In case you didn’t know, the pit of depravity that is our current government is bottomless.
I found this website that allows you to print one of the Red Cards, which gives basic information about what to do if ICE arrives on any of your doorsteps. Think it’s unlikely? Maybe, but maybe not, especially if you are a teacher.
Here’s a link to the site where you can download and print your own RED CARD. These are free and will always be free. There’s already loathsome scammers who are selling RED CARDS. The cards are free! Here > https://www.ilrc.org/red-cards-tarjetas-rojas
Visit the site linked to download red card image and text. Keep it with you!
Show of queer work curated by filmmaker Jacob Aguilar
Jacob Ace Aguilar (@jacobaceaglr) tells me that the one-night-only screening of six queer experimental films at Spectacle screening space in Brooklyn on Thursday, Nov. 14, was a crowd-pleaser. Jacob arrived a little late and the crowd was already pushing past him through the finally-unlocked doors to grab the best seats. Seduce. Provoke. Destroy. In that order!
Shanidar, Safe Return my interactive story, now being hosted by Participant After Dark, the ONLINE venue for Participant Inc. Gallery, NY, has been extended until July 14, 2024. Shanidar is curated by Itziar Barrios.
Timeline: 40,000 years BCE. In Shanidar, Safe Return, a band of Neanderthals and their Cro-Magnon companions ncluding Haizea, Esti, Oihana, Eneko and Uda, make an epic journey from what is now southern France to a place called Shanidar, a large cave in Iraqi Kurdistan, situated along tributaries of the Tigris and Euphrates Rivers. Along the way they learn that humanity is blessed by its heritage of mixing and sharing everything, including genes. As in all things evolutionary – including food, shelter, community and love – it’s a matter of survival. Their shaman’s lion guide keeps them on the right path.
While writing Shanidar, I did extensive research into Paleolithic Eurasia, the human species that lived there, their probable habits, foods and methods of travel, as well as their music and art. Many of the graphics are my versions of specific Paleolithic artworks, some of which I have seen in person, but many of which I have copied from the drawings by André Leroi-Gourhan’s in his 1993 book Gesture and Speech. I used other sources as well including photos and drawings in works by Jean Clottes, Marjia Gimbutas, and Max Rafael. I composed the music and recorded effects for the soundtrack and borrowed, with credits, sound effects and music from other sources. Shanidar is a work of speculative fiction backed up by a lot of research into the deep past. Who were we?
What is Interactive Fiction, and How Can You Experience Shanidar?
Shanidar is entirely online, a work of cyber-art, interactive fiction, a computer-based experience. It’s similar to playing a game, where you go to the link provided, https://participantafterdark.art/, view the video intro, and enter the story by clicking on the PLAY button.
Writers create all kinds of interactive stories – it’s a very active culture/sub-culture – using a variety of software platforms as a base, then adding text, images, videos, and a sound track to bring the reader/player closer to the action, or possibly even inside the action.
From Wikipedia:
Interactive fiction, often abbreviated IF, is software simulating environments in which players use text commands to control characters and influence the environment. Works in this form can be understood as literary narratives, either in the form of Interactive narratives or Interactive narrations.
Film Students Patrick Regan & Anthony Flores with Cecilia Dougherty at the CSI 2024 Film Festival
Yesterday’s Film Festival at CSI screened 15 student films from 5 to 15 minutes long in all genres. The intensity and quality of the films screened raised the bar on all of our film students. And as you can see from the smiles all around, it was a fun evening.
Patrick Regan’s film Blanked won an Honorable Mention in both the Writing and Story categories. Anthony Flores’s Les Voix de Paris won Honorable Mention in the Documentary category. Congratulations!
More pics from the blue carpet:
Winner for Best Art Film, Jayden “j1m” Metellus (2nd from left) with competition judge Kenneth L. Clemons, Jr., and Honorable Mention winner Karena Pang and Festival Producer Mitchell Lovell.Karena Pang, winner in the Short Film category for her film, Girl With A Movie Camera, and Keith Clemons, Honorable Mention, with his animated film Boxing Legends. Festival Producer Mitchell Lovell on the left.Robert Lenza, winner in several categories with his film, Will. And Mohamed Alasri, winner in 4 categories including Best Film with his two films, Hear Me Out (comedy) and Part of Me (experimental).
PARTICIPANT INC is pleased to present the AFTER DARK launch of Cecilia Dougherty, Shanidar, Safe Return, an interactive web-based work of speculative fiction on participantafterdark.art.
Timeline: 40,000 years BCE. In Shanidar, Safe Return, a band of Neanderthals and their Cro-Magnon companions, Haizea, Esti, Oihana, Eneko and Uda, make an epic journey from what is now southern France to a place called Shanidar, a large cave in Iraqi Kurdistan, situated along tributaries of the Tigris and Euphrates Rivers. Along the way they learn that humanity is blessed by its heritage of mixing and sharing everything, including genes. Like everything – like food, shelter, and love – it’s a matter of survival. Their lion guide keeps them on the right path.
While writing Shanidar, Cecilia Dougherty did extensive research into Paleolithic Eurasia, the human species that lived there, their probable habits, foods, and methods of travel, as well as their music and art. Many of the graphics are Dougherty’s versions of specific Paleolithic artworks, some of which the artist has seen in person, but many of which were based on the drawings of André Leroi-Gourhan’s book Gesture and Speech, and other sources including photos and drawings in works by Jean Clottes, Marjia Gimbutas, and Max Rafael. Dougherty composed the music and recorded effects for the soundtrack, as well as borrowing, with credits, sound effects and music from other sources.
There are 138 passages to this story – you can follow it linearly, but the best way to read it is to wander through it, criss-crossing backwards and forwards until you’ve read the whole story.
Shanidar, Safe Return is speculative fiction. The artist has taken many liberties with the science in imagining the temperaments, relationships, joys, sorrows, fears, spirituality, and essential humanity of people living in the deep past.
Curated by Itziar Barrio
Drawing by Cecilia Dougherty for Shanidar, Safe Return, based on 40,000 year old hand stencil at the El Castillo cave complex in Puente Viesgo, Spain.
Nov 13, 1998. There was a 3-day event at Thread Waxing Space to screen my video works to date. The event was packed, sold out, standing room only for all three screenings.
Thread Waxing Space was a non-profit (not-for-profit?) gallery in lower Manhattan that operated from 1994 to 2001.
I remember seeing a great show there once about architecture, including the work of the Archigram collective. The gallery had given a lot of space to architectural models of fantasy scenarios in that show – whole communities living in the air, buildings like bubbles, transport like effortless movement in space. This was a great gallery with smart shows.
I wore my new Adidas cropped blue jacket to one of my screenings. The jacket is the only one of its kind that I have ever seen, and was made in Paris. I wore jeans, boots and a studded belt with it. I still have the jacket.
In this interview Cecilia Dougherty describes her work and her explorations into family interactions, outsider psychology, role-playing, lesbian sexuality, and popular culture. Her videos Grapefruit (1989) and Coal Miner’s Granddaughter (1991) work from within mass culture norms to create a lesbian dialogue within the “normal”—what Dougherty calls “the life of the ordinary lesbian and her working-class family.” Her more recent vides explore lesbian identity within a separate social sphere.
Interviewed by Amy Sillman in 2003, edited in 2013.
