We can safely say we’ve come a long way since the first passengers took to the skies.

Customers can view more than 2,500 channels of on-demand entertainment on a 32-inch Full HD LCD tv screen

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We have all been there. The Christmas excess gets a bit much

and our thoughts turn to January and the New Year’s resolutions that will make us better people. From getting to the gym to doing charity work, each year we make promises to ourselves that we rarely keep. How rarely? Well, according to University of Scranton psychology professor, John C Norcross, less than 10 per cent of New Year’s resolutions are actually kept. And that’s from less than 50 per cent of us that make resolutions in the first place.

There are apparently two main lines of brain and behaviour science that influence New Year’s resolutions: The science of habits and the science of self-stories. First habits. Everything from eating healthier to quitting smoking is all about changing existing habits and making new ones. Habits are conditioned, in that they are automatic, so we

form them without even thinking about it. Changing habits need not be too hard, if you know what to watch out for. According to researchers, the biggest mistake people trying to stop a bad habit make is not replacing it with a new habit. Creating a new habit is not hard: we already have hundreds of habits we created – creating a new one is easy.

Stanford professor BJ Fogg lists three steps that you should follow in order to create a new habit. First, you must pick a small action. You can’t choose something vague like “exercise more” and expect it to stick. Choose something like “take the stairs to my office instead of the elevator every morning”. This is a specific, relatively small action that will leave you in no doubt if you are doing it or not.

Secondly, you must attach the new action to a previous habit. For example, if you already take a 20-minute walk three times a week, it’s easy to attach 20

Tim Parks explores why some people’s resolutions stick and others’ don’t

The science of New Year’s resolutions


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minutes on to that. So, the new habit (“walk an extra 20 minutes”) is attached onto the old habit.

Finally, you must make the new habit easy to do for at least the first week. It’s too easy to quit in the first week before the new habit becomes conditioned, which takes around seven times before it ‘sticks’ on its own. To get through the first seven times, you need to make it as easy as possible. Anticipate any hurdles that might stop you from achieving your new goal and work out how you are going to deal with them.

In the long term, once your habit has ‘stuck’ it’s good to understand the science of self-stories. Everyone has stories about themselves that drive their behaviour. These stories operate at all times and let you know who you are and where you fit in the world. These stories can have a big influence on the decisions you make and the actions you take, both positive and negative.

This happens subconsciously. Make a decision that fits with your self-story and it will ‘feel’ right. Do the opposite and it will feel wrong. So, if you want to change your behaviour and make that New Year’s resolution stick, then you need to change your self-story. Think of it like a computer’s operating system running at all times in the background. How to do this? In Redirect, Timothy Wilson writes about self-stories and how we can change them. One method is to write out your existing story and pay attention to anything that is in conflict to the resolution you want to start. Once you have figured out where the stumbling blocks might be, you need to write a new self-story. This self-story needs to include the resolutions and showcase the

‘new’ person that you are aiming to be. Research has shown that even this simple technique can have a huge effect on how we see ourselves, and as a consequence, how we live in the world.

There are, of course, other reasons why we don’t stick to our resolutions, some obvious, some not. One big reason is ‘false hope syndrome’, where the person making the resolution underestimates the amount of effort required to change their behaviour. It’s easy to say you will give up smoking, but the effort required and

“At the beginning of a new week, the start of a new month, following a birthday, or after a holiday from work, people redouble their efforts to achieve their goals”

the time needed is not easy at all. Psychologists believe that for people to succeed in their resolutions, they need to make sure they are realistic. Break your goals into manageable, bite-sized chunks. That way the incremental wins will be satisfying and they will motivate you to keep going.

Another key component is to do one thing at a time. While it might be tempting to use January for a total life overhaul, the reality is that if just one of your resolutions fails, there’s a high chance all the rest of them will too.

Researchers also recommend

7 Number of days it takes to

form a habit, according to experts


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Spending more time with family and friends is high on the list of resolutions people make

you tell someone about your goals. This acts as both a face-saver and a barrier. Real friends will encourage you to exercise or stop you from smoking. Don’t be afraid to ask for help – there are lots of people out there who have made the same resolutions and can help you achieve yours.

It’s also important to realise that there will be setbacks. And

when those setbacks happen you need to take it easy on yourself: there’s no point beating yourself up. Wharton business school professor Katherine Milkman calls this the “fresh start effect”. She told Strategy + Business magazine: “At the beginning of a new week, the start of a new month, following a birthday, or after a holiday from work, people

redouble their efforts to achieve their goals. Why? Because we’re always striving to be better. And when we can wipe out all those failures and look at a clean slate, it makes us feel more capable and drives us forward.”

So if you fall off the wagon, the best course of action is to dust yourself off and get straight back on.

GUT FEELING SET TO BE IMPORTANT IN 2018 For years we have been told to look after our guts: specifically, by maintaining the balance of good and bad bacteria living in the digestive tract. This year, we need to start looking at our gut in a new way by creating a supportive environment for our microbes. Watch out for probiotic supplements and supplements that include beneficial bacteria and fungi. Although fungi have historically had a bad reputation – mainly because of a fungi called Candida that can cause a whole host of problems – doctors now believe that bacteria and fungi play a crucial role in helping digestive health. So this year, make sure to watch out for your digestive health – it’s more important than you realise.

TOP FIVE RESOLUTIONS

Lose weight – 32%

Enjoy life to the fullest – 28%

Spend less, save more – 25%

Spend more time with family and friends – 19%

Get fit and healthy – 37%


UPFRONT / CLASSIC READ

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20 PB

by Miyamoto Musashi

The Book of Five Rings

reading about the techniques will be of little value.

The five rings, or books, refer to the five elements of battle. The first book is the Book of Earth and is an introduction, where Musashi compares training to building a house. The second book is the Book of Water, where he describes his style and goes over basic technique and fundamentals. In the third chapter, the Book of Fire, he writes about the heat of battle and focuses on the importance of timing. In the Book of Wind, Musashi writes about the failings of the various schools of sword fighting around at the time, which he thinks focus on style over substance. In the final chapter, the Book of the Void, he writes about consciousness and the correct mindset of the warrior.

The book, written in 1645, has grown in popularity in recent years, becoming something of a cult classic with a variety of tech CEOs vouching for its wisdom. Think of quotes such as: “Today is victory over yourself of yesterday. Tomorrow is your victory over lesser men.” Pithy quotes like these ensure the book is accessible, even if sword fighting is a bit esoteric for the modern reader.

There are lots of solid ideas here, though. Mushashi writes that victory belongs to the warrior who studies his enemy’s every move before making his own. Deep knowledge of the adversary is essential because it is only then that the hidden weaknesses become obvious, allowing one to strike a fatal blow at the enemy.

Another piece of wisdom: There is nothing outside of yourself that can ever enable you to get better, stronger, richer, quicker, or smarter. Everything is within. Everything exists. Seek nothing outside of yourself. While some of these may seem rather banal, the insights that Musashi imparts have been read and re-read for centuries. While you, or your company, may not be engaged in actual combat, the rules of fighting and the rules of business often dovetail.

Something of a classic, particularly among Japanophiles, The Book of Five Rings by

the legendary 17th century swordsman, Miyamoto Musashi, takes sword fighting strategies and applies them to life. Written in the last years of Musashi’s life, in this book he expanded his ‘two heavens as one’ double sword strategies into a philosophy. The Book of Five Rings is separated into five sections that focus on the elements and the different aspects of battle strategy.

Musashi writes that technical flourishes are excessive and argues that all technique is simply about getting the job done, ie cutting down one’s opponent. He also argues that practice is the only way to improve, and that merely

Musashi is part warrior, part philosopher, and his book has become a cult hit among many CEOs

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PF_12018.P20_Upfront_TheBook.indd 20 12/20/17 10:50 AM

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UPFRONT

22 23

Whether somebody’s eyes have always been good or medical treatment

has helped them overcome poor vision, sight is a privilege that’s taken for granted by the majority of people. For the one-third of the world’s population that suffers from some form of visual impairment, however, eyesight is not so straightforward. Poor vision is incredibly debilitating, and straining to see each day can cause additional health problems such as migraines and headaches, as well as having a negative impact on personal relationships, job prospects and educational opportunities.

According to the Eye Care Foundation, 90 per cent of people who have visual impairments live

in developing countries, where access to eye care of any kind is all too often a rarity. Remarkably, it’s estimated that 80 per cent of these sight problems could be treated with an ordinary pair of glasses. But developments in technology are rapidly transforming eye care globally. As a result, the wait

for accessible, affordable care worldwide may soon be over.

Investor-turned-philanthropist James Chen discovered the extent of the global crisis in vision more than a decade ago. Since then, improving the lives of those living with what he describes as “the largest unaddressed disability in the world” has become his life’s work. “If I didn’t have my own glasses, my opportunities in life would have been much more limited,” he explains. “Spectacles were invented 700 years ago and yet 2.5 billion people who need them today simply do not have them. It seems ridiculous that such a straightforward invention is still not universally available.”

Recognising the improvements that wearing glasses had made

to his own chances in life, Chen embarked on a journey to provide basic eye care to as many people as possible. Eight years ago [2010] he created the Vision for a Nation (VFAN) Foundation, which focused its efforts on providing primary eye care to the citizens of Rwanda.

Lauren Razavi talks to entrepreneur James Chen about visual impairment crisis worldwide

Global vision

“Spectacles were invented 700 years ago and yet 2.5 billion people who need them today simply do not have them”

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According to the World Health Organisation, there were only 18 ophthalmologists for the country’s population of 10 million people at the time. If that wasn’t enough of a challenge, most of them worked in the capital city, Kigali, meaning many rural Rwandans had to travel vast distances for even a chance of care. It wasn’t uncommon for citizens to spend an entire day travelling to reach an eye care professional – if they could even afford the bus fare.

Through a partnership with the Rwandan government, VFAN visited 502 health centres across the country and taught 2,700

nurses how to conduct eye tests. Recognising the importance of making the services mobile, next they arranged for the newly trained nurses to begin visiting all of Rwanda’s 15,000 villages. This made it possible for people to receive basic care much closer to home, and not have their opportunities limited by vision problems that could be overcome quickly, cheaply and easily.

“By the end of this year, we’ll have distributed around 300,000 pairs of glasses and nearly a million eye drops for allergies,” Chen explains. “We’ll also have referred about 200,000

people for further diagnosis and treatment for more serious eye diseases. So now we’re handing the programme we kickstarted back to the ministry of health and looking forward to our next project.”

Based on its experiences in Rwanda, VFAN identified four main barriers – The Four Ds – to more accessible eye care: diagnosis, distribution of treatment, demand and dollars (ie the cost of eye care). In October 2017, Chen launched Clearly, a campaign that aims to extend the progress made and knowledge VFAN gained

300,000Number of pairs

of glasses VFAN has distributed in Rwanda

A doctor using a smartphone for

retina imaging in a Rwandan village


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in Rwanda to other countries. To do this, Chen and his team at Clearly are focusing on the potential of new technologies – including smartphone eye tests and solutions based on artificial intelligence (AI).

Today, impaired eyesight costs the world $3 trillion each year. As the world’s population grows, the global vision crisis grows with it. But, at the same time, the solutions that can improve people’s eyesight are becoming significantly smaller and cheaper than ever before.

An example of this is London-based technology startup Peek.

The company’s two apps – Peek Acuity and Peek Retina – make it possible to perform eye tests and complex retinal scans using only a smartphone. The apps instruct users on how to conduct the tests and produce results without the need for trained medical professionals.

“Our technology is cost-effective and portable, so it can reach people in places without existing eye health facilities,” says Andrew Bastawrous, Peek’s CEO and cofounder. “We also generate health intelligence and data visualisations that allow health providers to provide eye care to those who need it most.”

Peek’s apps have been used in more than 100 countries since they were released in 2016. More than 100,000 children have had their eyes tested using the software through an ambitious partnership with schools across Kenya, Botswana and India. But what really gets Bastawrous excited is the advancements in the technology.

“AI certainly has the potential to make improvements to healthcare – for instance, research that uses data from healthcare records, or where images need to be processed at a large scale,” he says. “But its real value will come when it’s integrated into effective and accessible health systems.”

