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oh-hush-its-perfect · 1 year

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Essays I wrote this year

If you're unsure how to write an essay or would like examples of high-scoring first-year college essays, please DM me or hit up my ask box for a link to any of these.

Fashion Politics

Prompt: Describe one article of clothing that interacts with your gender and one other social identity.

I picked my novelty earrings and how they signify my gender as a femme nonbinary person and my sexuality and how my whiteness determines how other people perceive me because of them (i.e. seeing me as retro, fun, and quirky instead of gaudy or "ghetto."). 1.5k words (5 pages).

Score: 100%

Viking Mythology

Prompt: Write a short assignment analyzing a piece of media that contains Medievalism (the utilization of Medieval elements or ideas in modern media) and how it abides by and differs from the original Norse myths, as seen in the Poetic and Prose Eddas and other course readings, such as Adam of Bremen and the Merseburg Charms.

I wrote about Magnus Chase and the Gods of Asgard and how it is surprisingly accurate to the original source material, with only a few creative liberties taken. The ending is a list of bullet points trying to convince my professor to read the books (he said he was interested). 887 words (about 3 pages).

Score: 100%

World Religions

Prompt: Write about how a course reading reflects a) the mythological dimension, and b) one other dimension described by Ninian Smart.

I chose Hadith 2 from Muslim scripture because I had to analyze it for a separate assignment and was already familiar with it. 914 words (3 pages).

Score: 94% (no comments describing why points were deducted, but I cranked it out in like 3 hours, so, yeah, I didn't go as deep into it as I could have.)

I also had a personal essay for this class that I will not share with anyone but my mutuals because it contains personal information.

Language In Culture

Prompt #1: Analyze a recorded interview with a friend for meta-communicative tools. The interview in question is supposed to be 10 minutes in length and the interviewer is meant to ask one of two questions.

I interviewed someone whose anonymity I will maintain by using the pseudonym "Perry." The question I chose to ask was, "What was a strong disagreement you had with a close friend?" Our conversation was about the sexism of one of Perry's friends, and I argued that she relied upon the two of us sharing the identities of being AFAB and being raised in countries colonized by Britain (the USA for me, India for her). 1.3k words (4 pages).

Score: 98%

Prompt #2: Examine non-human characters in an animated film for their voices and determine what the audience is supposed to understand about the characters through their accents, use of vernacular, vocal pitches, etc.

I looked at Zootopia and discussed the characters Mr. and Mrs. Hopps, Gideon Grey, Fru Fru, and Finnick. Specifically I examined how rhoticity (the pronunciation of the letter "r" anywhere but the beginning of the word) is used within the film in Gideon's southern accent, Fru Fru's New Jersey/New York accent, and Finnick's blaccent.

Score: 97% [deducted points for some valid reasons and also because I said "blaccent" instead of African-American (Vernacular) English (AAE or AAVE), even though a blaccent can exist outside of the context of AAE.]

Prompt #3: Essentially the same as Prompt #1, except you needed a more solid thesis (not only that the interviewee used meta-communicative devices but also why those conventions were used.)

My thesis was that "Perry made a conscious effort to make the interview conversational, with contributions both from herself and from me— in spite of the fact that interviews often have a low-involvement speech style— in order to establish camaraderie between us as individuals who were assigned female at birth (AFAB)." 1.8k words (6 pages)

Score: 96% (entirely fair point deductions; I kind of rushed this essay, by which I mean I wrote it at 3 AM the day it was due while on my prescribed ADHD meds, which I accidentally took instead of my sleep meds that night— 2/10 would not recommend. Don't do drugs, kids.)

Japanese Culture (Intro Class)

Prompt: Go crazy go stupid just write a well thought-out paper about an aspect of Japanese culture we learned about in class.

I decided to write about how religious iconography is presented in the anime Blue Exorcist because I'm lame asf. My thesis was that the use of imagery in the story is propagandist because it portrays Japan as religiously unified, which it is historically not (of course, there's a lot more nuance that I'm not going to get into and some that I frankly couldn't even discuss in the essay itself.) Including the abstract, footnotes, and bibliography, 2.5k words (7 pages of actual content).

Score: 95% (comments not provided, but I probably deserved it because there's, again, a lack of nuance.)

I wrote other papers, too, but these were the major ones. I go to a relatively prestigious state school that has a large student population, great sports and academic programs (especially for STEM, which I am not in), and a reputation for being a party school. Feel free to ask questions about my essay-writing process, about my school, or about what overall grades I got in these classes!

#essay tips #college advice #writing tips #writing advice #argumentative writing #DM or ask for more info #citations are either in MLA or in Chicago style #I can answer a lot of questions about MLA bc that's the citation style with which I'm most familiar #I use the HOT APE RIP method for writing if any of you are familiar #if you're not feel free to ask and I can make another post about that

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exhalcdvibes · 1 year

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official name : clementine hwa young ryu . meaning of name : clementine of french origin meaning merciful; hwa young of korean origin meaning a beautiful flower ; ryu of korean origin meaning willow tree . nicknames : clem . date of birth : july 29 , 1997. age : twenty six . birthplace : los angeles , california . nationality : american. gender : cis woman. pronouns : she/her. orientation : bisexual & biromantic. religion : agnostic . languages : english , korean , french & japanese . education : high school graduate .

｡* ❪ 📂 › BASICS

(—) ★ spotted!! clementine ryu on the cover of this week’s most recent tabloid! many say that the 26 year old looks like jennie kim, but i don’t really see it. while the actress & model is known for being thoughtful my inside sources say that they have a tendency to be fatuous i swear, every time i think of them, i hear the song emotional detachment demo by jessie reyez .

｡* ❪ 📂 › BACKSTORY

as far as clem knows her parents met on a hiking trip , it was their favorite thing to do together . as a last hurrah before their baby was born the young couple went on vacation to a small town in california , spending time camping and hiking the local trails . it was a surprise to everyone when dae went into labor . they were miles from a hospital or help so she gave birth in their car . they thought everything went fine , clem was healthy dae was alert and responsive but on their way to the hospital something happened , to this day clem has no idea what it was but dae was pronounced dead .

in truth her parents met at work , dae is the only daughter to the owner of a major tech company , hwan was a nobody he worked as a programmer at the company . they met at the gym . hwan had been nursing a crush on dae for almost a year before he finally got up the courage to ask her out . from there the two started a secret romance . it lasted only a year but by the end of it , dae was pregnant , she agreed to run away with hwan and the two bought a house together and raised clem . when the girl was two years old dae packed up all her things and moved back to korea . when hwan asked what he was supposed to tell his daughter about her mother , dae just said " i don't know tell her i died . "

hwan had no desire to raise a child without his wife , he tried to hide it but he resents clementine , if she hadn’t been born the love of his life would still be here . he provided financial support for the girl but he never gave her a scrap of affection , attention or care . instead he left her in the care of myla , her nanny .

it was myla who got her into modeling and right away she loved the way everyone fawned over her . from there she asked her father to put her in acting , singing and dancing classes . though the only one to really stick was acting .

she spent all her time alone . reading books , surfing the web , playing music just so that she didn’t have to sit in the quiet . or with myla , who encouraged her to throw herself into the arts . what she didn’t know was that myla was stealing all the money she was earning .

( shooting tw ) though it took years for anyone to notice when hwan confronted myla she shot him and fled . clem is the one who found her father , she slowed the bleeding and even performed cpr until the paramedics arrived , if she'd shown up a few minutes later her father would have died .

after the shooting she went from a child start to completely disappearing from the public eye . she went to college , fell in love ��got her heart broken and was happily retired , then she got a call from a director offering her a part in a film . she wasn't expecting to all the boys to get as big as it did , she hadn't really planned on being shoved back into the spotlight but she didn't have much choice .

｡* ❪ 📂 › EMOTIONAL STATE

she so desperately wants to be liked that she can come off as disingenuous ( that’s because it is ) though it’s not malicious . often times she’s trying to be what she thinks you want so that you won’t leave her .

she’s overly generous , optimistic to a fault , always willing to hear you out and go the extra mile for a friend . that said she is not a doormat , if you take her kindness for weakness she has no problems showing her crazy . though after these emotional outbursts she tends to feel really guilty , catch her telling all her friends that she shouldn’t have reacted like that , trying to apologize a day later and all around backtracking because she can’t really put her foot down .

though she'll never show it she's extremely depressed . she's never gotten over the shooting and really blames herself , her father currently lives in a long term care facility and she visits him almost every sunday . at this point they're extremely close but she does hold a lot of resentment for her childhood .

she has mixed feelings about myla , for most of her life she was the only mother she'd ever known , but she also tried to kill clem's dad . despite all that she wants to try and find her but she's really unsure of how that'd reunion would go .

she's afraid to get close to people because of a deep fear that she'll cause them harm . despite that she can be extremely clingy with people who show her any kind of affection because she was such an attention starved child .

