Cedar Sigo at the Parkside Lounge, Reading on April 27, 2025 part of Ann Stephenson’s reading series, Readings at Parkside hosts West Coast poet Cedar Sigo
Siren of Atlantis, poems by Cedar Sigo, published 2025 by Wave Press
Last night at the Parkside Lounge on Houston Street in New York, West Coast poet Cedar Sigo gave a moving and beautiful reading of poems from his new book, Siren of Atlantis, published by Wave Books, Seattle. I haven’t seen Cedar since 2002, when he and Kevin Killian and I did a video shoot for my writer’s series and created the short video, Kevin and Cedar.
Cedar Sigo and Cecilia Dougherty at Cedar’s reading from his new book, Siren of Atlantis, at Parkside Lounge in NYC
Cedar looks amazing, as you can plainly see. Siren of Atlantis is a book he wrote in part as a walking back into writing, “keeping a hand in,” after having experienced a stroke in 2022. A truly remarkable achievement. Yes. Energy, motivation, love, excitement. All are a part of this book, and of course, its author.
Ann Stephenson introduces Cedar Sigo, who is going to be reading from his new book, Siren of Atlantis. Parkside Lounge, NYC.
I went to the reading alone and ran into the artist Elise Gardella, who lives nearby and who had not yet met Cedar. Eileen Myles was there and I spied Justin Vivian Bond at a table across the room. Enough gossip! Cedar Sigo is an accomplished poet, treadding carefully yet delightfully and appreciatively through the language. After the reading, Ann and Cedar talked about his life and his work.
After the reading, Ann and Cedar had a conversation about Cedar’s work, the efforts and joys of writing, and the uses and meaning of reading and writing poetry at this time of political oppression.
Cedar Sigo & Anne Stephenson at Parkside Lounge, NYC, having a discussion and Q&A after Cedar’s reading.
Tuesday, April 15, 2025 at 7pmLight Industry, 361 Stagg Street, Suite 407, Brooklyn
German Song, Sadie Benning, 1995, digital projection, 6 mins An Epic: Falling Between the Cracks, Nancy Andrews, 1995, digital projection, 6 minsTrue Confessions of an Artist, Kirsten Stoltmann, 1994, digital projection, 5 mins The Fight, Jeanine Oleson, 1995, digital projection, 3 mins Sapphire and the Slave Girl, L. Franklin Gilliam, 1995, digital projection, 17 mins I, Bear, Hendl Helen Mirra, 1995, digital projection, 6 mins Dear Mom, Tammy Rae Carland, 1995, digital projection, 3 mins aletheia, Tran T. Kim-Trang, 1992, digital projection, 16 mins Chronicles of a Lying Spirit (by Kelly Gabron), Cauleen Smith, 1992, 16mm, 6 mins The Girl’s Nervy, Jennifer Reeves, 1995, 16mm, 5 mins My Failure to Assimilate, Cecilia Dougherty, 1995, digital projection, 20 mins
Video still from My Failure to Assimilate, by Cecilia Dougherty, 1995
The program: In 1995, after the rise of Third Wave feminism but before the social and political realignments of the internet, artistElisabeth Subrin organized a screening of films and videos entitled No More Sweets For You. The program firstshowed at the Randolph Street Gallery in Chicago, then toured to Hallwalls in Buffalo and the MIX festival in NewYork City. Though each lineup differed, many of the core offerings were by American women who, like Subrinherself, were under 30. Seen today, it reveals a rich (and still, in many ways, underappreciated) vein of feministexperimental cinema at the end of the 20th century.
The works concern thwarted connections and, as Subrin put it at the time, “the fantasies, trauma andschizophrenia of solo-ness,” but the program also suggests an intensely collaborative milieu. Its artists wereassociated in numerous ways—as colleagues or lovers or friends—and traces of these relationships can be seenin the credits: Tammy Rae Carland appears as an interviewee in Cecilia Dougherty’s video, Subrin and KirstenStoltmann worked on Franklin Gilliam’s tape; and in turn Gilliam, Stoltmann, and Sadie Benning were involvedwith the production of Subrin’s own Swallow, completed that same year and featured in the original program.
Unlike boomer feminist celebrations of community and sisterhood, the screening is haunted by the specter offailure and figures of isolation. Consider the wandering latchkey kid of Benning’s German Song, the Nauman-eque artiste depicted in Kirsten Stoltmann’s Confessions, or the mop-haired child subject of Hendl Helen Mirra’s I,Bear. Nowhere are film or video employed as simple tools of communication; both celluloid and electronic imagesare likewise approached as malleable, tactile forms, made visually complex through multiple layers ofremediation: documents collaged and animated, videos re-taped off monitors, images scratched, frozen, andpainted-over. The viewer can sense lone psyches wrestling with the crises of their day, in the cellular isolation of alate-night editing suite. Identities are metabolized by, and drift between, a range of audiovisual formats andprocesses, including Super-8, manually-edited 16mm, analog video, Pixelvision, and digital effects.
With a typically Gen-X dialectical ambivalence, these artists collectively argue that isolation can simultaneouslyfoster both mental destabilization and social resistance. “In an era of corporate grunge, queer commodification,empowerment politics and right-wing cyborgs,” Subrin asks in her original program notes, “how do theunassimilated survive without being smashed, named or forced to participate?” The answer provided by No MoreSweets for You: it’s personal, it’s deep, and it’s complicated.
But my film only ran for half of it! There was an error with the projection. I created a teaching moment, however, and showed Kevin and Cedar to my Cinematography class with a description of how the piece came about. I was in San Francisco and had arranged to shoot a portrait of him, as one of my series of writers’ portraits that I had been doing, so far with Laurie Weeks, Leslie Scalapino, and Eileen Myles. When I got to Kevin and Dodie Bellamy‘s apartment, Cedar was there, having just then arrived in San Francisco from Washington State. We decided to have the portrait be a double-portrait with Kevin and Cedar together. Here’s a link to the other videos in my writers’ series > https://vimeo.com/channels/ceciliadougherty.
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).