In 2014, Google acquired DeepMind, a startup aiming to develop AI algorithms to improve the quality of life for people all over the world, for $650 million. One of their projects was a collaboration with Moorfields Eye Hospital in London, where they developed and trained an algorithm to identify features of retinal scans.

The aim of the project was to speed up the diagnosis process so that treatments can be booked sooner and patients’ eye conditions are not left to deteriorate. An ophthalmologist still has to check that the AI’s diagnosis is correct, but Google DeepMind hopes to remove the doctor from the equation. So will technology soon render blindness a thing of the past?

“People, not technology, will render blindness a thing of the past,” Bastawrous says. “There are bigger health issues that need to be resolved before its potential can be [fully] realised. Awareness of diabetes, for example, which

can cause irreversible blindness through diabetic retinopathy. Technology is reducing barriers for people to deliver effective solutions, but ending blindness is down to people.”

Even if technology and artificial intelligence don’t rid the world of blindness, they’re still making improvements. Both Peek’s technologies and Google DeepMind’s algorithm make diagnosing visual impairments cheaper, more accessible, and faster. The quicker the problem is determined, the sooner treatment can be arranged, and the less the patient’s condition will deteriorate.

But while these tools are helping reduce preventable blindness, these technologies being developed are only half the battle. These projects need governmental support, financial backing and widespread awareness. Great visionaries often spend so much of their energy having to describe a better world to people. For James Chen, the goal is to actually help them see it.

“Technology reduces barriers, but it will be people, not technology, that renders blindness a thing of the past”

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26 PB

JANUARY

ISSUE 145 UPFRONT / SPEND UPFRONT / SPEND

TOKYO BIKEThe Ace Hotel has teamed up with tokyobike to custom build

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1

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UPFRONT

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ISSUE 145/ THE BUSINESS

The Huertas quarter in central Madrid has been home to poets and playwrights since

the 16th century. Great names of Spanish culture, such as Cervantes, Quevedo and Góngora, lived here. The district, nestled between the Prado Promenade and Atocha Street, is better known in the city as the Quarter of Letters: a reference to its literary past. The area seems to be under continuous

renovation: some buildings crumble under the weight of centuries while new art galleries and cafes open up next door.

At the heart of this area is La Fábrica, a culture management enterprise with a voracious hunger for new business. The company, with around 40 employees, is split across two spaces, right beside each other. On one side of the road, a couple dozen people churn out

The culture factorySantiago Sáez explores one of Madrid’s most interesting cultural institutions

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“When you decide to start a film festival without much experience, there’s definitely a certain recklessness there”

culture: books and film festivals, designing cultural centres or producing Ai Weiwei-inspired wine. On the other side, a rather casual shop puts it on the street.

The company was founded in 1994 by Alberto Anaut, who was joined in 1997 by namesake Alberto Fesser. Anaut comes directly from the Spanish cultural elite. A former journalist, he worked for El Pais as a deputy editor until 1993, when he quit to edit the Matador Magazine, still published by La Fabrica. Fesser, on the other hand, hails from the corporate world, where he worked for Accenture. Despite that, he too has deep cultural roots (his two brothers Guillermo and Javier are film directors, actors and screenwriters).

La Fabrica is Anaut’s brainchild, but, as he has often said, it wouldn’t have been possible without Fesser’s contribution. However, when you scan the company’s website, the name that stands out is neither of the two Albertos’, but Álvaro Matías’. Not only is he the general director, but he


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JANUARY


micromanages each department, taking care of the printing house, the festivals and the communications department.

Matías got hired at the turn of the century, right after finishing his studies in cultural management. Except for a few strands of silver in his otherwise pitch black hair, he still looks like someone just out of his master’s degree.

Álvaro Matías is not a big smiler, but he does reveal a big grin when he remembers one particular job that, for him, defines La Fábrica. “It was a

crazy project, brought to us by the painter Eduardo Arroyo – a campaign to defend boxing as a noble art. We called it the ‘10,000 sons of Joe Louis’. It was presented in the Fine Arts Association Building, with a boxing match and all. We did what we believed in, we strived to make it the best it could be, and we learnt a lot from it. Then we moved on to something completely new.”

La Fábrica (Spanish for ‘The Factory’) produces culture in any available shape. There’s a

cafe serving up an eclectic menu, a publishing house, there’s the photography exhibitions and, of course, the festivals. The most well known is the online short film festival, Notodofilmfest, now in its 16th year. Whether it be photography, literature, design or theatre, the idea has always been to dive in head first.

“When you decide to start an online film festival, without much experience of how to organise a festival, or even a clear idea of what the internet was back then, there’s a certain recklessness, but of a healthy kind. It gives you the spontaneity that you need to make it likeable and sustainable in time,” says Matías.

The company’s headquarters sit at the centre of a triangle, the vertices of which are occupied by three of Europe’s most important museums: El Prado, the Thyssen-Bornemisza and the Reina Sofia. “When we came to this neighbourhood we knew that it was a good choice. It was not what it is today, but we knew there was always going to be some sort of cultural scene here,” says Matías.

Being a private company in a country where culture is mostly managed from the public sector has lent them a few advantages. Less red tape and the freedom to experiment are the ones that get highlighted first, both by Alvaro Matias and his colleagues around the office. But there have been tough moments too.

The financial crisis hit Spain with special cruelty, and the cultural sector was among the most affected. “We were pushed to shrink some projects to avoid losing quality, but we survived because our partners, public and private, never deserted us completely. We decided to take

Being a private company in a country where culture is mostly managed from the public sector has lent them advantages, such as less red tape


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a step forward and adapt by creating new initiatives instead of closing down. We opened the cafe and a new gallery,” explains the manager.

The cafe and the gallery sit across the street, along with a bookshop, a wine shop and a gift shop. This all-in-one space also doubles as gallery, as the seemingly small space unfolds in the basement. One wall for a recent exposition by painter Paula Bonet. Another for a short story, written by pencil

directly on the concrete. And books. Many books. One of them, featuring the famous Cafe Lehmitz photographs by Anders Peterse, is shown proudly by the seller. “This is fantastic, it’s incredible we can have this in Spain,” she says, referring to the recent exposition of the same images, brought to Madrid by La Fábrica and the City Hall.

For Matías, the “culture of culture” is still on the fringes in Spain, but that doesn’t mean it doesn’t work as a business. “The

people that are in this scene really appreciate what we do. We see more young people here than in some other places,” he says, although he wishes that Spain starts looking at itself in the mirror of France, a country he admires for how well it takes care of its heritage.

“It’s a mix of willful enthusiasm and recklessness that brings love to all the projects. We started like that because we were young, but we’re still doing it 20 years later,” he says.

La Fabrica’s bookshop offers hundreds of titles from around the world

PRADO CONTINUES TO SHINEStill one of Europe’s top museums, the Prado presents a whole host of exhibitions this year. One of the best is the exhibition on Mariano Fortuny y Marsal (1838-1874), to be displayed in the two principal galleries of the museum’s extension. This is the first retrospective on this leading Spanish artist to be presented at the Prado, which houses most of Fortuny’s masterpieces. As with the previous monographic exhibitions held at the Prado, Mariano Fortuny (1838-1874) will offer a reassessment of the artist’s finest works. Mariano Fortuny was the Spanish artist who achieved most international renown in the last third of the 19th century. Fortuny was a true innovator in all the fields of art in which he worked. Of course, there are hundreds of world-class artworks throughout the museum, making this a must-visit.


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ISSUE 145/ SPIRITUALITY

Silicon Valley, facing a crisis of the soul, has found a retreat centre.It has been a hard year

for the tech industry. Prominent figures like Sean Parker and Justin Rosenstein, horrified by what technology has become, have begun to publicly denounce companies like Facebook that made them rich.

And so Silicon Valley has come to the Esalen Institute, a storied hippie hotel on the Pacific coast south of Carmel, California. After storm damage in the spring and a skeleton crew in the summer, the institute was fully reopened in October with a new director and a new mission: It will be a home for technologists to reckon with what they have built.

This is a radical change for the rambling old centre. Founded in 1962, the nonprofit helped bring yoga, organic food and meditation into the American mainstream.

The leaders behind humanist psychology worked from the lodge,

and legend has it that Hunter S Thompson wandered the place with a shotgun.

Esalen’s last year has been apocalyptic. Three landslides in the spring took out the roads on all sides, and participants in a massage workshop had to be evacuated from a hilltop by helicopter. While the institute was closed, flooded and losing $1 million a month, its board made big changes. When the road reopened in October, the place had a new executive director, Ben Tauber, and its new mission.

“There’s a dawning consciousness emerging in Silicon Valley as people recognise that their conventional success isn’t necessarily making the world a better place,” said Tauber, 34, a former Google product manager and start-up executive coach. “The CEOs, inside they’re hurting. They can’t sleep at night.”

Tauber has some competition. A former chief executive of Juniper Networks, Scott Kriens, opened

Nellie Bowles visits the Esalen Institute, where tech CEOs have replaced hippies as the institute adapts to a quickly changing world

Silicon Valley’s retreat

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his own tech and soul centre nearby in May, with construction finishing in February. The goal of the centre, called 1440 Multiversity, is to “recognise that the blazing success of the internet catalysed powerful connections, yet did not help people connect to themselves”.

Still, there is most likely enough crisis to go around. Tauber has stacked Esalen’s calendar with sessions by Silicon Valley leaders, which are selling out.

Dave Morin, a venture capitalist and early Facebook employee, will lead a programme on depression and tech; a former Google ethicist, Tristan Harris, led a weekend on internet addiction; and tech futurists will host a conference on virtual reality and spirituality. Chargers have been installed for Tesla electric cars, and there is usually a line to use them. The new sessions in 2018 are aimed at the workers building

virtual reality, artificial intelligence and social networks.

Gopi Kallayil, the chief evangelist of brand marketing at Google, was running late from work to the class he would host at Esalen called Connect to Your Inner-Net.

His assistants were scrambling to set up. “It has to be so if two engineers are sitting on opposite sides they wouldn’t feel there is too much space between them,” said Jnanada Schalk, who was formerly named Jennie and is

assisting Kallayil as a volunteer.Kallayil arrived wearing a pink

button-down and a large Android smartwatch. He had met Tauber when they worked for Google Plus, the search engine’s social networking feature.

Kallayil had the participants go in a circle and introduce themselves. There was a health tech investor, a product manager, several software engineers and developers, an entrepreneur who had just sold his food start-up, a nurse, an affordable-housing advocate and two lawyers. Kallayil spoke in the language of Silicon Valley.

“What is it that moves the technology to where your inner net moves forward?” he asked. “Thankfully, other people have developed the operating manual.”

He said that many of the people who came to him had floundered this year, and that he, too, found himself wondering about the impact of his work.

“What are these technologies doing?” said Kallayil, who also teaches at 1440. “Decisions we make affect more than one billion people. Here, you shed your clothes and your inhibition, and there’s a rawness.”

The Inner-Net schedule is loosely packed. The next morning, there would be mindful walking, mindful eating, reimagining work and life integration, then compassion practice, self-compassion and, finally, yoga.

“Decisions we make affect more than one billion people. Here, you shed your inhibition, and there’s a rawness”


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After dinner, there would be work on envisioning lives as they are and as we want them to be. Then Kallayil would lead some chanting.

“One of the portals we use to put the technology for the body at peak performance is music,” he said. “Sierra will play the flute, Jennie the violin.”

Every morning is dance awake, a chakra meditation and guitar class where Esalen guests dance across the large hardwood floor.

“I just sold my start-up and needed a place to reflect,” said Sam McBride, 31, from Chicago. “To give me some perspective.”

Esalen’s hot springs are good all day but are famous for the night scene, when they open to the public between 1 and 3am. A weekend stay for a couple at Esalen can cost $2,890, so budget travellers stay nearby and come wandering in with towels a little after midnight.

The dirt path to the baths leads to a concrete corridor and a changing room. Around a corner, it was pitch black with an overpowering smell of sulfur. As the eyes adjusted to starlight, big steaming concrete hot tubs, claw-foot personal tubs and a couple of dozen quiet naked bodies could be seen. The space cannot be photographed.

“I was tired of my life,” said Marina Kurikhina, 32, who lives on a ranch nearby. “I represented Latin American art at a gallery in London. Now I teach creative subconscious painting.”

She said people visited Esalen “for transformation”. Soon, she plans to open a health bar on site serving raw desserts, cold-pressed juices and high-end coffee.