｡* ❪ 📂 › QUICK FACTS

loves plants but can't keep them alive for shit , she has a gardener who she's always fighting with because she'll try and care for her plants and then he's got to nurse them back to health .

her backyard is basically a little farm , the garden is filled with all kinds of fruits and vegtables . she's also got chickens , ducks , a sheep and two dogs who protect the animals .

has a huge car collection . the only time she could spent time with her dad was while he washed and shined his classic mustang , she's had a fascination with cars since then .

loves jamaican food , her comfort food is oxtail and rice , it's the one dish that myla taught her to make and therefore is one of the four things she can make without nearly burning her kitchen down . surprisingly she is a great baker .

loves video games her favorites are stardew valley , animal crossing , dream daddy and spiritfarer .

her house usually smells like dragons blood incense and weed

always wants to hug and hold hands

very paranoid about ghosts

will ask to stay the night at your house because she's lonely

#not me just realizing i never posted an intro for clem #hillzhqsintro

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marvelousmawn · 4 years

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slasher films as we know them - post the original halloween movie in 1978 - were created in part as a response to the sexual revolution of the 60s and 70s as a kind of “subliminal birth control” for teenagers. because of this, characters who are more promiscuous and more open to talking about dating and/or sex are normally killed off grotesquely by the movie’s villain, while the less sex-focused main character makes it through victorious at the end. this dichotomy means surviving characters of the slasher genre can and have been seen as asexual coded. while the magnus archives is at its core a horror, the existence of the slaughter, the flesh, and even the hunt means there are also slasher elements present. therefore, to keep with the genre’s tradition, jonathan sims the archivist must make it through to the end, survive, and beat that motherfucker jonah magnus into the ground forever. in this essay i will

#the magnus archives #tma #source: my gender and film class in college #funfact: the semester before i did a thesis paper in history of tv about focusing on asexuality #my teacher was like 'oh damn ive never heard of this i cant wait to learn'#next semester i have him for gender and film and he I GUESS DID EXTRA READING ON ACES IN MEDIA #BC HE TOLD US PRETTY MUCH WHAT I WROTE UP THERE MINUS THE TMA STUFF #yall when i tell you i cried bc jason actually went ahead and did more research all on his own....#anyway jonny sims if you're out there #you have traditions to uphold dont let me down #tma spoilers #whoops fuck sorry #also every character is ace except johlias because im ace and i say so checkmate looks like they're all living sorry

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ofelizabeth · 4 years

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[ LUCY BOYNTON // CIS WOMAN // SHE/HER ] – oh my god, is that [ ELIZABETH WILSON ]?! the tabloids can’t seem to stop buzzing about the [ TWENTY-SIX ] year old [ PUBLICIST ]. the industry has dubbed [ her ] [ THE FALLEN ANGEL ] and sources say, [ she ] is [ + TENACIOUS ] and [ + AMBITIOUS ], yet also [ - APPREHENSIVE ] and [ - STUBBORN ]. yet, with all this gossip, who really knows?! one thing’s for sure, though– queen bee has it out for [ her ]!

hello hello !!! i’m andi ( 23, pst, she/her ) and below the cut are more details on elizabeth. but give this a like and i’ll come to you for some plotting !

* / BASICS .

full name: elizabeth jade wilson

nickname(s): lizzie, ellie

age: twenty-six

date of birth: january 8th

zodiac sign: capricorn

place of birth: newport beach, california

gender: cis woman

pronouns: she / her

sexual orientation: heterosexual

language(s) spoken: english ( also learned a bit of french during a semester abroad in college )

accent: american

* / APPEARANCE .

face claim: lucy boynton

hair color: blonde

eye color: green

height: 5′5″

tattoos: n/a

piercings: one on each earlobe – usually gravitates towards small gold hoops or dainty earrings.

* / FAMILY .

parents: jennifer & david wilson – have been married for 30 years.

sibling(s): two older brothers ( daniel & michael ) , one younger sister ( olivia )

children: none, and is unsure if she’d even want kids in the future.

* / CAREER .

occupation: publicist

experience: roughly five years into her career

body of work: had supporting roles in a handful of small budget films from the time she was seventeen until twenty-one, some of which ended up getting a good amount of recognition. she then transitioned into talent representation instead and currently has a roster of ten clients.

clients: tbd

* / BIOGRAPHY .

as the first daughter to jennifer and david wilson, elizabeth was spoiled from the very beginning. her family was close and the type to host large thanksgiving gatherings every year, with multiple sets of cousin traveling into newport for a holiday that she personally didn’t find too substantial. regardless, she was grateful for the bond those gatherings created, and to this day keeps in touch with most of her extended family.

during one of the many gatherings, her aunt – a casting director in the industry – planted the idea of acting in her head. she had ‘the look,’ and apparently that was all anyone cared for. not knowing how to say no, her mother signed them up for several commercial casting calls, figuring that, if anything, it would act as an extracurricular activity to include in future college applications.

from a young age, elizabeth had always been tenacious. her parents raised her to stand her ground, so that was exactly what she did. going after what she wanted came naturally, but sometimes it resulted in coming across rather blunt and stubborn – two qualities that weren’t exactly helpful during the beginning of her early acting career.

it took a couple auditions, but with some connections from her aunt, she eventually landed a commercial for a cereal brand at the age of thirteen. after that, they continued coming in, with elizabeth completing around five commercials a year throughout her teenage years.

when it came time to graduate and apply for college, she didn’t know what to do. acting was suddenly a career option that made decent money, but part of her was unsure of the decision. instead, she decided to attend the university of southern california and major in communications. if anything were to go wrong down the line, at least she had something to fall back on.

throughout college, elizabeth continued going to auditions and was lucky enough to land several supporting roles for small budget films. they weren’t the most talked about films of the year, but some did get a decent amount of recognition.

breaks from college were common as her shooting schedule demanded more attention, and suddenly more of her time was being asked to complete press tied to the releases. with only one year left of college, dropping out didn’t seem like an option. instead, she cut down on her acting demands and focused on completing her degree. with each class attended, the more she fell in love with the communications field. she was already familiar with dealing with press from several junkets they had done for films, but the more she studied, the more she seriously considered a career in publicity.

so, after graduating from usc, that’s exactly what she did. putting acting on the back-burner for the time being, elizabeth landed a job with a prominent personal pr agency that represented some of the biggest names in hollywood. five years into her career, she now has a roster of ten clients and it continues to grow on a yearly basis.

* / WANTED CONNECTIONS .

more than just a client ( 0 / 1 ) drama and gossip ! a client of hers that she has a secret ‘friends with benefits’ style relationship with.

old friends ( 0 / 3 ) people she might have met on the set of commercials or movies she worked on. they probably became close during production and still keep in touch. could also have met at usc ?

best friend ( 0 / 1 ) she basically tells this person everything.

exes ( 0 / 2 ) could’ve been either a serious relationship that lasted for months / years, or a quick one that only made it a month or two. happy to go over how it ended / details with you !

enemies ( 0 / 1 ) i’m a sucker for drama and angst, so yes please. happy to plot out details with you !

honestly anything and everything ! if something on this list doesn’t catch your eye, i’m more than happy to brainstorm something else.

#renownedintro

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princessnijireiki · 4 years

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phewwww I dreamt I was exploring an old house I had just moved into. I apparently had moved someplace semi-rural again, but for college (grad school?) this time. I was reading a magazine cover to cover for a santa fe arts market, but I wasn't in the southwest, though I'd apparently been there recently enough to regret missing cutoff dates for art sales, giveaways, and events.

I found out I was only a few hours' drive away from near where I used to live in PA— and found out the dingman's ferry bridge had been bought out by the owner of a lone starbucks that had set up in town, and local people weren't happy, because he was letting the bridge fall into ill repair... I haven't thought about that bridge since around 2003, it crosses the delaware river & is scary on a good day, so I get the sentiment. I decided to drive up & hit a shopping plaza, and it was full of shut-down stores, places that had been built, opened, and died all in the time between me leaving PA & coming back. the goodwill was open & HUGE, though, so I went in & was looking around. found a mirror designed to look like a half unrolled canister of film, a gold holo glitter polaroid camera that had a kaleidoscope & bug eye shifting effect camera lens, an old speaker setup, and several used comic-book coloring books.

I went to my (in-person?!) class, which was in an oooold victorian-style converted house/schoolroom. the class had used to been based around some sort of creative (writing?) exercises, but the professor shifted the curriculum unit really fast to go over historical timelines of whatever artists' or authors' lives we had been supposed to be learning about all along.

then we covered an opinion piece around coronavirus up in rural new england & in appalachia near the canadian border— the author used historical cold-weather wear as "evidence" that working women of the northeast had always covered their mouths & noses outdoors, and that global warming went hand in hand with both "loosening" those standards, and men "co-opting women's work" such as land surveying & the pony express. and I was like, that doesn't... sound right... but I can't just say "source: I'm from massachusetts hashtag this mf LYING" to say this isn't true.

then the professor opened it up to the class for comment, so I started talking about infection rates & ICU shortages, reinfection, the fact that vaccines won't be ready in time to "save" us before the first hard freeze of the season aka next month, esp if anyone thinks a scarf worn for comfort over your face is an adequate replacement for a medical/safety mask, and that if people continue not to take the current coronavirus pandemic seriously, if & when it mutates before we get viral infection rates down as a baseline, we will be unprepared to do anything but face an exponentially worse second pandemic before the first ends.

and the prof was like, "hmm" bc she wanted us to comment more on the gendered-historical aspect of that nonsense article instead & I'd sorta killed the vibe by not accepting the white frontierswoman fantasy at face value, but like. don't call on me then lmao! and I thought, "oh I wish I was in santa fe rn with my cool tiny film mirror & sparkly polaroid camera," and then I woke up.

