BILL SCANNELL FELL DOWN A RABBIT HOLE. All he wanted was to disable a device in his car: An always-on, net-connected “helper” that provides the car’s driver with app connections, turn-by-turn navigation, and roadside assistance… at the expense of personal driving data. Similar devices track how fast you’re going, how hard you ride the brakes, even your final destination. And all that info gets sent back to the manufacturer. Scannell wanted out. Unfortunately, it was easier said than done.
This year’s Edinburgh Festival Fringe slogan – “defying the norm since 1947” – might make for good marketing. But it hardly reflects the role of the world’s largest arts festival accurately. Far from supporting risk, the environment of the Fringe is increasingly one in which playing safe is the best way to avoid losing out.
The Edinburgh Festival is upon us again, a three-week spectacular that turns the Scottish capital into the biggest arts destination on the planet. It is in fact a number of different festivals, with the leading Edinburgh International Festival and Edinburgh Festival Fringe returning for a 70th year since their inception in 1947.
In art, as in politics, it’s always the cover-up that gets you into trouble. A sequence of photos chronicling the evolution of a piece of graffiti in Melbourne, Australia caused a stir on social media this week.