With the focus on the emotional life of executives, Esalen plans to close Gazebo, its preschool of 40 years.

The closing is partly a sign of the region’s changing demographics. As more of Big Sur’s homes are bought by tech executives as second homes, there are not as many young children, so the class of 30 had dwindled to

Cortl an Rober tson with, from right , his son Asher , one, daugh ter Luna, three, and their frien d Wylde r, five. A sign prohibiting photography. Bread made on-site

15 before the floods shut it down.“It’s incredibly sad,” said

Cortlan Robertson, whose daughter attended Gazebo and who said the Big Sur community had offered to pay for the preschool to continue. “Ben is always saying it’s just child care. But it was so much more.”

Tauber was a surprising pick to head a retreat centre. He had previously founded a real-time celebrity geo-stalking service called JustSpotted when Google hired him and his team in 2011. Soon after, he vacationed in Big Sur

“I just sold my start-up and needed a place to reflect. To give me some perspective”


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1962 Year Esalen,

which brought

yoga to the mainstream, was founded

and decided his work was causing harm, he said. “I realised I was addicting people to their phones,” Tauber said. “It’s a crisis that everyone’s in the culture of killing it, and inside they’re dying.”

In the hot spring one night, he ran into an Esalen leader who invited him to a conscious business event. Tauber quit Google to open a business coaching start-up founders and developed Esalen’s technology strategy, joining the board in 2015. During the springtime flooding, as Esalen cut its staff to

50 from 330, Tauber took over. His plan is to aim programming at top executives. “How do we scale our impact as an organization?” he asked. “We do it through impacting the influencers.”

His house is a wood-and-stone half circle built into the hillside, looking out through the cypress onto the water. He wanted a better view so had the cypress pruned. He has a ukulele, a prayer bowl and various massage tools by the sofa. By the dying embers of a fire that he makes every morning, he was reading a

history of Esalen and a Summer of Love coffee table book.

Upstairs, the Inner-Net class was doing a compassion exercise. Everyone spent 10 minutes looking into a stranger’s eyes and silently repeating phrases like “this person has emotions just like me”, “this person has experienced pain and suffering just like me”, “this person will die just like me”. They were barefoot. Some were wrapped in coarse blankets.

The art teacher downstairs had made a trough of warm, foaming mushroom drink.


UPFRONT

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/ PROPERTY

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ISSUE 145

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Gary Evans investigates the ‘city of’ industry as his hometown bids to become the UK City of Culture (it lost)

THE CULTURE CHASE


THE CULTURE CHASE

40

An older woman tours a brand new “cultural building”. A London architect designed this place, glass and angles, exposed steel shell, but it’s in the woman’s hometown,

Sunderland, up in the northeast of England. She stops off in the restaurant and orders steak and chips. When her food arrives, she isn’t happy with the size of the portion of chips. Call them potato wedges if you want, the woman says, but to serve just five of them, it’s a joke.

The head chef hears about it. He’s from Sunderland too – used to be the frontman in a pretty famous punk band. He storms out of his kitchen, shouts, swears at the pensioner, the phil-istine, then kicks her out of the restaurant. It makes national news. Example headline: ‘You’ve had your chips!’

The woman refuses to complete her tour of the National Glass Centre. She says she’s too hungry and goes to look for food elsewhere. A spokesper-son calls the chef “an artist” and says the woman was “lucky he didn’t have his meat cleaver with him”. The chef leaves not long after. He says the place is “doomed”. Brilliantly, perfectly, the res-taurant in the Glass Centre, in this big glass house, is called Throwing Stones.

I’ve always loved going to the Glass Centre. The above story happened not long after the place opened in 1998. I’m sitting in that same restaurant – revamped, renamed – waiting to meet the team behind Sunderland’s bid to become UK City of Culture 2021. This is my hometown too, but I’m a bit out of touch. So before coming, I spoke to someone who knows the place better than most to find out if it’s a good idea.

“Alone,” Andy Martin said, “a solely culture-focused regeneration is not necessarily the answer for Sunderland.” The photographer and filmmak-er spent a decade documenting the way the city

has changed in his project This Is Sunderland. He says: “It needs to form part of a wider, more diverse, and inclusive strategy. The City of Culture bid promises a lot in terms of benefits and oppor-tunities, but is often rather vague about what those benefits would actually be.”

Martin reckons Sunderland should be focusing on other things. Too many people work on out-of-town business parks and industrial estates, while prime locations in city centre stand empty. At the same time, there are few places for artists to exhib-it work and no affordable studio space. He recently left his hometown for this reason and knows other artists who’ve done the same. Martin also points to comments on the website of the local newspa-per: people want to know why their local library closed down, why their bins are now collected fort-nightly and not weekly.

Does Sunderland really stand any chance of winning UK City of Culture? “This is about cities who want to put themselves on the map,” Rebecca Ball says. “It’s not an award that’s given to city’s that already have everything. It’s about a process of change and development and growth.”

Ball works as Sunderland’s bid director. She joins me for coffee in the Glass Centre restaurant. Were the title to go to somewhere like Manchester, which already receives lots of investment, the money wouldn’t make the same “seismic differ-ence” it’d make in a city like Sunderland.

Usually, the more money a city spends

on its culture, the less money it has for public

services and the people who depend on them


THE CULTURE CHASE

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National Glass Centre in Sunderland, England


THE CULTURE CHASE

42

Still, some of these bids cost hundreds of thou-sands of pounds. When the northeast has the highest rate of unemployment in the UK, isn’t it a bit daft to be gambling money on ballet and opera?

Were Sunderland to win, Ball says, it would create an estimated 750 new creative jobs. The programme would give special attention to school-children, children in care, and people who’ll turn 21 in 2021. And events would take place beyond the city centre, in poorer areas, and wouldn’t be “all about ballet and opera”.

Ball doesn’t give an exact figure on how much the bid cost, but alludes it to being not very much. The team works out of free office space and all team members, herself included, come on assign-ment from other organisations.

Eleven cities bid for the title. Sunderland made the shortlist of five. The UK government’s Department for Digital, Culture, Media and Sport awards the prize based on recommendation made by an independent panel. Four people from the panel of eight visited Sunderland in November 2017. The panel came for just one morning. They’re not judging the city, Ball says, more the city’s vision. I leave Ball to prepare for the final stage, a presentation, in a week’s time. The winner will be announced live on television.

The European Capital of Culture is also based on cultural change and the potential for socioec-onomic development. Athens won the first title (the Greek minister for culture came up with the idea). In 1990, Glasgow won the award and put on a very successful yearlong event. Liverpool did the same in 2008. This inspired the UK City of Culture title, awarded every four years, which first went to Derry-Londonderry in Northern Ireland in 2013, then to Hull in England in 2017.

Glasgow and Liverpool suffered when shipbuilding and other indus-tries went under in the 1980s. Same for Hull and Sunderland. But Hull has seen £1 billion of investment since it won the UK City of Culture in 2017. Hotel bookings and train journeys went up. And during the first three months of the yearlong programme, 90 per cent of residents attended or took part in an event. The director of that bid, Marin Green,

said something remarkable about how much he thought the title had changed the city, which voted 68 per cent in favour of leaving the EU: were the vote to happen today, Green reckons, it would go the other way.

“I don’t think people equate going to the ballet with suddenly being less suspicious of immigrants or any of the other reasons they voted for Brexit,” Russ Litten says. The Hull author and poet recent-ly released a book of short of stories, We Know What We Are, about his hometown and its people “out in the furthest edges of the penumbra of the City of Culture spotlight”.

Litten believes if the people of Hull have changed their minds about Brexit, it’s because they “were lied to on a grand scale”, not because of City of Culture. But the yearlong event was a success, he says. People engaged with the arts and felt good doing it, which lifted the whole place. It got good press too. But he adds that many local artists felt ignored. The culture team hired from outside the city. And fewer people than expect-ed received funding. Worse, some received less funding than usual: “I think a lot of the artis-

tic community made the mistake in thinking that Hull, City Of Culture, would be about reflecting and pro-moting the artists of Hull. It’s not – it’s about tourism, pure and simple.

“So a word of caution – i f Sunderland wins the bid, don’t expect local artists to be getting any promotion or money. City of Culture is a portable feast, a bit like the World Cup or Olympics. The venue is secondary.”

More and more of these portable feasts, these “City of ” statues, are handed out each year. There are hun-

Athens won the first

European City of Culture in 1990, showing

how to host the event

Right: Hull was declared the UK City of Culture in 2017

Below: Aerial View of Athens with Acropolis


THE CULTURE CHASE

43

Name-check Legally, the place in Northern Ireland that won the inaugural UK City of Culture is called Londonderry, the name usually favoured by Irish unionists. Irish nationalists mostly prefer Derry. The successful bid used Derry-Londonderry, but things got more confusing during the city’s joint bid with Belfast to become European Capital of Culture. However, this is no longer a problem...

Brexit kills culture bidsLeeds, Dundee, and Belfast-Derry-Londonderry were among the UK cities to submit bids to European Capital of Culture 2023. But the EU won’t allow a British city to hold the title because of Brexit. The European Commission said the only countries eligible for inclusion were those in the EU, the European Economic Area, or in the process of becoming members. Some bids cost hundreds of thousands of pounds – some nearer half a million.

Judging culture One of the problems with any “City of” title is the judging panel. Who gets to judge culture or the potential for culture? A total of 14 Romanian cities competed to be the

Deficits, dodgy judges, and Brexit bans: five City of Culture controversies

CULTURE SHOCK

country’s representative as European Capital of Culture 2021. Two judges on this “independent panel” had ties to Bucharest’s bid. In fact, they helped prepare it. In the end, it backfired. The title went to Timisoara.

Branding failKraków in Poland won European Capital of Culture in 2000, but the title didn’t bring the expected growth. In 2014, a brand consultancy studied the world’s most powerful city brands. Its resulting “brand barometer” measurement found the Polish city, despite all its branding and cultural investment, drew with Cardiff in Wales, and Chisinau, the capital of Moldova.

Calculated gambleSome “City of” cities reckon they’ve seen a return on investment that tops seven figures. But the gamble doesn’t always pay off. Copenhagen held European City of Culture in 1996. The Danish capital of Denmark is known as one of the world’s most “liveable” cities, with plenty green space, a good bicycle culture and loads of pedestrianised zones. But its culture bid and programming proved ending up being too expensive and left behind a massive deficit.


THE CULTURE CHASE

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dreds – possibly thousands – around the world. They include: European Youth Capital (Cascais, Portugal), Finno-Ugric Capital of Culture (Karelia, Russia), and Culture and Arts Capital of the Turkic Region (Turkestan, Kazakhstan). Unesco alone recently added 64 cities to its Creative Cities Network – for things like film, gas-tronomy, and craft and folk arts – which takes the total to 180 cities in 72 countries. But how does branding cities boost tourism?

Sharon Zukin, professor of sociology at Brooklyn College, writes brilliantly about urban, cultural and economic change. Zukin says the discipline of city branding came out of the industrial decline and economic recession of the 1970s. New York led the way. It start pushing a ‘symbolic economy’ – not the city’s manufacturing or service economies, but the city itself, sites and symbols as a commodities, place as destination, the possibility of New York.

By the 1990s, every big city wanted to be like New York. Global tourism took off. ‘Best city’ lists became more popular. Cities bumped up their advertising budget and brought in brand consultants. Zukin writes that culture used to be a byproduct of wealth, but now wealth can be generated by culture.

Usually, the more money a city spends on its culture business, the less it has for public services and the people who depend on them. Zukin writes: “Branding, to be crass, is a means of selling a place – a building, a district or a city. Capitalising on image demands metrics, and metrics imply con-trol – of the image, the message and, ultimately, the men and women who flesh out the image: us.”

So that’s it then. “City of ” cities are just another way of commodifying culture, beneficial for the few who always benefit from these sorts of things, pointless, perhaps even detrimental to the people of the city.

Dr Jerome De Groot disagrees. I asked him to name some ways Manchester winning Unesco City of Literature will improve the city: “Literature generates jobs,” the author and University of Manchester English literature lecturer says. “It drives development and creative people move to the city because they recognise that, ‘We can do this’ – or more importantly, ‘We can do this here.’