#dream turkey

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love-takes-work · 5 years

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Below, I’m sharing a long outline of what was discussed in this wonderful interview, for those who can’t or prefer not to listen but want to know the content. It is very long and I don’t feel like finding pictures so you’ll have to just enjoy it like it is. It’s not a transcript but it is, in my own words for the most part, a recitation of everything Susana and Rebecca talked about: musicals, the upcoming movie, animation influences, and quite a few things you did not already know.

Susana introduces the interview by saying that tons of attention is paid to the diversity and the characters and all this great stuff in the show, but she wants to talk about the science fiction aspects and the society and worldbuilding Rebecca and her team have put in. She begins by talking about how the show seems so planned considering aspects of the show's beginning feed so well into the end, and she asks Rebecca to talk about that.

Rebecca opens by saying it was conceived as a coming-of-age story, so a ton of stuff that the adults know, Steven doesn't know, allowing it to be a story about things that happened to adults but remain child-friendly. Rebecca brings up a college class on the sublime that she took, about what's going on and implied to be going on just outside the frame of the art, so she was really taken with that concept.

Rebecca claims that her planning is pretty dry, and it's just a bunch of charts. She had stuff like Fusion names and weapons from the beginning, and of course she couldn't use them in her pitch because it didn't make sense without knowing the characters. Susana mentions that CN wanted the show to be aired in no particular order, and Rebecca mentions how it was hard to work with because she DID want continuity. Planting seeds in episodes and giving puzzle pieces that'd come together later worked for a long time, while still making each episode work as a whole and be satisfying. Later, when CN came to them wanting like eight related episodes, there they had the barn arc to give them--they had already planned to make this story related. She felt it aired in a "bizarre" way, but they comforted themselves on the Crew knowing someday people would watch it how it was meant to be watched. As a lead-up to the movie, CN IS going to air "every Steven ever," so people will actually get to see it in marathon format.

Batman: The Animated Series comes up and they discuss how censorship limited what they could do on that show because of problems with glass breaking. Susana says she actually really appreciates it when stories can still be told well despite the constraints put on them, and asks Rebecca if that applies to SU. Rebecca agrees that it does, and also that she loves stuff like video games that managed to function with ridiculously small space requirements. Developers still offered up such creativity, she says. So because of the beauty that arises from those constraints, she thought she should have constraints in her show on purpose, even if it isn't applied from outside. The most obvious one for this show was that we're trapped into only knowing and seeing what Steven knows and sees. "The Test" is a good example of Steven actually seeing something he isn't supposed to see: the Gems having a private conversation about him. According to her, plenty of stuff is written about what the Gems are up to outside of what Steven knows about them, and they can only kind of hint at it.

Coming from Adventure Time, there were some similar aspects. Rebecca got to work with some of her heroes from independent comics, and she got a lot of inspiration from them. On Adventure Time, it's our world but far in the future, and Rebecca would have loved to do something similar with Steven because she loved that aspect. Quite a few of the Adventure Time crew had come over from Flapjack and they thought it would be funny if the Adventure Time characters found a tape of Flapjack. As much as it would have been cool to take that idea for her show, that was theirs, so Steven's is more like it's our Earth but in an alternate timeline where Gems invaded 6,000 years ago. She rattles off some known similarities and differences of our two worlds, and elaborates on how Hollywood is in Kansas because in that world Disney never left where they started. Laugh-O-Gram Studio took off like it didn't in our timeline. She has a ton of other info like that but it won't matter to reveal it until or unless it matters to Steven. (She also throws in that Harman-Ising could be Ising-Harman in her world if they never figured out how cute it would be to have it the other way.)

When Susana asks about how she took so many details and managed to make a pilot with enough of them that she could get a show with it, Rebecca takes a turn into discussing working on Hotel Transylvania (for just a month!) with Genndy Tartakovsky. She had been planning to have a month off, but then Genndy asked, so she of course couldn't say no and felt she learned a ton. (She wrote the Steven Universe theme song in the car during that commute, by the way, given that she had a lot of time to sing and be alone.) When she hit Genndy with some of her ideas, he advised her to slim the details down and just boil it into its essence--who are the people and what is their relationship to each other? She still uses that advice, trying to condense things from macro to micro. She has succeeded since in figuring out how to keep the complexity and still assert the simplicity. Ultimately, you can keep those details but you don't have to emphasize them if they're not feeding into the main point. They'll drag the piece down. They discuss Genndy's role as the Animation Director on her pilot, which happened when she was asking if he knew anyone and he ended up saying he'd do it himself. She was so shocked that he agreed to direct her pilot that she was dazed and ran into a pole in the parking lot. The whistling of the wind through the resulting dent always made her giddy because she was thinking she would be working with Genndy.

Susana then turns to discussing Rebecca's influences and brings up Revolutionary Girl Utena. Rebecca mentions that she initially saw Utena because a person named Connie lent it to her in high school, so that's where SU's Connie's name comes from. Rebecca points out how hilarious Utena is in addition to being beautiful. She felt it was formative because Utena was "gender expansive and bisexual." Rebecca saw the movie first (which she doesn't recommend doing), then saw the series and then the movie again. She wanted to understand why the characters were turning into cars. (Chronicler's note: I was equally baffled by the Utena movie's car chase and car transformation stuff in the early 2000s. I did not know what to make of it.)

Rebecca elaborates on Utena and art influences, saying she loves to trace artists' influences to see where their pieces were coming from. She saw that Utena is very influenced by Princess Knight, and she was thrilled to visit places in Japan that influenced Osamu Tezuka. The Takurazuka Theatre is in Tezuka's town, and Rebecca describes how every show there is performed only by women. She felt that having this theater there influencing Tezuka certainly inspired him to include gender expansiveness in his work. The influences are so obvious when you look at the sources, and now all of this that came through Tezuka's work then through Utena then to Rebecca is so incredible.

When Susana brings up trends and how magical girl stuff influenced today's creators, Rebecca says she prefers not to think of it as a trend really because some of what's roaring out in popularity now was always around but was actively prevented from being made in the past. She talks about watching Tenchi Universe (the "Universe" part of SU came from Tenchi!) and Sailor Moon on CN, knowing it wasn't American, but she didn't really realize it "didn't belong" on the network, and felt that her access to influences was really unusually open--especially since her dad was an animation nerd and had a bunch of unusual stuff that influenced her, especially stuff that gave her a peek into how animation actually worked and knowledge that she could be one of the people making it. If she could call anything a trend now, it's that that sort of access is now available to more people because of the interconnectedness of the Internet and how we're so much more capable of influencing each other now.

They then discuss some anime stuff they had been exposed to and how Rebecca helped with an intro to Whisper of the Heart which is her favorite movie. She discusses how that movie (and Kiki's Delivery Service) are good representations of creative processes and sometimes what happens if an artist is blocked. She thinks the actual craft and work associated with the process is more important (and more interesting) than talent. Rebecca adores artists who take notes and figure out how to make their stuff good versus a specific moment of inspiration or an artist just "bleeding" their talent on everything. Art is a craft! You can study it! This is front and center in Whisper of the Heart. Rebecca discusses the Russian movie Film Film Film (which influenced the Zircons' design), and it has a writer character who is afraid that his process will destroy something inspired by a muse. She thinks it's a really interesting look at process.

Next they discuss a science fiction story in another format: the book The Left Hand of Darkness by Ursula K. LeGuin. Kat Morris lent Rebecca the book while they were roommates at the very beginning of when the show was starting. She loved seeing how the world worked in the book through the way they treated the main character. They also discuss the artist Jules Feiffer, who Rebecca had a relationship with because she carpooled with his nephews. They gave her a book of his called A Barrel of Laughs, A Vale of Tears. She loved it so much, especially how it deconstructed fairy tale tropes. One story was about a prince whose special ability made people close to him laugh themselves senseless, so he really couldn't have a relationship with anyone. She considers this an influence on Pink Diamond as a character. The SU character Sadie was named after this book's character Plain Sadie.

Next, Susana asks about musical influences for the show. Rebecca names Patti LuPone first. She saw Patti as Mrs. Lovett in Sweeney Todd and remembers seeing her playing the tuba in this weird arrangement where the cast was also the orchestra. She was so impressed. When she later wrote to Patti asking her to be Yellow Diamond, she referenced learning from her that a person could be so dramatic that it's funny and vice versa. She also has a "chills" moment from a different show, during "Everything's Coming Up Roses," where the character she's playing is imagining an audience going wild but the actual audience IS going wild.

