Hypothesis – It’s getting hotter. . .

Hypothesis – It’s getting hotter. . .

Or so I thought. Even when I made Christian remove the peak El Nino and La Nina years – it’s really just not the case. Hrmph. But the last two years HAVE been pretty hot. . .

 

 

Observations:
Our 5 hottest years on record (above 85 degrees): 2016, 2015, 2005, 2002 & 2001
Our 5 lowest temperature years (below 78 degrees): 2011, 2000, 1999, 1998 & 1997 (to be clear – it’s a darned good thing it was cooler outside in the first three years of the festival, since we didn’t have a lot of air conditioned spaces)
The data illustrates that of these extremes the earliest four years of the festival were in fact the coolest, while the last two years have been among the warmest
The hottest year on record was 2005
The warmest 5 year period was from 2001 to 2005
El Niño peak, with the exception of 2005, correlates with our hottest years on record (2002, 2015 & 2016) while La Niña peak correlates with the coolest years (2000 & 2011.)

Conclusion:
While it is generally scientifically accepted that the Earth’s temperatures are rising, and while the last two years on record have been among the hottest in our festival history, this data does not generally support the idea that our festival itself is experiencing a consistent rise in temperature. While the earliest years were our coolest years and our last two years were among the warmest, the graph illustrates a shift in temperatures over the years in cycles generally tied to weather changes like El Niño. It can be argued that the peaks and rises in temperature are getting slightly higher overall but it should be noted that both the record high (2005) and the record low (2000) were in the earlier part of our history. So we are led to conclude that while scientifically the earth is getting warmer and that while our first four years are cooler and our last two years are hotter, the major peaks in temperature in our eleven to sixteen festival days over a twenty year period appear to be cyclical, for example hotter years like 2015-2016 were preceded by moderate years 2011-2014; hotter years like 2009-2010 were preceded by moderate years 2006-2008, and hotter years like 2001-2002 were preceded by cooler years 1997-2000.

Here’s the graph with the El Niño and La Niña peak years removed.

 

 

CONVENINGS – Wednesday March 22nd & 29th at 6:30pm

CONVENINGS – Wednesday March 22nd & 29th at 6:30pm

Topic: The Open Access / Edinburgh / BYOV Model. Would it work in NYC? If so, how? How does participating in an open access festival differ from an adjudicated festival where the venue / staff are provided? Have you participated in an Open Access festival? Please join us, we need to hear from you! CLICK HERE FOR CONVENING INFO

 

 

 

 

US & World Fringe Festivals – Open Access / BYOV Fees

Most Open Access / BYOV festivals charge participation fees – like any other programming model festival. Some also participate in box office income. On this post we’ll list some Open Access festivals in the U.S. and their participation fees, as well as what the NYC Equivalent fee would be, per cost of living. We’ll also track some international festivals in the same way – first converting the fee to US Dollars, and then using the same cost of living adjustment (based on www.numbeo.com). We’ll update this post as we learn more!

*The only BYOV option offered at Minnesota Fringe is Site Specific.

Festival Models – Open Access / Edinburgh / BYOV!

There are several ways that festivals (both fringe festivals and other NYC festivals) determine the line-up of artists / shows for their festival. Over the next weeks we’ll be exploring some of these methods as a part of the blank canvas project.

 

First up is what we’ll call the Open Access method, which is what the original fringe festival – Edinburgh Festival Fringe, in Scotland – uses. In fact, it is for this reason that the Open Access method is sometimes called the Edinburgh model. Here in the United States we sometimes refer to this model as BYOV (Bring Your Own Venue).

But whatever you call it, the Open Access model means that any artist can be a part of the festival – they merely need to register (and generally pay a registration fee) and then find and hire / rent a venue in which to do their show. This method obviously has many advantages and disadvantages – and can lead to enormous and wonderful festivals. How would this work in NYC? Keep reading – and join us at a convening to discuss this topic!

 

 

Thursday Thanks – Our Volunteers

Thursday Thanks – Our Volunteers

Mardi, a long time volunteer, writes to thank US (and encloses a very generous donation). So finally, here’s a time to say. . . thank YOU, Mardi.

 

 

Blank Canvas Blog

Celebrating FringeNYC’s 20th Anniversary and building our future!

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