“Membership will enhance cultural engage-ment, drive literary tourism, give writers and

readers new spaces and opportunities, build lasting links between the city, stakeholders, and UCCN cities, raise library usage, support emerging writers.”

De Groot was part of the bid. To earn the title, Manchester proved three things: outstanding liter-ary heritage, vibrant contemporary scene, and that it works together to improve literature through capital development and cultural engagement pro-grammes. Particularly impressive is the number of young people involved: 2,500 children attended events at the 2016 Manchester Literature Festival and Manchester Children’s Book Festival put 10,000 schoolchildren in contact with writers.

Even working writers back this up. “As a rep-resentative so many writers of differing ages,

“We are not simply

a credit rating or an economy,

but a history and a

culture”


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abilities, styles and advantages, we know first-hand that the arts is for everyone and anyone willing to experience it,” the poet Shirley May says.

May runs Young Identity, a Manchester organ-isation with 600 local young people registered – over 240 of them active young writers. The bid helped unite the city’s literary scene, she says. May is confidant the title can do the same on a much larger scale. “Unesco City of Culture can only further ensure that Manchester will be seen as one of the leading cities of literature in the world. This global network can only grow world citizenship through literature.”

But, after the initial attention these titles brings, does it last? Russ Litten says something that stuck with me. I asked him what City of Culture would

change long-term in Hull: “The issue of legacy is the great unknown,” he said.

Shona McCarthy worked as chief executive of Derry-Londonderry’s City of Culture year in 2013: “There are many definitions of legacy and Derry… You would need to ask local people…” She’s ducking the question. It was widely reported that much of the money the area was promised for legacy projects never materialised.

Then McCarthy tells me about a speech given by the County Londonderry-born, Nobel Prize-winning poet Seamus Heaney. “We are not simply a credit rating or an economy,” he said, “but a history and a culture, a human population rath-er than a statistical phenomenon.” She’s talking herself into it, getting to the meat of things. She mentions one local leader who said the title did more good for relations in the city than the Good Friday Agreement that brought to an end the 30 years of sectarian conflict in Northern Ireland. Finally, McCarthy says this beautiful thing: “The bid wanted to change the conversations, from polarised and polarising public discourse to fresh perspectives, new ways of seeing and talking and a shift from narrow definitions of unionist, nationalist, British, Irish, orange, green, Derry or Londonderry, UK or not UK. I think Derry did that. I think the city turned the light on.”

On Thursday December 7 2017, live on televi-sion, it was announced that the UK City of Culture 2021 would be Coventry, not Sunderland. I think of the money wasted, the jobs not created… Then I realise I’ve fallen into the trap of thinking about cul-ture in terms of investment and returns, numbers, money – consuming instead of creating.

Culture has been commodified. That’s nothing a new. I’m not sure if “City of” cities are a symp-tom or a cause. But I do believe culture can be a powerful tool for change, particularly in places like Sunderland. Because culture is a kid from one of the poorest areas of a poor city wandering into a strange building, glass and angles, exposed steel shell, and other buildings just like it, and finding in those places things that provoke thought, expand the mind, hint at possibility, until eventually that kid dares to dream of doing something a bit dif-ferent, like becoming a writer. Heaney said, We are not an economy! Too right. Me, I would add this: one man’s culture is another woman’s chips.

New York – one of the biggest cultural

destinations in the world


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THE FUTURE OFCROWDFUNDING

Lauren Razavi explores the increasingly competitive world of crowdfunding


THE FUTURE OF CROWDFUNDING

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Over the pas t few year s , crowdfunding has hit the ma in s t r eam. F rom The Coo l e s t Coo l e r (wh i ch raised $13 million) – a port-able drinks fridge that is also

a blender, a speaker system and a charging sta-tion for electronics – to the comedy card game Exploding Kittens (which raised $8 million), this trend continues to create opportunities for pro-jects that may not have raised funds using more traditional methods of finance.

The basic premise is simple: a person or team comes up with an idea for something they want to create – a product, a game, or a piece of work like a film or an album – and rather than seeking out private investment or bank loans to make it hap-pen, they launch a page on a digital platform and ask their fans or the general public to fund them directly. If people like the idea, the project gets attention and gets funded. If they don’t, the cam-paign fails. But how did all this get started, and where is it going next?

Kickstarter launched in 2009, a year after the global financial crisis. Faith in traditional financial institutions was low, and people were open-minded to alternative means of funding and investment for ideas and projects. By 2010, Kickstarter had been named one of the best inventions of the year by Time magazine, and within three years, the platform had attracted $1.5 billion in pledges.

The Kickstarter model involves creators ask-ing for a specific amount of money to achieve a particular goal or bring a project to life. The platform requires them to raise the full amount they’re seeking within the timeframe they choose, which can vary from a period as short as a week to a period as long as a couple of months. Backers pledge their financial support for their chosen campaign, and in exchange, they receive perks depending on the level of support they’ve provided. The different reward levels are designed to incentivise larger pledges and provide unique opportunities for diehard supporters.

For an independent film or video game project, for example, a pledge of $20 might get you a dig-ital copy of the finished product and access to a range of exclusive digital updates along the way. Give that same project $2,000 and you might find yourself enjoying a champagne brunch with the creators at their favourite fancy restaurant, as well as a physical copy of the product before its release and your name included in the credits.

In the event that a creator doesn’t meet their financial target, however, those who have pledged towards the project aren’t charged and the creator receives nothing at all for their efforts. There have been more than 135,000 successful Kickstarter campaigns to date, but launching a project cer-tainly doesn’t guarantee its success. More than 50 per cent of Kickstarter campaigns have failed since the platform launched nine years ago.

Managing a successful crowdfunding cam-paign can be a tough challenge. It requires a detailed marketing strategy, either a pre-existing audience or a clear strategy of how to access one, and an interesting idea or proposition that will capture the imagination of people in the crowded marketplace that is the internet. For those that do succeed, this method offers artists more creative control over their work.

Yancey Strickler, Kickstarter’s co-founder

Within three years of starting, Kickstarter had attracted more than $1.5 billion in total pledges


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As of December 2017, over 13 million users had pledged more than $3.5 billion to Kickstarter projects. According to market intelligence firm ICO Partners, however, the total amount of money being pledged to Kickstarter year-on-year is in decline. Could crowdfunding’s biggest player be ripe for disruption this year?

As Kickstarter has experienced success and its user base has expanded, other platforms have emerged to compete. Alongside direct competitors such as Indiegogo and GoFundMe, specialised plat-forms like Unbound (for books) and PledgeMusic (for bands) have also gained ground. A few years ago, though, one company in particular began to make headway: Patreon.

Patreon’s fundraising model is notably differ-ent to Kickstarter’s. Rather than all-or-nothing finance for a single, time-limited project, Patreon lets creators run a subscription service where their audience continually contribute a small amount of funding to help the creator keep working on their art or campaign – a little like the mail-order fan clubs that were popular in the days before the internet. With the donation of a monthly or pro-

ject fee in exchange for exclusive rewards, creators can support themselves and retain creative control over their projects.

The service was created in 2013 when musician Jack Conte became dissatisfied with the income his YouTube music videos were bringing in, despite having a large fanbase. He decided that he would ask his fans to support his projects directly in exchange for gifts. Instead of having to ask for large sums, however, creators are able to receive tips as small as just $1 each month. Conte’s exper-iment was a success and Patreon was born.

Patreon’s subscription service creates a direct, intimate relationship between artist and audience, and has proven popular with a variety of different creators. Where Kickstarter lends itself to getting a single project made, Patreon better supports long-er-term creative outputs and projects that require continuous support.

Today, there are over one million monthly active patrons and more than 50,000 active crea-tors on Patreon. Between 2016 and 2017, those numbers doubled year-on-year. But that’s not the end of the story.

Patreon creates a direct,

intimate link between artist and audience

Above: Patreon CEO Jack Conte

Left: A Denver library raised money on

Kickstarter to renovate an old pie factory



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While Kickstarter and Patreon have notable similarities, the two platforms serve different purposes. Well-known creators like musician Amanda Palmer have made use of both plat-forms to fund one-off and ongoing projects at different times.

“There’s space and a necessity for both models. One is primarily to kickstart new projects – hence the name ‘Kickstarter’ – and the other is to get a recurring contribution from ‘members’. These are two completely different propositions,” says Martijn Arets, a Netherlands-based consultant on crowdfunding and the collaborative economy, who authored the books Crowdfunding: The Hype and Crowdfunding for Dummies (both in Dutch).

But this year the competition between Kickstarter and Patreon is well and truly heat-ing up. Back in May 2016, Kickstarter acquired a subscription-based fan funding platform called Drip – one of Patreon’s biggest competi-tors. Kickstarter left the platform operating with almost no visible input until November 2017, when it made a sudden announcement about the platform’s future: it would relaunch and strive forward with a plan to convert creators from Kickstarter-backed on-off projects to ongoing fan subscriptions. Subscribers can even use their existing Kickstarter login details.

Drip isn’t offering anything drastically differ-ent from what Patreon already provides, but it’s certainly launching at an opportune moment. In the same month as Kickstarter announced its intentions for Drip, Patreon announced a controversial change to the fees it takes on user donations. Previously, the platform took a per-centage of the creator’s overall income to fund itself . Now, however, Patreon has added a 35-cent transaction fee on top. This has had the most impact on creators whose fans pay them only a dollar or two per month; suddenly the small tip-like payments the platform was known for aren’t so appealing for creators or their fans.

It seems likely that Drip will acquire a col-lection of creators who have been offended by Patreon’s fee structure changes, but will that have an impact on the future direction of crowd-funding as a whole?

While the battles between global crowd-funding platforms play out and capture much of the attention, one country has been quiet-ly experimenting and innovating in this area – with interesting results. Crowdfunding in the Netherlands raised more than €128 million in 2015 and is among the top three European coun-tries for crowdfunding in terms of volume per capita, according to a report from European alternative finance experts CrowdfundingHub.

For startups and non-profits seeking valida-tion of their ideas and financial support to develop new products and services, there’s a trend towards using more localised platforms. One example is VoorDeKunst, the biggest crowdfunding platform

Kickstarter hopes the Drip will attract Patreon users alienated by the company’s recent changes to its fee structure

Cats Not Ads campaign at Clapham Common tube station in London is the first campaign organised by Glimpse, who raised the money for the ads on Kickstarter



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MEET THE PATREON CREATORS

Amanda PalmerUS $38,436 per project11,089 patronspatreon.com/amandapalmer

Artist and musician Amanda Palmer, known for her work as frontwoman of the band The Dresden Dolls, receives fan contributions on a per-project basis. These projects, or “things” as she calls them, have so far included songs, videos, webcasts, podcasts and visual artwork. She is one of Patreon’s best-known and best-performing creators to date.

KurzgesagtUS $35,995 per month9,997 patronspatreon.com/Kurzgesagt

Kurzgesagt, which translates as “in a nutshell”, is a Munich-based YouTube channel and design studio that produces animated educational videos about science and technology topics. When they asked fans to begin funding their work via Patreon in 2014, the team was quickly able to become full-time creators.

Scott SantensUS $1,515 per month339 patronspatreon.com/scottsantens

Activist and writer Scott Santens receives monthly contributions in support of his campaigning work to promote the idea of a Basic Income Guarantee, which would see governments provide citizens with an unconditional, fixed payment each month to cover their basic living costs.

LaVagabondeUS $9,525 per video1,572 patrons patreon.com/LaVagabonde

Travelling lovebirds Elayna and Riley receive funding to document their experiences as they sail around the world together on a yacht called La Vagabonde. They’ve sailed 30,000 nautical miles together since 2014, and have grown their YouTube fan base to more than 350,000 subscribers.

dedicated to arts and culture in the Netherlands. Over the past six years, it has raised over €12.9 million and successfully funded more than 2,000 projects. But despite local success, the variety of platforms in operation in the Netherlands is far from good news for those behind them.

“There are around 100 crowdfunding plat-forms active in the Dutch market right now, and it’s impossible for all of them to survive in the long-term. Competition is fierce,” Arets explains. “Only the happy few platform owners get rich and only a few more than that break even. It’s difficult for many digital platforms to achieve a healthy revenue model.”