As they discuss how the upcoming movie is a musical, Rebecca talks about going home with Ian after work and putting on musicals or movies based on TV shows so they can "study" for what they're doing. She'd take notes about what works and what doesn't and why. She loves these old movies that dissolve into total weirdness by the third act. She references Ziegfeld Girl and Busby Berkeley movies, which were an influence on Homeworld's style. She subscribes to a philosophy attributed to Bob Fosse that characters have to be feeling something strongly if they're compelled to sing. She makes a reference to A Goofy Movie as a movie that moved from a TV show to a movie. She wished that movie had more songs.

Susana and Rebecca discuss the movie, some intense moments, the history of Goofy and how different some of the old versions of him are, and how a description of Goofy by Art Babbitt was influential on her. She loves that cartoons can be so many things, and she adores studying moments from them and incorporating them. There are some really horrifying discoveries you can make, but you can also reinterpret some of the beautiful moments and stir them together to get new brilliance.

Susana says many songs in Steven Universe become the centerpiece of an episode, but in "Mr. Greg" it's more like a typical musical even though it's an episode of a cartoon show. Rebecca agrees that it was great practice for the movie. She was more moved by that episode coming back than any other so far by that point. She also felt that "For Just One Day Let's Only Think About (Love)," the song, was a great practice musical song--especially since there's all that chatting in between singing. That song was really influenced by A Funny Thing Happened on the Way to the Forum's song "Comedy Tonight." She finds those kinds of musicals so much fun. She was influenced in "Mr. Greg" by Victor/Victoria--specifically the song "Crazy World" when the camera is panning around the protagonist (who's wearing a suit). They're of course dated, but they contain beautiful moments. She took home some of the Pearl drawings from "It's Over, Isn't It" when she went to the studio in Korea. (Yes, Steven Universe is animated on paper, though the color is digital.) Elaborating on "Mr. Greg," she says the episode became much simpler and sweeter--originally there was some intense stuff in there, like Pearl picking up cars and throwing them at Greg.

Back to the movie, Susana points out that Rebecca's been studying how to make a conversion to a cinematic story versus a really long TV episode. What makes something feel like a movie? Rebecca struggles to figure out how to talk about it without saying too much. She figures you have to dig into the fundamentals of the show--make a movie about something new, but something basic. She loved the Dexter movie and it was so smart. Rebecca has a weird connection to the Beavis and Butt-Head movie too (some of her crew worked on the movie!), but she thinks even that movie is smart because they're all about watching TV and in the movie their TV is taken.

Susana then asks about the movie length format and how it felt from going from a very short TV format to a movie. Rebecca's word to describe it is "terrifying." The episode "Change Your Mind" was 44 minutes and that was a ridiculously long format for them--but it carried the extra baggage of tying up so much of what they'd dumped into the show. Rebecca said they couldn't really even "feel good" about finishing it because the immediate next step was something that was so much more of everything hard about "Change Your Mind." Rebecca elaborates on the elements that were ramped up for the movie and concludes "What I'm trying to say is I'm really tired." She's really, really excited for us to see it. It's so different than a bunch of episodes tied together, even if it was eight "Mr. Greg" episodes. All the pieces have to be awesome and then tied together have all the pieces inform each other. She remembers being impressed by anime as a kid because it usually told interconnected stories, and she thought that would be really hard; turns out self-contained episodes are even harder, and she has to kind of do both on her show. She thinks of her songs like that too--they must be good on their own, but they enhance each other by all being part of the same work and building something better together.

Finally, Susana asks what comes next after Steven Universe--one day, when the show does end, what does Rebecca want to do? Well, take time off, write some guitar songs, write poetry no one will ever see, and so on. Rebecca says that her head is really in SU now though, and there's so much more to do--yes, there is more to tell that comes after the movie, and she wants us to know there are also stories that belong in that two-year gap between the end of "Change Your Mind" and the beginning of the movie, but she feels this is a good place to stop talking. She's so excited about everything we have yet to see.

#steven universe #crewniverse #rebecca sugar #rebecca sugar interview #susana polo

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marielnicoleee · 3 years

Text

1. What are citations?

-A citation is a formal reference to a published or unpublished source that you consulted and obtained information from while writing your research paper.

2. What are the different types of citations? Give each at least 3 examples.

APA

A citation is a quotation or an explicit reference to a source of information. When writing a paper of any kind, it is vital that you cite your sources accurately. The APA is the American Psychological Association. ... An APA Citation is a citation written in this style.

DeCarbo, M. A. (1969). Mentorship among older and younger college students. University of California.

Druin, A., & Solomon, C. (1996). Designing multimedia environments for children. J. Wiley & Sons.

Franciscu, J. B., & Chiarini, L. B. (1992). Clarity at last: Including personal spiritual beliefs in patient motivation evaluation. In R. M. Bright III (Ed.), Aspects of Psychology: Vol. 7. Psychology and Religion (2nd ed., pp. 24-68). Amicus.

MLA

The Modern Language Association (MLA) establishes values for acknowledging sources used in a research paper.

McCorker, Frank. Storymaking and Mythtelling: Comic Literary and Film Images. Oxbridge, 1992.

Druin, Allison, and Solomon, Cynthia. Designing Multimedia Environments for Children. J. Wiley & Sons, 1996.

Yorbach, Erich. "Odysseus Wonderful." Peripatesis: The Representation of Fantasy and Adventure in Western Literature. Edited by Polly Feemis. Syracuse University Press, 1943. pp. 3-23.

Chicago

The Chicago style, when referring to a source of information within the text of a document, in its simplest form, gives a short citation consisting of the name of the author (or authors) and the date of publication.

Albert Einstein, The Meaning of Relativity (Princeton: Princeton University Press, 1923), 44–45.

Morris Dickstein, “A Literature of One’s Own: The Question of Jewish Book Awards.” Princeton University Library Chronicle 63, no. 1–2 (Winter 2002): 71.

Dickstein, Morris. “A Literature of One’s Own: The Question of Jewish Book Awards.” Princeton University Library Chronicle 63, no. 1–2 (Winter 2002): 70–74.

Turabian

The Turabian style is a citing and referencing system based on the Chicago style and named after Kate Turabian, from the University of Chicago, who authored a manual to guide students in citing and referencing when writing research papers. The print manual is available from all Monash libraries.

Katie Kitamura, A Separation (New York: Riverhead Books, 2017), 25.

Sharon Sassler and Amanda Jayne Miller, Cohabitation Nation: Gender, Class, and the Remaking of Relationships (Oakland: University of California Press, 2017), 114.

Mary Rowlandson, “The Narrative of My Captivity,” in The Making of the American Essay, ed. John D’Agata (Minneapolis: Graywolf Press, 2016), 19–20.

#grade11eagle

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waveofstars · 4 years

Photo

COHEN ELLIOT SMALLS

record shop owner, kid of hollywood producer, never shuts up, film addict, undeniable nerd, bitter sarcasm, hopeless romantic but mostly hopeless, anxiety to the max, narcissism meets pessimism, still skateboarding like he’s a kid, music obsessed, family vs the world, best friend with his younger sister and it shows, unapologetically himself.

BASIC INFORMATION

Full Name: Cohen Elliot Smalls Nickname(s): Co Preferred Name(s): Cohen Birth Date: October 22, 1988 Age: 31 Zodiac: Libra ☀, Gemini ☾ Gender: Male Sexual Orientation: Heterosexual Nationality: American Current Location: Los Angeles, California Living Conditions: A nice but small apartment not far from his record shop.

BACKGROUND

Birth Place: Los Angeles, California Hometown: Orange County, California Social Class: High Education Level: Bachelor’s in film with an emphasis in audio Father: Harrison Smalls Mother: Aneta Shapiro (Deceased) Adopted? No. Sibling(s): Sawyer Smalls (sister) Birth Order: Oldest Pet(s): n/a Other Important Relatives: n/a Previous Relationships: College girlfriend, a handful of relationships afterwards Arrests? None. Prison Time? None.

OCCUPATION & INCOME

Primary Source of Income: Owner of Record Store/Venue Secondary Source of Income: Freelance music for films Tertiary Source(s) of Income: n/a Spending Habits: He refuses to spend money on things he actually needs and spends money on stupid things most of the time.

