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This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.
We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
The question “Will AI artefacts ever be conscious?” was raised by Turing seventy years ago, and will not go away even though no one quite knows what it means, nor how we would know they were conscious if they were.
In 2018 the Bar Council and Specialist Bar Associations acknowledged the issue and a “Retention of Women at the Bar’ survey was launched. It’s time to look at the results and test how the legal profession has responded to the challenge.
Diaghilev found that the Oriental style that had been cultivated by Russian composers was a perfect match for the Parisians’ love of exoticism, and he started to commission new ballets for this market niche.