One of the most interesting outcomes of wide-spread public support for crowdfunding in the Netherlands has been adoption of this fund-raising method for civic projects. Government departments, both local and national, are quick to propose projects via digital platforms, or encourage citizens to do so, and then match fund to make well-supported ideas a reality.

Could the rest of the world soon follow the lead of the Netherlands and use crowdfunding more broadly? As a model, crowdfunding has carved out a unique, useful and growing space for itself, so it’s certainly possible.

The global crowdfunding market is expected to grow at a compound annual growth rate of 17 per cent by 2021, according to a report from market research firm Technavio, and the World Bank predicts that global investment in crowd-funding will hit $93 billion by 2025. Kickstarter marked the beginning of crowdfunding’s rise to the mainstream, and Patreon signalled the next stage of development for this fundraising meth-od – turning the potential from one-off project to long-term creative career option.

Now that Kickstarter has purchased Drip, it seems like fan-based subscription models will almost certainly be the next battleground for the major platforms. But with more localised plat-forms giving birth to new inventions and defining everything from capital for startups to funding for city parks in the Netherlands, the future is bright for creators of all kinds.

In the Netherlands, civic projects are funded partially by online platforms with citizens making donations


THE LOUVRE EFFECT

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Iain Akerman examines if the opening of the Louvre Abu Dhabi signals a shift in the global art scene

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When it began to emerge that Leonardo da Vinci’s Salvator Mundi, a lost masterpiece painted in 1500, was to hang in the Louvre Abu Dhabi, the

art world could hardly contain itself. Here was a Jean Nouvel-designed museum, barely open a month, that was to house the world’s most expen-sive painting.

No wonder Forbes described the news as an “end-of-the-year bomb into the art world”, such were the reverberations felt across the globe.

Sold at auction by Christie’s in New York for a record-breaking $450.3 million, the painting’s fate had initially remained a mystery – as had the iden-tity of the buyer – until Abu Dhabi’s Department of Culture and Tourism finally announced that it had acquired the masterpiece.

Yet the clamour to identify the purchaser was fit-ting of the painting’s history. Believed lost, it had been found masquerading as a copy at a regional auction in the United States in 2005, before being cleaned, restored and finally declared authentic following five years of research. Christie’s called the painting’s re-emergence “the greatest artistic rediscovery of the 21st century”, with the Salvator Mundi one of only 16 paintings in existence gener-ally accepted as being from the artist’s own hand.

Significantly, the sale price was more than double the previous record paid at auction for a painting, with Pablo Picasso’s Les Femmes d’Alger sold by Christie’s in New York for $179.4 million in May 2015.

Christie’s called the re-emergence of the Da Vinci painting “the greatest artistic rediscovery of the 21st century”

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How did a masterpiece rediscovered less than a decade ago sell for more than triple the amount predicted? Why do questions remain over its con-dition and authenticity? Whatever the answers, the Louvre Abu Dhabi – through one single piece of art – has grabbed the world’s attention.

This was a major prestige purchase for the fledgling museum and one that has helped carve its name in the consciousness of the wider art world within a very short period of time.

“There is no doubt that this is one of the most coveted artworks to be made available in the past few years,” says Sultan Sooud Al-Qassemi, founder of the Barjeel Art Foundation and a commentator on Arab affairs. “I have personally waited in a long queue to see it in New York City and stood in awe of the painting. Having the work in the Louvre Abu Dhabi will be a major crowd-puller and has already created a buzz in the art world and beyond.”

Importantly, the acquisition focuses attention on the museum’s potential impact, both in terms of demand and the prices paid for works of art, but more importantly in terms of cultural clout and global shifts in power.

“Further acquisitions like this clearly would have a bearing if they decide to go after particu-lar works, although I think it’s unlikely that we will see more than some targeted cherry picking,” says James Parry, a consultant editor for Canvas, an art magazine specialising in the Middle East and the Arab world. “But landing the Salvator Mundi is a huge coup and people will travel to Abu Dhabi just to see this one work.”

“I think it [the Louvre Abu Dhabi] could prove to be a real game changer,” he adds. “The UAE has made impressive strides in recent years in terms of developing an arts infrastructure but it still lacked a real showpiece art treasure house – until now. The new museum is not only a phys-ical expression of the UAE’s commitment to the arts, but also psychologically very important.

“A kid growing up locally can now just pop down the road to see a Cézanne. This can’t fail to make a difference”


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For the first time there are high-quality exam-ples of international art on permanent display in the region and a kid growing up locally can now just pop down the road to see a Roman statue or a Cézanne. This can’t fail to make a difference in terms of awareness and appreciation of the oppor-tunities offered by art.”

“It is important to note that the Louvre Abu Dhabi is not an isolated artistic institution, nor has it been established in a country that lacks an artis-tic history,” asserts Al-Qassemi. “In fact the UAE is the only country in the Arab world that harbours an entire artistic ecosystem – between the artistic com-missions of the reputable Sharjah Biennial and the Sharjah Art Museum to the plethora of Dubai art galleries and the Abu Dhabi and Dubai art fairs. With the opening of the Louvre Abu Dhabi, a major new anchor has been added to this ecosystem.”

Myrna Ayad, director of Art Dubai, agrees. “I’m hard pressed to think of another country in

the region that has three cities that are culturally active in their own distinct ways,” she says. “Dubai is like the marketplace. It’s got the art fair, it’s got the galleries, it’s got the auction houses. Sharjah’s got the foundation, it’s got the museum and the Biennial. And Abu Dhabi’s got the foundations, the art galleries, and now the Louvre and the other museums set to open on Saadiyat.

“The UAE has been a destination for commerce, tourism, finance and entrepreneurs, and now it’s a cultural destination. That’s not because the Louvre opened. It had been building this positioning for itself. The Louvre complements what exists and what has been happening for over a decade.”

Within this ecosystem the auc-tion houses are booming. Christie’s has sold more than $215 million worth of Middle East art since it opened an

office in Dubai in 2013. Sotheby’s, meanwhile, has seen the number of UAE buyers participating in its global sales increase by 84 per cent in the past five years, buying more year on year in terms of vol-ume. In the past year alone, and since the auction house opened an office in Dubai in March, Middle East buyers have purchased almost 50 per cent more art and collectibles compared with the same time last year. It is also attracting an international spread of buyers, including from Asia, where 30 per cent are completely new to Sotheby’s.

“The increasing importance of the art world – like all else in a universe of consumption – means that a newcomer of quality, particularly an insti-tution within a region of great global interest, will create a huge buzz,” says Roxane Zand, Sotheby’s deputy chairman for the Middle East and Gulf region. “There will be a marked increase in art tourism to the UAE and the other local ‘art prod-ucts’ such as the art fairs, Sharjah Biennial, and auction sales will benefit. As a new model for an institution, the Louvre Abu Dhabi will set the pace for other new institutional strategies being planned for the art scene in emerging economies – namely in parts of Asia and Africa. It can easily have a Bilbao effect all its own.”

The Bilbao effect (or starchitecture), whereby a transformational project is a catalyst for wider change, is out of fashion these days, but it can still produce visual wonders such is Nouvel’s Louvre Abu Dhabi, a stunning collection of 55 individu-al buildings housed beneath a 7,500-tonne domed roof. The roof, a geometric constellation

Clockwise from above: The Christie’s auction

for the Salvator Mundi, the Louvre Abu Dhabi,

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Above: The Louvre Abu Dhabi’s plaza

Above right: A Sotheby’s auction in Hong Kong last year

consist-ing of 7,850 stars built in eight layers, is a destination in its own right.

But does the Louvre Abu Dhabi prove that the western-centred art world is slowly shifting east-wards? Are the great art collections of the future to be built in the Middle East and Asia? Does the Louvre Abu Dhabi, as historian Peter Frankopan told The Art Newspaper, represent a recalibration of cultural power?

“People who have got money, resources and ambition in Asia now want to cherry pick the best bits of western culture in exactly the same way that European aristocrats on the Grand Tour bought and collected objects from Rome, Venice,

Florence, Athens and beyond,” said Frankopan.Much of this recalibration is taking place in

China. The Shanghai financier Liu Yiqian, for exam-ple, paid $170.4 million for Modigliani’s Nu Couché in 2015. A year later an unidentified buyer from China bought Gustav Klimt’s portrait of Adele Bloch-Bauer II for $150 million. Further east, the Japanese entrepreneur Yusaku Maezawa acquired a painting by Jean-Michel Basquiat for $110.5 million at a Sotheby’s auction in New York in May.

It was China, however, that was chosen as the home of the Victoria & Albert Museum’s first overseas venture, with the new V&A Gallery in Shenzhen opening in December. The museum’s deputy director, Tim Reeve, told a UAE news-paper recently that it could be the first of many international collaborations.

“There’s no doubt that when something really big and really high impact like Louvre Abu Dhabi opens, every country around the world will be looking at it with a certain amount of envy,” said Reeve. “Countries will look at it and ask them-selves, ‘OK, are we doing enough?’”

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The Louvre Abu Dhabi has acquired more than 620 objects, including individual works, series and collections. Paintings such as Piet Mondrian’s Composition with Blue, Red, Yellow, and Black; Eduoard Manet’s The Gypsy; Paul Gauguin’s Children Wrestling; and nine paintings by the American painter, sculptor and photographer Cy Twombly. Arguably more impressive, however, are its older pieces, including a gold bracelet adorned with lions’ heads, which was made in Iranian Azerbaijan nearly 3,000 years ago. Some of these are being exhibited alongside 300 pieces on loan from 13 leading French institutions, including the Musée du Louvre and the Musée d’Orsay.

“The Louvre Abu Dhabi, being a universal museum in the Middle East, has already stretched the global major museum network southwards,” says Al-Qassemi. “Additionally, the curatorial deci-sion to place the art objects and paintings in a chronological rather than a strictly geographic dis-play is a stroke of genius. The world is increasingly getting smaller and this kind of radical arrangement of art allows us to witness global cultural develop-

ment in a much more egalitarian and flat manner.” It is this curatorial decision, where western

and non-western work are shown side by side, that could cement the Louvre Abu Dhabi’s glob-al impact. It’s something older museums have attempted on a very modest scale, and usually only for temporary exhibitions, but it has not only gone with this fully integrated model, but is promoting it as its distinguishing feature, disrupting the con-ventional museum model of works predominately displayed along geographic and ethnic lines.

Manuel Rabate, director of the Louvre Abu Dhabi, says the museum has essentially re-invent-ed the 18th century premise of the universal museum, this time for a demanding contemporary audience. “In a complex multi-narrative world, these ideas are more important than ever,” he says. “By exhibiting works from diverse cultures in the same space, our curation shows the intercon-nectedness of different ideologies, aesthetics and artistic techniques. The museum story transports visitors through a history of humanity illuminated by our collection of exceptional treasures.”

It’s a decision that Zand appreciates. “This model has a highly educational and pedagogi-cal value, which is most welcome in the region,” she says. “It can serve as a pioneering model for other Arab countries planning museums and insti-tutions, and will no doubt play an important role in training future curators, art infrastructure man-power, and growing art discourse.

“The global nature of today’s interconnect-ed economies, migration issues and population growth inevitably require an integrated approach for any institutional strategy. It will go some ways in encouraging inclusiveness and harmony and a world threatened by divisive propaganda.”

What the Louvre Abu Dhabi and the artistic ecosystem of the UAE are proving is that there is much more to the shift of power eastwards than rich art lovers buying up western art. It is repre-sentative of a wider trend towards the globalisation of both the museum and art worlds.

“While economic growth has enabled local cul-tural authorities to pay to import aspects of western art and culture, this is part of the global art dis-course and part of the histo-riography of art,” says Zand. “The Louvre Abu Dhabi intended to be about global connections and narratives spanning civilisations and through history, and Middle East artistic innovation plays a part in that.”

Still, the luxury of starting a museum of this size and scope from scratch is unique in this day and age, says Parry. “Museum directors and cura-tors worldwide are bound to be watching,” he says. “And feeling deeply envious.”

“The decision to place

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Jesse Onslow Norton examines whether the human race is living

in a computer simulation

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Elon Musk is almost certain that we are all living in a computer sim-ulation. Speaking at the Recode Conference in June 2016, the SpaceX and Tesla Motors CEO claimed there is only a one in a bil-

lion chance that our existence is what he refers to as “base reality”. He believes the exponential rise of technology over the past 40 years indicates that humans will quickly become capable of producing simulations, and that being the case, there is lit-tle evidence to suggest it hasn’t already happened. So if the world we’re living in almost certainly isn’t reality, what is it? And how can Musk be so sure?