SKILLS & ABILITIES

Language(s): English, Spanish Play an Instrument? Drums, bass Sings? No Pick a Lock? No Other Talents: Music composition, audio mixing/sound design, skateboarding, video games

PHYSICAL APPEARANCE & CHARACTERISTICS

Face Claim: Adam Brody Eye Color: Brown Hair Color: Brown Glasses/Contacts? Both - wears his glasses often Dominant Hand: Right Height: 6′0″ Build: Lean Exercise Habits: Does skateboarding count? Tattoos: tba Piercings: None Marks/Scars: Faded ones from skateboarding a lot back in high school

PSYCHOLOGY

Jung Type: ISTJ-T Enneagram Type: 4, the individualist

Moral Alignment: True neutral Temperament: Melancholic Element: Air Mental Conditions/Disorders: Anxiety, ADHD Emotional Stability: 4/10 Addiction(s): Caffeine Drug Use: Weed Alcohol Use: 5/10 Prone to Violence? No

VIEWS & PHILOSOPHIES

Politics: Independent Religion: Agnostic

FAVORITES

Beverage: Chocolate milkshake Book: Jurassic Park by Michael Crichton Color: Purple Food: Burritos Holiday: Christmas/Hanukkah Mode of Transportation: Old car that he really needs to upgrade Movie: Star Wars: Empire Strikes Back or When Harry Met Sally Musical Artist: Death Cab For Cutie Quote/Saying: “i’m in a war of head vs. heart, it’s always this way. my head is weak, my heart always speaks before I know what it will say.” (DCFC) Scent: Cinnamon Song: Crooked Teeth by Death Cab For Cutie Sport: n/a Sports Team: n/a Television Show: Parks and Recreation Weather: Sunny

#here's cohen #i'll probably repost tomorrow but!!!! my baby is back #it's been years since i've written him let's do this #about: cohen #stats: cohen #musing: cohen

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amamblog · 5 years

Photo

Jean Kondo Weigl, Untitled, 1974, Gouache collage, Art Rental Collection Fund RC 1974.3.

Elka Lee-Shapiro ‘18, former curatorial assistant in Asian art, conducted this interview with artist Jean Kondo Weigl in July of 2018 as part of her exhibition, Centripetal/Centrifugal: Calibrating an Asian American Art.

On March 12th at 3:00 p.m., Lee-Shapiro will return to Oberlin to give a Tuesday Tea lecture on the exhibition. For more information, visit the event page on the Allen’s Facebook.

EL: I was thinking that we could start by talking about the work we have of yours in the AMAM's collection. It was created in 1974 and you mentioned that you were working with hard-edge abstraction at the time.

JKW: Right, after completing the MA program in Studio Art at Oberlin I was working as Assistant to the curators at the Allen Art Museum. At the time, Abstract Expressionism, Minimalism, Conceptualism and Pop art were primary avenues in the New York art scene. I had studied those movements as an undergraduate in a contemporary art seminar at Scripps College while also taking classes in figure drawing and painting, and wanted to explore acrylics and non-figurative or formal compositions, probably influenced by artists such as Frank Stella. I’m not sure if I was aware of Sol LeWitt at that point, but there were a lot of artists, painters, and printmakers working with the grid format.

I chose to use the format of the grid in this work because of the regularity and the rationality of the grid, which could be juxtaposed with something else—something freer, looser, more subjective, more organic -- while still retaining the organized structure of the grid. I experimented with some loosely conceptualist formats where I might, for instance, devise a sequential order for what was going to go in each unit of the grid, and so on.

EL: The work we have in the Allen’s collection has a repeated pattern like that… is that where that idea comes from?

JKW: Yes, I began with an abstract design painted in gouache on paper that I cut up into sixty equal squares. Next, I cut the squares, four at a time, into curved strips, which I then recombined to form new squares that I then arranged in the final composition. I couldn’t have foreseen or visualized the end product of my process the first time I tried it, and was surprised to find the resulting sense of rhythmic movement, advancing and receding space and lively qualities of color and light to be so effective. You never know what's going to happen when you try out an idea.

EL: What was it like doing this type of work in Oberlin, because a lot of the discourse surrounding formalist painting was rooted in New York City? How was it being in Oberlin engaging with these types of investigations surrounding painting?

JKW: Becoming interested in a more formalist approach to painting was a natural response to the influences I encountered at Oberlin as a graduate student and as a member of the staff at the AMAM. Ellen Johnson, Professor of Modern Art, and Athena Tacha, Curator of Art since 1800, were powerful forces in promoting current trends in art from New York in Oberlin through their scholarship and involvement with regard to the museum’s acquisitions, exhibitions and visiting artists program.

Also, as a Graduate Assistant, I worked under Forbes Whiteside, Professor of Painting, assisting in his painting and color theory classes. In Mr. Whiteside’s color theory class, I learned a lot about color relationships and color interaction, and wanted to explore some of the ideas that I was learning in my own work. I think that's what pushed me towards nonobjective imagery, so that I could focus on color schemes and variations on the different characteristics of color. I probably know one hundredth of one thousandth of what there is to know about color theory, but I can get deeply engaged with what little I know, experimenting with all the different possibilities and variations.

EL: You mentioned the idea of objective and subjective painting in relation to the grid. I was wondering if you could talk a little bit more about that, especially because your recent work does incorporate more narrative or figural elements.

JKW: I'm really equally interested in formalism and narrative or figurative art, and equally emotionally moved by both. Even with narrative art, the story is definitely part of what I respond to, but a large part of what I respond to are the formal elements of the work—the paint, color, and surface—and the power and skill of the artists. I remember before I ever cried to a painting, the only kind of art that I would respond to emotionally would be film or music—I can easily cry when I see a sentimental commercial on television—but I was never moved to tears by a painting until I saw a Pierre Bonnard painting. It was a small landscape of a spring day and I was overwhelmed. I don't know how you identify the core idea of a single work of art or a body of works of art when there are multiple elements that are constant throughout. The meaning of a work has a little bit to do with the imagery and a whole lot to do with the composition and the treatment of form—but you can't have the imagery without that. So, you can't separate them.

EL: We touched on this a little bit but I was wondering if you could talk a little bit more about how your personal background influences your work, and whether biographical or politicized identity comes into your work?

JKW: Well, how can we separate one’s background and identity from one’s work, either? That's another thing, right? You are what you are. I am what I am because of my background. So, it’s impossible to ignore it, but I don't think you have to worry about making it clear, because it is clear. It just comes out anyway. Everything that’s influenced me as an artist is because of my background.

I'm probably drawn to Asian art and the history of Asian art for that reason. I might not have taken courses in the history of Japanese art at the University of Utah, but in a way I felt obligated to know more about it. I might have been interested in Asian art as an undergraduate but it’s my memory that, at that time, we didn't have a lot of exposure to Asian or other non-Western art history; it wasn't automatically built in to your art education. For example, I knew that I liked ukiyo-e, but the topic of 19th century Japanese art was mainly touched upon in the context of its influence on 19th century French art. Today, if I get stuck in the process of sketching or painting, one source that I may turn to for direction is 19th century Japanese art. I really relate to that period as did many 19th century artists in Europe who were being exposed for the first time to a lot of Japanese and Chinese art.

EL: Do you think of the Asian influences in your work as relating to your personal identity?

JKW: Sure, not consciously, just automatically.

EL: Thinking about your identity, would you identify as say, an Asian American artist, or a woman artist, and does that play into your work at all?

JKW: Asian American over woman artist?

EL: Or Asian American woman artist... I guess in terms of these labels.

JKW: That's an appropriate question because the women’s movement was in full bloom in the seventies which is when I was at Oberlin working on as master’s degree and coming of age as an artist. Oberlin’s master’s program required a written thesis and an exhibition, and I wrote my thesis on the women's movement in art. I was reading Linda Nochlin, Simone de Beauvoir, Shulamith Firestone, Judy Chicago, and anyone I could find who wrote about the role of women as artists or the image of women in art. I joined the women's caucus of the College Art Association and participated in a couple of their collaborative projects. They organized a book project and a box project, and my work was included in their traveling shows. But I don't put gender at the front of how I identify myself as an artist. And the Japanese part, well, both the Japanese and the female parts were given to me, but I don't necessarily feel that I put myself in either category, as much as lot of other people need to or choose to.

I'm aware of my race and gender on a certain level. My race and gender are important aspects of my identity, but my identity and how it plays into my work is more just individual—having to do with my personal experience and relationships. One key to how I identify as an Asian American woman artist may be how I identify with other Asian American women artists; if it’s difficult for me to relate to another Asian American woman artist on some level of aesthetics or politics, I think it would be difficult for me to put myself under the same label as her. On the other hand, I would probably relate more completely to an Asian American woman artist, compared to a non-Asian, non-American, male artist, if her art and politics were aligned with mine.

EL: We probably have time for maybe one more question. I'd love to hear more about your approach to teaching and what teaching is like for you.

JKW: I don't think of myself as being really articulate or able to explain some more complex issues or concepts in a particularly clear or elegant way, but sometimes in the classroom I find myself getting really excited and at no loss for words. Especially when I’m talking about the process and how it’s important to let go and not be afraid—I’m trying to encourage students to let go, loosen up, and not worry about whether their assignments are going to be successful. I work very hard to be the best teacher, but some students stand out as being so talented, perceptive and intuitive that I can only step back and admire them, deserving little credit for their achievement.

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butchspace · 6 years

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Butch-Fem History / Butch Identity Reccs

[Image description: an anonymous ask to butchspace that reads “If you have personal essays or blog recs or books about b-f history or individual butch experience, especially about the b-f dynamic, that would be perfect. A mix of long and short would be great, and links of PDFs would be ideal. I actually meant OFOS, as in old-fashioned old-school butch/fem (@persistentlyfem is a fem example), and by “traditional” I mean the original incarnation of butch as the opposite and lover of the fem. I hope this helps you and thank you very much for your help!” End ID.]

