An earlier speech by JiangXiaojuan at THU. She knows economic and knows what’s actually going on. It’s genuinely good reasoning and insightful ideas: On Gov-Market Boundary in the Digital Era Core Argument Digital and AI technologies have empowered governments to collect granular information and enforce accountability much better. However, the same technologies have equally empowered markets and civil society as free market to function better. Therefore, the question of whether the digital era justifies expanding government’s role has no predetermined answer, and the traditional binary of “government vs. market” should give way to a more nuance multi-stakeholder cooperative governance model. ...

This is JiangXiaojuan’s March 2026 speech at Southwest University of Political Science & Law, Chongqing. She is a professor at Chinese Academy of Social Sciences (also where she got her economic PhD), and former deputy secretary-general of the Chinese state council. AI for Good: What Is Good, How to Achieve It, Who Should Act? Core argument International consensus on AI ethics principles (safety, fairness, transparency, etc.) is strong but vague on implementation. Jiang proposes a social-science framework defining three dimensions of “good”—rationality, utility, and social consensus—each with concrete metrics, responsible actors, and enforcement mechanisms. ...

I cannot help but feel a little jealous of CSO patrons from 2010 to 2023. The Muti years is a golden chapter in the orchestra’s history, crowned by performances that critics and audiences alike placed among the finest of their time. His recording of Verdi’s Messa da Requiem with the CSO and Chorus even carried home two Grammy Awards in 2011. The maestro returned in March 2026 for a three-night program filled with to Italian opera treats. Something special was about to happen. ...

Godard composed it as very much a French Salon style piece — think their ballet: do it flawlessly with ease and taste. It’s somewhat a under-performed piece, more like a student repertoire. But I think its light beauty and vividness deserves more popularity. Anyhow, this is my fav recording: rich, colorful, both visually and musically

“Memory of a dear place” is the title given to this collection of three enchanting pieces for violin and piano. The “place” in question was the country estate of Brailov that belonged to Tchaikovsky’s patron and friend Nadezhda von Meck. Hal Leonard Publication Not surprising at all that most of his beautiful works are composed during holidays. While the OG arrangement was for piano and violin, here’s a gorgeous, sensitive cello version: ...

Let’s be picky today: Sometimes a recording is good but you won’t hear anything that a piece will offer. Dave Hurwitz Here’s Dave Hurwitz, the founder and Executive Editor of ClassicsToday.com talking about which is the best Rachmaninoff’s Symphonic Dances (Op. 45) recordings: he has a great beard and a cat backgrounded with thousands of recordings — I think his opinions counts Hurwitz sugges ted not listening to Ormandy’s recording because he’s quite half-hearted there and the orchestra is just doing the homework. Fine: ...

On March 15, 2026, China’s annual Consumer Rights Gala — our most-watched consumer protection broadcast — investigated a business called GEO (Generative Engine Optimization). GEO providers charge clients to plant promotional content across the internet so that AI chatbots pick it up and recommend their products as if giving objective advice. So how do you ‘poison’ a LLM? CCTV reporters contacted multiple GEO firms. One, led by a manager surnamed Wang, claimed 200+ clients across industries within its first year. Wang explained the method: they produce advertorial articles on behalf of clients and publish them across platforms where AI models crawl and index content. Because AI algorithms update weekly, Wang said, they must continuously publish fresh content — “feed it, massively feed it” — to maintain rankings. ...

St Louis Symphony Orchestra’s March 14 concert: Anna Sułkowska-Migoń, conductor Leila Josefowicz, violin soloist Grażyna Bacewicz (1909–69) | Overture Alban Berg (1885–1935) | Violin Concerto Nikolai Rimsky-Korsakov (1844–1908) | Scheherazade The first half of the program leaned toward twentieth-century repertoire—classical bundling, in a sense, and a familiar programming strategy. From a purely practical perspective, orchestras could probably maximize revenue by programming Beethoven every night. Yet the willingness to rotate contemporary and lesser-known works into the repertoire reflects something more meaningful than an artistic director’s intellectual display. It signals a genuine commitment to exploration within the classical tradition. Programming like this keeps the repertoire alive and expanding; the music is treated not as a museum artifact but as a living practice. Art comes first, and the economics follow. ...

I took an Amtrak to St Louis to hear their orchestra perform Scheherazade. It was a peculiar kind of freedom, with a sense of desolation and solitude.

My friend invited me to a Friday evening concert at the Logan Center for the Arts at the University of Chicago. The program, at least on paper, looked fashionable: contemporary works, a celebrated jazz pianist–composer, and the ever-adventurous Third Coast Percussion. I read the program carefully—and still wasn’t quite sure what to expect… The first half of the concert belonged entirely to the percussionists. Happy. Third Coast Percussion opened with an arrangement of Etude No. 1 by Tigran Hamasyan (the composer-pianist), followed by Jessie Montgomery’s Lady Justice / Black Justice, The Song, and the world premiere of Sérgio Assad’s Orion, a five-movement work inspired by the stars of the Orion constellation. ...