Musk is not the first person to claim that we are living in a simulation. His theory is based on an academic paper titled ‘Are you living in a computer simulation?’ which was published in 2003 by Nick Bostrom, a philosophy professor at the University of Oxford. The paper hinges on one essential ques-tion: if humans are going to survive long enough and continue to advance technologically, how can we prove we are not already living in a simulation?

Bostrom argues that there are three distinct pos-sibilities. The first possibility is that humans will go extinct before gaining the ability to simulate the universe. The second is that humans will survive long enough to be able to do it, but will choose not to. The third possibility is that we are already liv-ing in a simulation – we just don’t yet realise it. So, what does Bostrom mean then by simulation?

“If you look it up in the dictionary, simulation has a rather negative connotation; it means to pre-tend or deceive,” says Professor John Barrow, a cosmologist and professor of theoretical physics at the University of Cambridge. “The footballer who simulates injury is pretending he’s been fouled in order to get a free kick. In science, simulations are not about pretending, but are instead about cre-ating computer models that mimic sequences and events in the real world.”

Visionaries and great communicators have always been inspired by their mediums to create stories and metaphors that explain the universe. The Bible used the structure of the written book to bring disparate events together into a linear pro-

Nick Bostrom, a philosophy professor

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gression from creation to revelations. Shakespeare famously said: “All the world’s a stage, and all the men and women merely players.”

Computers and smartphones are the dominant communication tools of our times and, again, we look to the workings of the medium to understand the uni-verse around us. What makes computers different to previous communication tools is the rapid rate at which they grow, both in sophistication and power.

At the dawn of human civilisation, radical inven-tions such as the written word, the wheel and clay pottery were innovations separated by centuries of insignificant technological progress. Today, new inventions happen all the time and they’re primarily driven by ever-increasing growth of computer pro-cessing power and communications bandwidth.

In 1972, the video game Pong represented the pinnacle of computing power: Two white rectan-

gles and a dot on a black background. The world’s first 3D games were released a couple of decades later. Fast forward to 2018 and massive multiplayer virtual reality experiences are edging closer to the mainstream every day. The constant improvement of computer-generated environments is impressive and fast. But where do games end and simulations begin?

“Nick Bostrom’s paper argues that computa-tional power grows exponentially and eventually our smartphones will become capable of simulating anything,” says Dr Zohar Ringel, a senior lecturer of theoretical physics. “If you can create an accu-rate simulation of a person with all of the fine-grain details, then this person would feel that they’re real, that they’re conscious and that they have original thought. But is that the case?”

Ringel insists that he is unsure whether or not we are living in a simulation, but he recently published a paper in Science Advances suggesting that it may be less plausible than Musk and Bostrom make it sound.

“Some of Bostrom’s arguments are less con-crete than others. My focus was very specifically on examining the assumptions that were refutable. In particular, I care about how much computational energy would be needed to power a hypothetical simulation,” Ringel explains. “If you can show that a ridiculous amount of computational power is needed to simulate a certain physical effect, then it brings down one of the core assumptions that’s needed for the simulation argument.”

Ringel and his colleague, Dmitry Kovrizhin from the University of Oxford, examined how much energy conventional computers would need to use in order to simulate the properties of quan-tum objects moving through different dimensions. To put it simply, their research highlighted just how underwhelming the capabilities of the world’s most sophisticated supercomputers are right now.

“When we create microscopic simulations of a quantum system, we usually don’t get to more than a system with 30 or 40 particles. We’re real-ly straining the best supercomputers in the world just to accurately simulate 40 particles,” Ringel says. “Just so you have some sense of scale and how far off we are, the current estimate is that there are 2535301200456458802993466410752 atoms in the universe.”

“If you create an accurate

simulation of a person

with all the details, that person

would feel real”

Left: Pong, the most popular computer game of the early 1970s,

Below: Atari founder Nolan Bushnell

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Any simulation sophisticated enough to repro-duce the movements of quantum objects through dimensions would require impossible amounts of processing memory. Based on their calculations, storing the information of just a few hundred elec-trons on a computer would require a memory unit built from more atoms than there are in the universe.

Just because existing computer designs aren’t smart enough to power simulations of the universe as a whole, though, doesn’t meant it’s impossible that more sophisticated computers could handle the task more efficiently. One of the most popu-lar arguments for the idea that we are trapped in a simulation is actually tied to the conspicuous absence of alien life in the universe.

Physicists estimate that there around 10,000 stars for every grain of sand found on Earth. Based on our limited observations of surrounding solar sys-tems, astronomers now believe that

there are trillions of planets with the potential to sustain and develop living organisms.

So if the conditions of life are so common, where are our cosmic neighbours hiding? This puzzle is called the Fermi Paradox and some sci-entists believe it holds the key to understanding the limits of human potential.

No matter how advanced technologies become, the speed of light will always remain a constant – and, believe it or not, it’s not actually very fast. If a species could travel through space at the speed of light, it would still take 100,000 years to cross the Milky Way just once. Any alien civilisation sufficiently advanced enough to explore the stars

at light speed would probably be smart enough to recognise how impractical it is to do so. As a result, they may well decide to use their technol-ogy for altogether different purposes.

The Matrioshka Brain is a hypothetical megastructure proposed by the transhumanist author Robert Bradbury. This structure would essentially be an enormous computer that encap-sulates a star entirely and harnesses all of its energy. A supercomputer this vast could enable a whole species to upload its consciousness and exist within a simulated universe.

If it was built around a type of slow-burning star known as a red dwarf, a Matrioshka Brain could be powered for 10 trillion years. While a megastructure of that scale may sound unfeasible, scientists argue that it would be more achievable than overcoming the limitations of the speed of light. If this is the reason why we are yet to find signs of alien life in the universe, it could suggest that compelling simu-lations aren’t as implausible as Ringel supposes.

“If we are living in a simulation, the question of who created it and for what reason is of utmost importance,” says Professor Robert Rupert, philos-ophy fellow of the Institute of Cognitive Science at University of Colorado Boulder. “Why would a soci-ety with massive computational power at its disposal bother to simulate human evolution or human con-sciousness? The idea that super-intelligent beings would do so seems entirely fanciful to me.”

Popular culture has become obsessed with the idea that humans exist in a computer simulation. One of the best-known cultural reference points is the Hollywood blockbuster The Matrix, released in 1999, but films and books have been exploring the idea for a much longer period of time.

“If we are in a simulation, the question

of who created it is of utmost

importance”

Philip K Dick

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As far back as 1941, American sci-fi writ-er Robert A Heinlein wrote a short story called They, in which the narrator believes that the entire universe has been created to deceive him. Philip K Dick, author of sci-fi classics such as Do Androids Dream of Electric Sheep, was so taken by the idea that he made simulated realities a recurring theme in his novels. The simulation hypothesis continues to inspire filmmakers and authors, but it was a videogame that finally con-vinced Elon Musk that the theory must be true.

In August 2016, a space exploration video game called No Man’s Sky was released on the internet. The developers hoped that the launch would generate some excitement and perhaps a few publicity opportunities, but they hadn’t expected Musk to start waxing philosophical with them. Late at night, the serial entrepreneur tweeted them: “Will try out @NoMansSky this weekend. Maybe reality is just a series of nested simulations all the way down…”

From this simple tweet, a friendship blossomed between Musk and Sean Murray, the game’s crea-tor. No Man’s Sky allows players to explore a vast galaxy of planets and stars each with unique prop-erties and characteristics. With just 600,000 lines of computer code, the game manages to simulate an entire universe of 18,446,744,073,709,551,616 unique planets. It was apparently the sophistica-tion of the game that confirmed Musk’s belief in the simulation hypothesis.

It seems like Musk has at least a couple of fellow tech entrepreneurs on his side. In October 2016, The New Yorker reported that two Silicon Valley billionaires had become so convinced by the sim-ulation concept they had secretly hired their own team of scientists and given them the task of break-ing humanity out of the simulation it’s trapped in. But even if it were possible to simulate human life, Professor Rupert doesn’t see why a post-human society would waste their time doing it.

“I find it implausible that people in a highly advanced society would want to simulate human

and experiences, or replay the whole of human history in a simulation,” he explains. “Humans are a messy, fractious lot with a wide variety of goals and values. [If I was part of a post-human race] I have no reason to think that I would be interested in simulating humans – or that I would live in a society that would successfully do so before squabbling to the point of extinction.”

We may or may not be l iving in base reality, but the idea that we exist within a com-puter simulation has certainly struck a nerve with technologists and futurists everywhere. It’s unlikely scientists will conclusively prove or dis-prove the simulation hypothesis anytime soon. So if we really are living in a simulation, perhaps the best we can hope for is that nobody decides to switch the power off.

Two Silicon Valley billionaires have reportedly hired their scientists in order to break humanity out of the simulation

Top: The Matrix, released in 1999

Above: No Man’s Sky, an immersive computer game


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David G Taylor examines why the Massachusetts capital is booming

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law, the abolitionist movement, women’s suffrage, modern surgery, the World Wide Web, Morse code and the telephone,” Bernstein said, adding some-what smugly: “You’re welcome.”

“We have always thought that Boston had the potential to become a leading global city,” says Hugo Machin, Schroders’ co-head of Global Real Estate Securities. “Although it is one of America’s oldest cities, today it is a thriving hub for health-care and biotech industries. Over the past few years there has been a surge in how these indus-tries feed into the general economy, which has helped to boost Boston’s ranking. Unemployment in the city has also fallen and development is booming. The infrastructure expansion of mass transit as well as government investment to sup-port start-up businesses has helped to bring new employment to the area. The unemployment rate steadily declined from 6.2 per cent in 2013 to 4.4 per cent in 2015 and then down to 3.9 per cent in July 2016. With the creation of jobs for the Boston market, development has followed. This is evident in the more than $7 billion of develop-ment projects currently under way, a new record for the city,” he says.

Long an incubator of progressive thinking, Boston’s new number three position on the Global Cities Index isn’t as much of a surprise as the fact that it was previously ranked 24. However, its strat-ospheric ascent comes from a long-term strategy, argues Patrick Moscaritolo, president and CEO of the Greater Boston Convention & Visitors Bureau.

“Boston’s brand as a historical and cul-tural centre in the US has evolved over the last 20 years into a global city of innovation,” Moscaritolo says. “Thanks to its 52 colleges and universities, where knowledge-based industries thrive and where discoveries developed at those university labs have grown into new companies that can change the world.”

The evidence supports his claim. Boston has increased its share of next-wave start-ups by 29 per cent from last year, and named the number one “start-up community” in the US for the sec-ond year running. That’s according to the report Innovation That Matters, produced by the US Chamber of Commerce Foundation, and 1776, an organisation that describes itself as a “glob-al business incubator”. “The new ranking,” says Charlie Baker, governor of Massachusetts, “is a testament to the innovation ecosystem that exists here in Massachusetts, bringing together and building on the unique partnership between our universities and tech firms.”

“One of the most important factors helping Boston take the third spot is its best-in-class

The US city of Boston has placed third position on Schroders’ lat-est Global Cities Index, a 160-city strong poll that’s used to identi-fy the most economically vibrant metropolises on the planet. Situated

in America’s east coast, Boston trailed just behind Los Angeles and London, which ranked first and second respectively.

The annual index is based on “the idea that winning cities share common factors”, explains Tom Walker, co-head of Global Real Estate Securities at Schroders, a 200-year-old interna-tional asset management company. It’s published to help businesses and real estate investors track the ebb and flow of assets and investment potential of major cities. Factors that Schroders consider include: growth potential, a high population, infrastructure, skilled workers, dis-posable income and universities. Boston has these in increasing abundance.

Situated an hour and a half flying time north-east of New York City, Boston is the historic capital city of the state of Massachusetts. Covering an area about 124 square kilometres, it’s the larg-est city in America’s leafy New England region, while the estimated 4.8 million Bostonians resid-ing in the Greater Boston district make it the 10th most populous megalopolitan in the US.