Okay so! I’ve got sucked into making this post and I’m just gonna go ahead and publish before I add even more on and forget to sleep again. Putting it under a cut because of length, if anyone wants a non-readmore version of the post just let me know.

Caveats:

I focused mainly on works I could provide links to; this means that what I’ve provided isn’t necessarily my first pick, but it’s still some good stuff so whatever. (See the Offline/Extended section for more reccs.)

A lot of the pdfs were transcribed in the course of a sleepless night so there’s bound to be typos; if you wanna tell me about them just message/ask @holzes to avoid clogging this inbox up.

Sadly, most of these works are dominated by white, cis, and able-bodied perspectives. This is especially something I want to remedy in the future in my additions.

It should go without saying, but: I don’t endorse every single opinion in these works or their authors (who for the most part I know little about), they don’t necessarily align with my own views and/or preferences, and I recognize that some of them have issues such as cissexist language and framing (see Content Warnings for more detail). Unfortunately when it comes to LGBT history, a lot of the most prominent texts are outdated or otherwise flawed in some areas and you just have to kind of trudge through it and read critically.

I included dates next to the works for a reason! Some (basically everything written in the early to mid 90s) emerged from a specific time in the lesbian community and obviously some of their statements only make sense in that context (mostly the lesbian feminist movement and its aftermath tbh). Just keep this in mind, it shouldn’t matter too much because those texts are history but just in case…

Just because I couldn’t find a work online doesn’t mean it doesn’t exist out there somewhere.

This is a deeply incomplete list. If you have suggested resources like these (preferably ones available online) including books, essays, articles, blogs, films, youtube videos, etc…. Let me know @holzes.

Content Warnings:

The Q slur (in just about every context), D slur, anecdotal homophobia, mentions of homophobic violence, outdated trans terminology, cissexism / cissexist language, discussion of sex (both academic and semi-explicit), cussing, frequent discussion of bars / probably a mention of alcohol once or twice. Sorry for not providing individual content warnings, this post is already bulky enough. If there’s something you’re rlly concerned about just mssg me @holzes and I’ll do my best to help you out.

And with all that out of the way…….. the actual post begins.

History

“Butch-Fem” by Teresa Theopano (2004)

An extremely succinct, balanced overview of butch-fem best suited for absolute beginners (aka, “what the hell is butch/fem” level). Also a good jumping-off point for anyone lacking historical context for butch-fem. Covers origin, application, and controversies. [Link]

“Lesbian Identities and the Politics of Butch-Femme” by Amy Goodloe (1993)

A rigorous essay that in many ways is a more detailed version of the above; packs a wide range of butch-fem history, controversy, and popular interpretation into a relatively short essay. A nice crash course with a killer annotated bibliography to build off of. [Link]

excerpt from Boots of Leather, Slippers of Gold: The History of a Lesbian Community by Elizabeth Lapovsky Kennedy & Madeline Davis (1993)

This excerpt from the introduction explicates the existence of working-class lesbian bar cultures in North America from the 1930s to the 1950s as well as the butch-fem dynamic that accompanied and shaped these cultures. The second section of this excerpt is perhaps best read as a companion piece to The Return of Butch and Femme (see below), especially as relates to Kennedy and Davis’s criticism of Faderman’s attitudes toward butch-fem. The entire book is well worth the read, but if you’re pressed for time, Chapters 5, 6, and 9 will be most relevant for your purposes. [Link to excerpt] [Link to full book]

“The Return of Butch and Femme: A Phenomenon in Lesbian Sexuality of the 1980s and 1990s” by Lillian Faderman (1992)

A thorough examination of how butch-fem became deeply “politically incorrect” through the lens of 1970s lesbian feminism, as well as its persistence throughout that decade and its restoration (and transformation) in the 1980s and 1990s. Perhaps Faderman’s most balanced examination of butch-fem (but don’t worry, she still throws around every anti-butch-fem critique and stereotype that she can justify including) and an informative history of how modern butches and femmes arose and if/how we differ from our predecessors. Read with section two of the above for best results. [Link]

Odd Girls and Twilight Lovers: A History of Lesbian Life in Twentieth-Century America by Lillian Faderman (1991)

Might as well, yeah? The book is a very interesting/enlightening semi-comprehensive history and a groundbreaking work in lesbian history literature. If you wanna cheat, Chapter 7 is the one that focuses primarily on butch-fem. [Link]

Personal Narratives

“Double Trouble” by Lesléa Newman (1995)

A brief personal reflection by a femme on her traditional femme-butch relationship. [Link]

Persistence: All Ways Butch and Femme eds. Ivan E. Coyote & Zena Sharman (2011)

An interesting collection of a broad variety of fem and butch perspectives. Essays range from emotional personal narratives to a mix of historical and personal analysis. I’ve provided links to a few that seem most relevant to your interest.

“Femme Butch Feminist” by Jewelle Gomez [Link]

“No Butches, No Femmes: The Mainstreaming of Queer Sexuality” by Victoria A. Brownworth [Link]

“What We Know to Be True” by Sasha T. Goldberg [Link]

“Spotlight” by Debra Anderson [Link]

Gender Troubles: The Butches (2016, dir. Lisa Plourde)

You might have seen this going around back when it was free to watch for a few months. It’s basically a long string of interviews with a few butches and it’s a nice watch, although I’m not sure how/where you can watch it now. [Link]

Extended (aka Stuff I Haven’t Read Yet and Am Thus Nervous to Recc)

In no particular order,

A Restricted Country by Joan Nestle (1987)

The Persistent Desire: A Femme-Butch Reader ed. Joan Nestle (1992)

I haven’t read either of Nestle’s groundbreaking works because I’m Fake but she’s probably the most influential writer on butch/fem by far so she can not be recommended highly enough.

Zami: A New Spelling of My Name by Audre Lorde (1982)

A biomythography that focuses partially on lesbian bar culture in NYC, Connecticut, and Mexico. The plain text is online if you can work with that. [Link]

Stone Butch Blues by Leslie Feinberg (1993)

This one’s only not in the main section because I figured you already knew about it, since it’s legally free online. It’s a novel, which I learned only recently. [Link]

Final Notes

For further reading and essays/books, I highly recommend digging through the notes/sources of the works I’ve linked above and jotting down anything that looks interesting or that gets mentioned a lot.

In terms of access–if you’re a college student or live in a college town, go to the college library (or public library, although these have been far less helpful for me) and find their LGBT section. Some places might surprise you. If you’re a college or high school student, go to your school library’s webpage and look for any access to databases you might have as a student, and exploit the hell out of whatever you find. If you’re not a student and/or don’t have access to a good library (or cannot use whatever resources you do have due to risk of outing yourself), stick to whatever you can find online.

Finally, I remembered @closet-keys‘s butch/femme research guide shortly after finishing this post. So, here’s that. [Link]

Thank you so much if you made it this far and I hope this answer helps out you, anon, at least a little, as well as anyone else who makes use of it!

-Mod P

#asks #anonymous #butch/femme #butch tag #resources #srry for focusing on written stuff that's just my area of expertise lol #reading #mod p #bluespace /#pebble posts

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aadics · 6 years

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MEET ADELINA ROSALYN MONJE

BASIC INFORMATION

FULL NAME: adelina rosalyn monje PRONUNCIATION: add-ah-line-ah roe sah lynn mon-je MEANING: adelina ( noble ) rosalyn ( rose ) monje ( munk ) REASONING: adelina was her father’s mother’s name NICKNAME(S): adie, grandma adie PREFERRED NAME(S): adelina, adie, my love BIRTH DATE: july 18th,1997 AGE: twenty ZODIAC: cancer GENDER: female PRONOUNS: she/her ROMANTIC ORIENTATION: heteroromantic SEXUAL ORIENTATION: heterosexual NATIONALITY: american ETHNICITY: mexican CURRENT LOCATION: st. cloud, minnesota LIVING CONDITIONS: in a small house with flower bushes & a small path up to the front door, three bedrooms & somethings haven’t been touched, but dusted, since her father died. her house is beside felix, where their windows face one another. the rooms and overall aesthetic are quite clean & well-kept, because of adelina. TITLE(S): miss

BACKGROUND

BIRTH PLACE: st. cloud, minnesota HOMETOWN: st. cloud, minnesota SOCIAL CLASS: middle class EDUCATION LEVEL: college level FATHER: ernesto “ernie” monje MOTHER: paulina lopez SIBLING(S): clara ( half-sister ) BIRTH ORDER: adelina, clara CHILDREN: clara PET(S): homeless cats OTHER IMPORTANT RELATIVES: not so much important but her step-mother, fiona PREVIOUS RELATIONSHIPS: ARRESTS?: zero PRISON TIME?: zero