Founded in 1630 by Puritan settlers flee-ing England, Boston is one of the seminal US cities. Always ready to kick against the status quo, Boston’s historic legacy includes instigating the American Revolution and the quest for inde-pendence from British rule with a 1773 act of political defiance commonly known as The Boston Tea Party. The region has spawned more than its fair share of leaders such as US president John F Kennedy, civil rights activists including Malcolm X and philosopher Noam Chomsky, and a whole host of game changers leaving an indelible stamp on the world such as Gothic writer Edgar Allan Poe, multi award-winning actor Bette Davis, poet and Pulitzer winner Sylvia Plath and iconic beat novel-ist Jack Kerouac, to name but a few.

“Nobody has to tell Bostonians how great Bostonians are,” David S Bernstein, contributing edi-tor of Boston Magazine said in a recent piece lauding The 100 Best Bostonians of All Time. “We like to say that we invented America,” he said. “We also invented religious freedom, equal justice before the

“Boston’s brand as an historical and cultural centre in the US has evolved in the past 20 years into a global city of innovation”


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university setting,” agrees Machin. “Boston is one of the world’s best-known academic hubs, with the likes of Harvard and MIT scoring highly in the QS World University Rankings. This has helped to generate a youthful, entrepreneurial hub with grad-uates looking to stay and work in the city once they have left university, further deepening Boston’s growing access to talent. Universities provide a self-fulfilling loop to cities – strong graduates command higher salaries, which in turn stimulates the econ-omy,” he says. In fact, MIT and Harvard University ranked first and third respectively in the QS World University Rankings 2016-2017. Greater Boston, however, is also home to six more internationally ranked universities, earning it a rep-utation for being the new world’s Cradle of Civilisation and its nick-name ‘the Athens of America’.

Boston’s investment poten-tial, access to top graduates and reputation for innovation has

Harvard University is probably the most renowned educational institution in the world

Boston is pitching Amazon so that the e-commerce giant locates its second US headquarters in the city

caught the attention of big business with General Electric (GE) announcing it will move its head-quarters to Boston on completion of its new premises there in 2021. The move, according to commentator Jon Chesto of The Boston Globe, makes the industrial giant the biggest company ever to relocate to the city and will cement “the region’s reputation as a magnet for innovation”.

“We are a powerhouse of innovation and growth,” says Jay Ash, Massachusetts’ housing and economic development secretary. “The strength of our com-monwealth is evident in the numerous recognitions Massachusetts has received, including topping the rankings of the Milken Institute, Bloomberg and US Chamber of Commerce Foundation. We have the highest R&D investment per capita and as a percentage of GDP of any state, the highest per cap-ita employment in STEM occupations of any state, and nearly 40 per cent of our workers are in the innovation economy. Massachusetts is committed to continuing to invest in workforce development, manufacturing, education, healthcare and hous-ing across the state. These factors make Boston and


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rare genetic disorders, to plough investments of about $100 million a year into further research and development.

Business is certainly one catalyst for change, but Moscaritolo also cites the repurposing and redevelopment of the city’s old factories into new mixed-use housing, restaurant and retail neighbourhoods, as another contributory factor.

“Over the last 20 years,” says Moscaritolo, “local chefs and owners have positioned Boston as one of America’s ‘must experi-ence’ culinary destinations”, thereby making Boston’s upmarket cuisine scene another rea-son for high fliers to consider a move to the city. “Their success has seen them open res-taurants in New York, Los Angeles, Atlanta and Philadelphia. That spirit of innovation and discovery that is the underpinning of our business life as a city now extends into the culinary economy as well.”

“The city’s high quality of life is a strong draw for millennial workers,” agrees Machin. “There’s excellent restaurants and nightlife and a vibrant arts scene. But they’re also happy to live in a city steeped in history, which boasts 2,300 acres of parkland, much of it with stunning backdrops. In today’s highly mobile world, the attractiveness of a city is crucial in helping drive its economy. A good place to live will attract the best companies and the best employees.”

Boston’s burgeoning assets have not escaped property developers and investors. An article in Entrepreneur & Investor magazine points to Boston’s “biggest residential boom since the 1920s”, citing some 83 new pro-jects currently under construction in 19 of the city’s 23 neighbourhoods.

Entrepreneur & Investor declared: “Times are changing in this city of neighbourhoods as developers recognise an opportunity to intro-duce some glitz and glam to Boston in the form of gleaming, amenity filled, luxury residential towers that rival some of the best options in New York City.”

Located in Boston’s affluent Back Bay neigh-bourhood is the most prestigious of these new sky-scraping developments, the landmark Four Seasons Hotel & Private Residences One Dalton Street. The tallest and most luxurious residential tower in New England, this 61-storey triangular glass tower developed by Carpenter & Company was designed by renowned archi-tect Harry N Cobb. One Dalton’s 160 Private Residences are each managed by Four Seasons and cost upwards of $2.75 million. However, residents will enjoy access to a service-rich

Massachusetts. It’s an incredibly attractive place to live, invest, and start and grow businesses.”

It’s common knowledge that online retail giant Amazon is hunting for a city to build its second North American headquarters with plans to invest $5 billion and create 50,000 jobs. Among the many cities vying for the business opportunity in October 2017, Boston put itself forward, asking Amazon to consider locating to Suffolk Downs, a 160-acre ‘open canvas’ close to the waterfront, the airport and downtown.

Boston’s leap up Schroders’ Global Cities Index can’t hurt its chanc-es; nor can the fact that Microsoft, Alexion Pharmaceuticals and IBM’s new health care analytics division

IBM Watson Health are among other business giants to decide their best futures lie in the Boston area. Akexion’s move is expected to save about $270 million annually, according to a report by The Associated Press. Allowing the company that developed Soliris, a high-priced treatment for two

FIVE BOSTONIANS

John HancockA man of many skills, Hancock was a merchant, statesmen and prominent figure in the American revolution. He served as president of the Second Continental Congress and was the first and third governor of the Commonwealth of Massachusetts.

Julia ChildAlthough born in California, it was Boston where Julia Child made her name and lived for 40 years. Child was America’s first celebrity chef, and is also credited with bringing French cuisine to the masses. She was authentic, down-to-earth and, for many Americans, the first experience they had with ‘fine cuisine’.


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lifestyle that includes a concierge, doorman, bell-man, housekeeping and pet care, plus premium amenities such as a five-star restaurant and bar, a spa, an indoor pool and a golf simulator.

The One Dalton development also benefits from panoramic views of the New England land-scape, taking in the Charles River, Boston Harbour, the Berkshire and White Mountains and Cape Cod shores. Its last remaining four-bedroom penthouse apartment was asking for more than $40 million. The luxury website RobbReport.com, called it “the most expensive property currently on the market in Boston”, but joined the consensus that the city is a hot place to buy when it ranked Boston in its 10 Real Estate Markets to Watch in 2018.

“Boston has never had a project of this calibre,” claims Richard Friedman, CEO of Carpenter & Company. “And our sales success validates our vision. I’ve known for some time that Boston is one of the safest places to invest, as a result of our extremely balanced economy for high tech, medi-cal, venture capital, financial management plus, most importantly, the incredible diversity of edu-cational institutions that continue to supply not only a great flow of important ideas and innova-tions but the most highly educated graduates in the world. All of these factors have made Boston the incredible strong market that it is. And that fact is even more amplified by more than 50 direct international flight routes, a substantial expansion in the last few years, giving us even more inter-national attention from the most sophisticated people worldwide,” he adds.

Among the other factors advancing Boston’s global standing is the work by the city’s Arts & Business Council, which helps to forge a great-

er synchronicity between the arts and local business. Its work ranges from a corporate art lending programme that sees revenue from renting artworks go to support local lending artists, a series of free to attend legal seminars, plus support, information and mentorship for creative entrepreneurs to help them set up and grow their businesses.

Arguably Boston’s most ambitious and far-reaching initiative, however, is the recently published document, Imagine Boston 2030. The first citywide plan in 50 years, it sets out the City of Boston’s vision for the future. A roadmap for inclusive, long-term success in housing, connec-tivity, sustainability, and workforce development, it calls for improvements in transport and infrastructure and identifies several sites with potential for enhancement or redevelopment, including Shawmut Peninsula, Newmarket and Widett Circle, Fort Point Channel, South Boston waterfront, Beacon Yards and Suffolk Downs with Readville named as a potential hub for 21st-century manufacturing.

“Bostonians want our city to be more than an economic engine,” Martin J Walsh, mayor of Boston, says of Imagine Boston 2030. “To achieve that vision, we went beyond the tra-ditional focus on land use. It encompasses climate change and sea level rise; housing costs and transportation; education, technology, and job growth; arts, culture, and open space; ageing and immigration. This plan is truly com-prehensive. As we approach our city’s 400th birthday. Boston is remaking itself again. And at a time of national uncertainty, we are show-ing America the way forward once more.”

Matt DamonMatt Damon is Boston through and through. Indeed, his big break came when he wrote and starred in Goodwill Hunting, a movie rooted in Boston. His star may have risen but he still has a Boston twang and the locals love him for it.

JFKBorn in Brookline, a town close to Boston, JFK represented his state in the House of Representatives and the Senate, before he became president. He never forgot his roots and the city is filled with memories of the 35th president.

Ralph Waldo EmersonOne of America’s cultural heroes, Emerson was an essayist, poet and lecture who led the transcendentalist movement in the 19th century. A writer of great skill, his ideas on how to live are extremely influential even today.

The proposed Allston Interchange project


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A boutique lodge nestled at the base of Table Mountain

Southern charm


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T the three most important words in real estate are location, location, location, and the same can be said for the

hotel business. The Tintswalo Atlantic – nestled at the base of Table Mountain – has got its most important feature spot on. A series of luxury lodges offer spectacular views of Hout Bay Harbour and allow guests to get up, close and personal with the Atlantic Ocean. The restaurant features locally sourced food, and dinner and sundowners on the large wooden deck are a must. This is a hotel for couples and romantics – and there’s nothing cosier than a seat by the fire after a walk along the beach.

WHERE TO

STAY

tintswalo.com/atlantic

PRICE From $500 per night

Cape Town

CPT

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FROM THE CONCIERGE

GO

V&A WaterfrontA mix of a working harbour and a plethora of shops, restaurants and attractions, this is a must-visit. Check out the Two Oceans Aquarium, or learn about the history of the diamond trade at the Diamond Museum. There’s a big wheel for spectacular views of the city and the newly opened Museum of Contemporary Art.

SEE

Table MountainAt 1,086 metres above the city, Table Mountain offers breathtaking views, as well as a great workout. There are a number of tours that offer hikes up to the plateau via a variety of routes. It’s possible to do the trails yourself, but probably safer to go with a group. Bring lots of water and prepare to be entranced by those views.

EAT

MzanziMzanzi is located in Langa, which was South Africa’s first black township, and has gained a reputation as one of Cape Town’s best restaurants. Expect hearty helpings of African comfort food, all cooked by the owner, Nomonde Siyaka. There’s live music too, and this is one of the city’s best culinary experiences.


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Vintage fashion may not seem like the most obvious investment, but it can pay to think outside the box. Fashions come and go, and if you are smart – and store your investment in the right manner – then you may net a tidy profit. Take for example the iconic Yves St Laurent dress pictured. Based on the art of Piet Mondrian, it sold at auction for $2,600 in 1993. That investor sold it on in 2011 and it went for nearly $37,000. Of course, as the market is unregulated, you

need to do your homework, as fakes abound. The top end of the market is sold at specialist auctioneers, although there are plenty of bargains to be had in junk shops, markets and charity shops.

That old dress might be worth more than you think

Vintage fashion

2 Understand the market.

The most valuable items are evening dresses,

followed by smart day dresses. Coats don’t usually sell well. Handbags can do

well if they are by iconic brands such as Chanel

1 Not all investments need to be on old clothes. Pieces from the likes of John Galliano and Alexander McQueen should be valuable in a few decades

3 If in doubt, get expert opinion. Fakes can look as good as the real thing, although an expert will be able to tell very quickly

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What to pack ...for winter weather in Lisbon and beyond

BAIRRO ALTO Lisbon’s most vibrant neighbourhood, the Bairro Alto is filled with bars, restaurants, museums, galleries and boutiques. A series of steep hills, winding lanes and old townhouses, it’s the perfect area to base yourself in. Wander the streets, sample the

local food (and drink) and get a sense of why Lisbon is one of the world’s great capital cities. Head to the Santa Catarina viewing point before sunset to catch spectacular views of the River Tagus and the city below. Then, once the sun goes down, head to the nearby bars and restaurants for a night of fun.