OCCUPATION & INCOME

PRIMARY SOURCE OF INCOME: her own SECONDARY SOURCE OF INCOME: her own TERTIARY SOURCE(S) OF INCOME: her own APPROXIMATE AMOUNT PER YEAR: not as much as she works for CONTENT WITH THEIR JOB (OR LACK THERE OF)?: yes, she always tries to make the most of it PAST JOB(S): bookshop keeper, waitress & summertime counselor SPENDING HABITS: mostly towards clara’s needs MOST VALUABLE POSSESSION: her necklace gifted from her father, that he bought from a pawn shop when she was only two. attached: a heart shaped locket with a picture adelina swears is her father & her & a cross on the same chain

SKILLS & ABILITIES

PHYSICAL STRENGTH: she’ll try her best before she asks for help OFFENSE: a step above her defense DEFENSE: weak SPEED: average, running the track in gym involved her jogging & tripping often INTELLIGENCE: quite advanced, beyond the years as they say ACCURACY: advanced, especially when it comes to depicting scenery in her photographs AGILITY: moderate average STAMINA: moderate average TEAMWORK: quite advanced, she shares input & listens as well. likes everyone to perform to their best ability & show their talents TALENTS: writing & photography, dabbling in baking SHORTCOMINGS: sports & her two left feet, naive to other’s opinions or standoffish to disappointing other’s LANGUAGE(S) SPOKEN: spanish, english & only simple french DRIVE?: yes JUMP-STAR A CAR?: she asks jackson, all the time CHANGE A FLAT TIRE?: once again, jackson RIDE A BICYCLE?: yes, that’s what she uses back home with a wired basket SWIM?: yes, she actually learned at stillwater PLAY AN INSTRUMENT?: not quite PLAY CHESS?: yes, secretly she was in chess club in high school BRAID HAIR?: adores it, need her to ? TIE A TIE?: double knot PICK A LOCK?: yes, don’t ask

PHYSICAL APPEARANCE & CHARACTERISTICS

FACE CLAIM: cindy kimberly EYE COLOR: golden bronze HAIR COLOR: somewhere between chestnut & dark brown hair HAIR TYPE/STYLE: she had bangs, however, they’ve grown out & her hair, to her mid back in natural curls. on some days, she’ll pin it back to leave her shoulders freed or a high perched ponytail GLASSES/CONTACTS?: both glasses & contacts DOMINANT HAND: right HEIGHT: five foot three WEIGHT: one hundred & twenty pounds BUILD: ectomorph ( lean & delicate ) EXERCISE HABITS: what habits ? does it include nature walks ? SKIN TONE: medium with expectancy to tan TATTOOS: she has two. adelina was the sun out of the sun, moon & stars with lola & amy, it’s a little animation & located on the back of her arm above her elbow. the other was a collective group tattoo of a tree, with lola & amy, theo & jackson PEIRCINGS: her single ear piercings that were done with a lemon and sharp sewing needle by lola & amy at the age of ten MARKS/SCARS: indent below her left eyebrow from when she fell while rollerskating at age six NOTABLE FEATURES: USUAL EXPRESSION: beaming with a string tied smile, love in her eyes CLOTHING STYLE: denim, frill socks, blouses, sundresses, converse or barefoot JEWELRY: her locket, diamond earrings, pearls for dressing up & friendship bracelets galore ALLERGIES: zero BODY TEMPERATURE: normal DIET: inclined to sweet & salty, but overall, pretty healthy PHYSICAL AILMENTS: none to date

PSYCHOLOGY

JUNG TYPE: protagonist (enfj-t) ENNEAGRAM TYPE: type 2 MORAL ALIGNMENT: chaotic good TEMPERAMENT: empath ELEMENT: earth PRIMARY INTELLIGENCE TYPE: spatial intelligence APPROXIMATE IQ: 150 MENTAL CONDITIONS/DISORDERS: anxiety, periods of deep depression SOCIABILITY: sociable according to the day, always ready to put a smile on someone’s face EMOTIONAL STABILITY: OBSESSION(S): insecurities COMPULSION(S): none to date PHOBIA(S): the dark, ferris wheels ADDICTION(S): none to date DRUG USE: zero ALCOHOL USE: sociabley PRONE TO VIOLENCE?: not at all

MANNERISMS

SPEECH STYLE: casual, a walking poem almost ACCENT: american but can quickly turn to a full, spanish one if required QUIRKS: using her hands when speaking, snapping her fingers, humming unknowingly, pretending to snap a picture in the air with no camera HOBBIES: photography, writing, reading, baking, traveling, capturing love HABITS: tracing, scrunching her nose, keeping her nails tidy & clean NERVOUS TICKS: twirling her air, chewing on pencil tips/pen caps, DRIVES/MOTIVATIONS: clara FEARS: fiona, being held back in st. cloud for the rest of eternity, never getting to dream again POSITIVE TRAITS: quixotic, tenderhearted, wondrous NEGATIVE TRAITS: canny, timid, intricate SENSE OF HUMOR: kind of like an elder’s sense of humor DO THEY CURSE OFTEN?: very little CATCHPHRASE(S): “ain’t no mountain high enough !” or “oh bother !”

FAVORITES

ACTIVITY: making someone smile & lasting memories ANIMAL: turtles BEVERAGE: fresh squeezed grapefruit juice BOOK: very hard question, but sense & sensibility by jane austen CELEBRITY: audrey hepburn COLOR: yellow DESIGNER: she doesn’t have a particular designer, as she shops often at thriftshops & those alike FOOD: butterscotch pudding FLOWER: carnations GEM: moganite HOLIDAY: valentine’s day MODE OF TRANSPORTATION: (x.) MOVIE: sound of music MUSICAL ARTIST: billie holiday or paul anka QUOTE/SAYING: “for beautiful eyes, look for the good in others; for beautiful lips, speak only words of kindness; and for poise, walk with the knowledge that you are never alone.” . . . audrey hepburn SCENERY: a meadow of wild flowers SCENT: vanilla & lavender, the warm sun & fresh baked cookies or strawberries from picking SPORT: baseball SPORTS TEAM: la dodgers TELEVISION SHOW: the golden girls WEATHER: sunshine & not a cloud in the sky, summer showers with colorful skies VACATION DESTINATION: anywhere with clara & her friends, from a carnival to the coast of france

ATTITUDES

GREATEST DREAM: living on the coast of frace, traveling & being a director / photographer of independent films, later owning a bookshop / bakery with a family & homeless cats GREATEST FEAR: not following through with her dreams & never leaving st. cloud MOST AT EASE WHEN: she’s with friends & clara LEAST AT EASE WHEN: when she’s around fiona & her boyfriend WORST POSSIBLE THING THAT COULD HAPPEN: having clara taken from her life BIGGEST ACHIEVEMENT: graduating high school & getting a scholarship BIGGEST REGRET: not saying goodbye to her father MOST EMBARRASSING MOMENT: when that picture leaked of her across the student body BIGGEST SECRET: she has anxiety attacks & they’ve been progressively increasing TOP PRIORITIES: clara, friends, school

#stillwatertask:5 #- ̗̀ ★ ∙ 𝒂𝒅𝒆𝒍𝒊𝒏𝒂 𝒎𝒐𝒏𝒋𝒆 : aesthetic.

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learningrendezvous · 3 years

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Science, Technology and Society

ALBERT EINSTEIN: STILL A REVOLUTIONARY

Director: Julia Newman

Albert Einstein was a world renowned celebrity, greeted like a rock star whenever he appeared in public. He was an outspoken social and political activist, an anti-war firebrand who was on the right side of controversial issues like women's rights, racism and nuclear arms control. He warned the world early on that Hitler was intent on war and the destruction of the Jewish people and was strategic and effective in helping to rescue Jews from the Nazis before World War II.

He referred to his fellow Jews as "my Jewish brethren" and wrote "The pursuit of knowledge for its own sake, an almost fanatical love of justice, and the desire for personal independence - these are the features of the Jewish tradition which make me thank my lucky stars that I belong to it."

In the 65 years since his death his fiery image has been neutered into that of a charmingly unworldly genius, preoccupied with the rarefied world of physics. Filmmaker Julia Newman, whose earlier film, "Into the Fire," explored how American women joined "the good fight" against the Fascists in the Spanish Civil War, here goes beyond the legend to tell the inspiring and true story of the 20th Century's most famous savant. Using a wealth of rarely seen archival footage, letters to and from Einstein, and new and illuminating interviews, Albert Einstein: Still a Revolutionary shows us a man who, while celebrated for revealing some of the fundamental laws governing our universe, was a true humanitarian; a man who believed in always doing the right thing.

DVD / 2020 / 80 minutes

CODED BIAS

By Shalini Kantayya

When MIT Media Lab researcher Joy Buolamwini discovers that most facial-recognition software misidentifies women and darker-skinned faces, she delves into an investigation of widespread bias in algorithms.

When MIT Media Lab researcher Joy Buolamwini discovers that most facial-recognition software misidentifies women and darker-skinned faces, she is compelled to investigate further. It turns out that artificial intelligence, which was defined by a homogeneous group of men, is not neutral. What Buolamwini learns about widespread bias in algorithms drives her to push the U.S. government to create the first-ever legislation to counter the far-reaching dangers of bias in a technology that is steadily encroaching on our lives.