WHAT TO SEE

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1. Moncler Gamme Bleu faux shearling-lined cotton-blend twill down coat $2,806, mrporter.com 2. Balmain blue skinny biker jeans $1,134, harveynichols.com 3. Timberland premium waterproof hiking boot $237,

neimanmarcus.com 4. Givenchy colour-block hooded cotton-blend sweatshirt $927, matchesfashion.com

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Thom Browne pebble-grain leather suitcase $5,557

mrporter.com

Bravur BW001 stainless-steel and grained-leather watch $568

matchesfashion.com

Bottega Veneta bands intrecciato leather wallet $581

neimanmarcus.com


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ISLE DE GORÉEA tiny island off the coast, Isle de Gorée, was – from the 15th to the 19th century – the largest slave trading centre on the African coast. Today it’s home to a number of museums that highlight the island’s bleak past. The island itself is beautiful with a clean, small beach,

a number of restaurants and hotels and a sleepy post-colonial air. Although the memories of this island are seared in Senegal’s collective psyche, it serves as a reminder of the country’s dark past for both locals and tourists. For that reason, it is a must see for visitors to the Senegalese capital.

WHAT TO SEE

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1. Luisa Beccaria floral-embroidered tulle-layered gown $6,420, matchesfashion.com 2. Rick Owens Ecru crepe wrap blouse $1,492, harveynichols.com 3. Tom Ford distressed boyfriend jeans $990, net-a-porter.com

4. Manolo Blahnik clizia mesh floral peep-toe bootie $2,297, neimanmarcus.com

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Valentino the rockstud spike quilted leather wallet $1,077

net-a-porter.com

Elie Top diamond, onyx, silver and gold Nicolo bracelet $10,850

matchesfashion.com

Globe-Trotter 33inchh Ed W suitcase $2,149 harveynichols.com


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It’s that time of year again, when food writers trip over themselves to predict the coming trends for the New Year. Will 2018 be the year that

eating insects finally catches on? Will we all be sitting down to a nice bowl of algae with hemp flakes for breakfast? Probably not, but it’s fun to speculate. Here’s a round up of what will, what might and what possibly won’t be big in the world of food and drink this year.

NOMA 2.0After a successful pop-up in Mexico last year, Rene Redzepi and the team at New Nordic phenomenon Noma will open a brand new restaurant in Copenhagen this February. Noma 2.0 is one of the most eagerly awaited openings in the world of fine dining, following the closure of the old venue in 2016. The new place will incorporate an urban garden and the menu theme will be a

celebration of the Nordic seasons. The cold winter months will concentrate on local seafood and the summer will focus on vegetables, while “game and forest” goodies will feature in the autumn through to January. The 40-seat restaurant will only open for lunch and dinner from Wednesday to Saturday, and the price has risen to around $350 a head. Good luck getting a table.

PUTTING THE FUN IN FUNGUSMushroom coffee has been threatening to push through into the mainstream for a while now, but 2018 could be the year it, well, mushrooms. Finnish company Four Sigmatic has blended maitake and chaga mushrooms with regular coffee to produce a range of rich, smooth and mellow drinks that supposedly help to counteract acidity and regulate blood sugar levels. So-called adaptogenic mushrooms like chaga, reishi and lion’s mane will start popping up in teas, bottled drinks, diet supplements and chocolate as people cotton on to their health-giving qualities, which are believed to boost the immune system and even protect against cancer.

POWERFUL POWDERSAccording to the American health food powerhouse Whole Foods, we’re all going to be tucking into powder in 2018 – and not just the bodybuilders among us. Rather than scooping it out of sacks straight onto our cornflakes, we’ll see more powdered superfoods such as acai, moringa, baobab, kale and maca root make their way into our everyday food in the form of nutrition bars, smoothies, breads, pastries and drinks such as matcha iced tea.

A taste of 2018James Brennan highlights this year’s food trends

Noma

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HUNGARY FOR WINEIt’s not often that people sit down to a nice dinner at an expensive restaurant and insist on seeing a list of Hungarian wines. But all that could change in 2018. The bad old days of collective

farming and Communist rule have long been banished, and Hungary has gradually regained its confidence as a major wine producing country. Indeed, it was once one of Europe’s most important wine producers, dispensing the famous Furmint dry whites of Tokaj, and the bold red Bull’s Blood wines from the Eger region to elite wine drinkers across the continent. Expect Hungary’s volcanic wines, such as those from the Gilvesy winery near Lake Balaton, to dazzle with their savoury, umami notes.

FOUR SQUARE MEALSHigh-end British supermarket chain Waitrose is tipping 2018 to be the year we up our daily meal quota from three to four. The idea is our lifestyles are becoming even busier, so we’re slowly adapting to smaller meals, more often. It means we can minimise the bloating associated with larger meals, which in turn helps us to be more active. This

Korean starters

has long been the case in parts of Asia, where it’s not uncommon for people to eat five or even six small meals a day, and fits in neatly with the proliferation of Korean, Thai, Vietnamese and Japanese food around the world. Waitrose might just be trying to sell us more food, but don’t be surprised if 2018 see you upping your daily meal-count to step with the pace of modern life.

FROM FOOD CHAIN TO BLOCKCHAIN Security and contamination in the food chain is one of the biggest challenges facing the food industry today. How can we really know where, when and how the food we eat was produced? More importantly, how do we know it really is what it claims to be? The answer may lie in Blockchain, the technology behind the digital currency Bitcoin. The encrypted, distributed and decentralised ledger offers an immutable public record of transactions, allowing for optimum traceability in the food chain. In other words, it can help combat fake food and drink. Last year, the Adelphi Scotch whisky distillery announced it would print scannable QR codes on its bottles to vouch for their authenticity and provenance. Expect more companies to follow suit in 2018.


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TURNING TO TURMERICHave you had your daily dose of turmeric? The bioactive compounds in the deep yellow spice are thought to aid digestion, act as an anti-inflammatory, boost brain function, lower the risk of heart disease and even ward off depression and cancer. It’s ubiquitous in Indian food, but chefs and food producers are always looking for more opportunities to get it into our diets. The turmeric latte has been around for a while, but expect to see more turmeric in bread, oils, smoothies, and even beer.

NAUGHTY VEGANSVegans have sometimes been portrayed as severe, puritanical creatures that simply don’t get food. Unfairly so. Just because you oppose the exploitation of animals for food or clothing, it doesn’t mean you don’t possess a set of taste buds, or crave guilty pleasures. Which is why we should expect to see a rise in indulgent vegan-friendly food and drink in 2018. Think tofu popcorn ‘chicken’, mushroom ‘sausage’ rolls, seitan barbecue ‘ribs’, mushroom mac ’n’ cheese, and plenty more vegan craft beer such as the full-bodied and chocolatey Decadence Stout from London’s Weird Beard brewery.

THE RISE OF THE SMART KITCHENThere isn’t a facet of our lives untouched by technology, and the home kitchen is no exception. 2018 will see more of us doing things people never thought possible in their own homes. Some might think of sous vide as just posh boil-in-the-bag that restaurants do, but more of us will be doing it at home with portable water ovens and Wi-Fi/Bluetooth-enabled sous vide thermal circulators. Want to roast your own coffee? That’s no problem with the IKAWA digital micro coffee

roaster. You can even brew your own beer at the touch of a button with the PicoBrew, and chuck your old brew kit in an intelligent waste recycle system.

WOMEN CHEFSAnthony Bourdain once condemned the “towel-snapping, locker-room attitude” that pervades in most professional kitchens. Male chefs have tended to hog the media spotlight, despite the emergence of some serious female talent, including the likes of April Bloomfield (New York), Chantel Dartnall (Pretoria, South Africa) and Clare Smyth (London). Last year, two-Michelin-star chef Dominique Crenn called out S.Pellegrino for having too many male jurors on its Young Chef contest panel. And following recent allegations of harassment in Hollywood and the UK parliament, Amanda Cohen of New York’s Dirt Candy restaurant rebuked the media for only being interested in women chefs when they’re victims. Recent data in the UK suggests female chefs are set to outnumber their male counterparts by 2022, but 2018 could be the year the media finally recognises and celebrates women chefs and their contribution to the industry.

IKAWA micro coffee Amanda Cohen


LIVING / ART

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The Tate’s Modigliani retrospective has been getting rave reviews, not least for its use of space. While many exhibitions

want to cram in as much of the artist as possible, the Tate has allowed visitors to

quietly view works of art in peace. And what works – Modigliani, an Italian who went to Paris determined to be an artist, built a wonderful, experimental career. Here there are landscapes, portraits and sculptures. His portraits are what set him

apart though. Singular in their execution, they are still incredibly distinctive today. Modigliani died of alcoholism at only 35, a tragic end for one of the greats of the 20th century. Runs until April 2 at the Tate; tate.org.uk

Modigliani at the TateThe Italian painter gets a show worthy of his talent in London

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Clockwise from top left: Jeanne Hébuterne, 1919; Cagnes Landscape, 1919; Portrait of a Young Woman, 1918; Boy in Short Pants, 1918.

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90 PB

Relativity and our inclination to make the easy choice leave us susceptible to external interventions and manipulations by those who

set prices, including decoys. In Predictably Irrational, Dan used subscription offers to The Economist to illustrate the relativity problem. In that example, readers could get an online subscription for $59, a print subscription for $125, or a print and online subscription for $125. If we’re a smarty-pants, like the Massachusetts Institute of Technology graduate students Dan tested, 84 per cent of us would choose the print and web version for $125. None would choose the $125 print-only choice and only 16 per cent would choose Web-only. Well, don’t we look very smart in those pants? But what if our choice was just between the $59 web-only offer and the $125 print-and-web option? Suddenly, if we were like those who paid thousands in tuition for a few extra years of doing problem sets at MIT, we’d act quite differently: 68 per cent would choose web only, while only 32 per cent would go for the $125 print and web, down from 84 per cent in the first scenario.

Just by including the clearly inferior print-only option – which no one chose – The Economist nearly tripled sales of its $125 web-and-print version. Why? Because that print-only option was a decoy employing relativity to push us toward the combo deal.

One hundred twenty-five dollars for print and web is obviously a better choice than $125 for just print. We see that these two options are similar and easy to compare. They create relative value. We make our decision based on that comparison and feel smart about our choice. We feel even smarter once we read a few issues (and, sure, we’ll look smarter to our friends when we leave a copy around the apartment). But how do we know we’re not actually unwitting participants in a study

proving that we’re not so smart after all?Dan’s experiment showed how relativity

can be used against us. We compare print only to the print-and-web combo because it is the most obvious one to make. That made it easy to ignore the other option, the one that would have required a more complex comparison. When we face easy comparisons we forget about the greater context – in this experiment, both the $59 option and the option of spending no money at all on The Economist. We like to tell ourselves stories about why we do the things we do, and when we face relativity the story is easy to tell.

Another situation in which we find ourselves falling for the easy comparison – using relativity to assess value when there is no other simple way to do so – is when we have many choices and we can’t easily evaluate any of them. Dan used the example of televisions: a 36-inch Panasonic for $690, a 42-inch Toshiba for $850, and a 50-inch Philips for $1,480. Faced with these choices, most people choose the $850 Toshiba. The cheapest and most expensive items are road signs

funnelling us to the middle option. In this case, relativity doesn’t compel us to compare one specific product to another; rather, it directs us toward specific product attributes, such as price or size, and gets us to look at the range of these attributes in a relative way. We say to ourselves: “The price ranges from $690 to $1,480.” Then we pick relative to the range – often something in the middle. When we have no idea what something should cost, we believe we’re making the best decision if we neither overspend nor go too cheap. Even though we have no idea if that’s what we wanted or if it’s worth it, picking the middle choice just seems reasonable. We often go for the easy comparison. Marketers, menu designers, and politicians know this, and use this trick when planning their strategies.

The cheapest and most expensive items are

road signs funnelling us to the middle

option

Dollars and SenseBy Dan Ariely and Jeff Kreisler

From Dollars and Sense by Dan Ariely and Jeff Kreisler © 2017. Reprinted courtesy of Harper, an imprint of HarperCollins Publishers

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