Centering on the voices of women leading the charge to ensure our civil rights are protected, Coded Bias asks two key questions: what is the impact of Artificial Intelligence's increasing role in governing our liberties? And what are the consequences for people stuck in the crosshairs due to their race, color, and gender?

DVD (Color, Closed Captioned) / 2020 / 90 minutes

CELLING YOUR SOUL

Directed by Joni Siani

An examination of our love/hate relationships with our digital devices from the first digitally socialized generation, and what we can do about it.

In one short decade, we have totally changed the way we interact with one another. The millennial generation, the first to be socialized in a digital world, is now feeling the unintended consequences.

CELLING YOUR SOUL is a powerful and informative examination of how our young people actually feel about connecting in the digital world and their love/hate relationship with technology. It provides empowering strategies for more fulfilling, balanced, and authentic human interaction within the digital landscape.

The film reveals the effects of "digital socialization" by taking viewers on a personal journey with a group of high school and college students who through a digital cleanse discover the power of authentic human connectivity, and that there is "No App" or piece of technology that can ever replace the benefits of human connection.

DVD / 2017 / (Grades 6-12, College, Adult) / 48 minutes

CRACKING CANCER

Directed by Judith Pyke

A clinical research trial at the Personalized OncoGenomics Program is changing the way scientists think about the future of cancer care.

Six years ago Zuri Scrivens, the mother of a toddler, was very ill with incurable breast cancer that had spread to her liver and lymph nodes. Today Zuri has no signs of cancer, not because of a miraculous new cancer drug, but thanks to a diabetes medication.

CRACKING CANCER follows a group of patients with incurable cancer on a trailblazing journey through a highly experimental clinical trial at the BC Cancer Agency in Vancouver called POG -- Personalized OncoGenomics.

The trial compares patients' normal DNA -- each cell's complete set of instructions -- with that of their tumors, to find the genetic mutations causing their cancer. Zuri's cancer driver was a mutation that caused a very high growth factor. The team plowed through decades of data to isolate which drug in all of medicine, not just cancer, might block that growth factor. They zeroed in on a diabetes medication. Zuri received the drug and standard hormone treatment. Within 5 months, her cancer became undetectable.

POG offers a radical new way of treating cancer, not according to where it originates in the body, but rather as a disease of genetic mutations. Thousands more will join the trial, all hoping for their own salvation, all helping science to crack the cancer code.

DVD / 2017 / (Grades 10-12, College, Adults) / 44 minutes

DANGEROUS IDEA, A: GENETICS, EUGENICS AND THE AMERICAN DREAM

Directed by Stephanie Welch

Examines the history of the US eugenics movement and its recent resurrection, which uses false scientific claims and holds that an all-powerful "gene" determines who is worthy and who is not.

There is a dangerous idea that has threatened the American Dream from the very beginning. It is a strong current of biological determinism which views some groups, races and individuals as inherently superior to others and more deserving of fundamental rights. Despite the founders' assertion that "all are created equal," this idea was used to justify disenfranchising women, blacks and Native Americans from the earliest days of the Republic.

A DANGEROUS IDEA: GENETICS, EUGENICS AND THE AMERICAN DREAM reveals how this dangerous idea gained new traction in the 20th century with an increasing belief in the concept of an all-powerful "gene" that predetermines who is worthy and who is not. The film reveals how this new genetic determinism provided an abhorrent rationale for state sanctioned crimes committed against America's poorest, most vulnerable citizens and for violations of the fundamental civil rights of untold millions.

Featuring interviews with social thinkers including Van Jones and Robert Reich as well as prominent scientists in many fields, A DANGEROUS IDEA is a radical reassessment of the meaning, use and misuse of gene science. Like no other film before it, this documentary brings to light how false scientific claims have rolled back long fought for gains in equality, and how powerful interests are poised once again to use the gene myth to unravel the American Dream.

DVD / 2017 / (Grades 10-12, College, Adult) / 106 minutes

GEEK GIRLS

By Gina Hara

Nerdy women - the "hidden half" of fan culture - open up about their lives in the world of conventions, video games, and other rife-with-misogyny pop culture touchstones. While geek communities have recently risen to prominence, very little attention is paid to geek women. Filmmaker Gina Hara, struggling with her own geek identity, explores the issue with a cast of women who live geek life up to the hilt: A feminist geek blogger, a convention-trotting cosplayer, a professional gamer, a video-game designer, and a NASA engineer. Through their personal experiences in the rich cultural explosion of nerdom, GEEK GIRLS shows both the exhilaration of newfound community and the ennui of being ostracized. These women, striving in their respective professions and passions, face the cyberbullying, harassment, and sexism that permeate the culture and the industry at large. A rich conversation-starter for any class on Pop Culture and Feminism.

DVD (Color) / 2017 / 83 minutes

POINT OF NO RETURN

Directed by Noel Dockstader, Quinn Kanaly

Documents the journey of the Solar Impulse - the first solar-powered, round-the-world flight - demonstrating the tremendous potential of renewable energy sources.

Soaring at 28,000 feet without a drop of fuel, nothing is predictable. Not the weather, not the technology. And certainly not the fate of a man, alone for five days in a fragile, first-of-its-kind aircraft with nothing but ocean below.

POINT OF NO RETURN takes viewers behind the headlines of the first solar-powered flight around the world, where two courageous pilots take turns battling nature, their own crew, and sometimes logic itself, to achieve the impossible. Not just to make history, but to inspire a revolution.

DVD / 2017 / (Grades 7-9, College, Adults) / 95 minutes

FUTURE OF WORK AND DEATH, THE

Directors: Sean Blacknell, Wayne Walsh

In this provocative documentary, worldwide experts in the fields of futurology, anthropology, neuroscience and philosophy consider the impact of technological advances on the two certainties of human life: work and death.

Charting human developments from early man, past the Industrial Revolution, to the digital age and beyond, The Future of Work and Death looks at the astonishing exponential rate at which mankind creates technologies to ease the process of living. As we embark on the next phase of our 'advancement,' with automation and artificial intelligence driving the transformation from man to machine, the film gives a shockingly realistic look into the future of human life.

Featuring a host of knowledgeable but endearingly eccentric experts including author Will Self, futurist Gray Scott, transhumanist Zoltan Istvan, and neuroscientist Rudolph Tanzi, The Future of Work and Death is profoundly insightful, often surprising, and always engaging.

DVD / 2016 / 89 minutes

GREAT UNSUNG WOMEN OF COMPUTING: THE COMPUTERS, THE CODERS AND THE FUTURE MAKERS

By Kathy Kleiman, Jon Palfreman and Kate McMahon

In the United States, women are vastly underrepresented in STEM (Science, Technology, Engineering & Math) fields, holding under 25% of STEM jobs and a disproportionately low share of STEM undergraduate degrees. Great Unsung Women of Computing is a series of three remarkable documentary films that show how women revolutionized the computing and Internet technology we use today, inspiring female students to believe that programming careers lie within their grasp.

The Computers features the extraordinary story of the ENIAC Programmers, six young women who programmed the world's first modern, programmable computer, ENIAC, as part of a secret WWII project. They programmed ENIAC without programming language (for none existed), and harnessed its power to perform advanced military calculations at lighting speeds. However, when the ENIAC was unveiled in 1946, the Programmers were never introduced and they became invisible. This stunning documentary features rare footage and never-before-seen interviews with the ENIAC Programmers. 70 years later, this is their story.

The Coders tells the story of two extraordinary women, Sarah Allen and Pavni Diwanji whose technologies revolutionized the Internet: Sarah co-invented Flash, the first multimedia platform supporting video, graphics, games and animation for the internet, while Pavni invented the Java servlet to allow web applications to respond quickly to requests from users everywhere.

In The Future Makers, Andrea Colaco, a young MIT PhD, shares her dream of a world in which we interact with our smart devices using natural hand gestures, not static keyboards or touchpads. She invented 3D "gestural recognition technology" and co-founded 3dim to develop and market it. In 2013, 3dim won MIT's $100K Entrepreneurship Prize and launched Andrea towards her dream of innovation and changing the world.

DVD (Color) / 2016 / 48 minutes

HILLEMAN: A PERILOUS QUEST TO SAVE THE WORLD'S CHILDREN

Director: Donald Rayne Mitchell

The 20th century was a dangerous time to be young: a multitude of diseases too often kept children from reaching even their teenage years. Millions suffered and died. From that environment one man would emerge to lead a revolution in vaccine innovation that would save many millions of young lives every year; the greatest scientist of the 20th century, and no one knows his name.

Maurice Hilleman had a singular, unwavering focus: to eliminate the diseases of children. From his poverty-stricken youth on the plains of Montana, Hilleman came to prevent pandemic flu, invent the measles-mumps-rubella (MMR) vaccine, and develop the first-ever vaccine against human cancer. Responsible for more than half of the vaccines children receive today, he is credited with saving more than eight million lives every year. Now through exclusive interviews with Dr. Hilleman and his peers, rare archival footage, and 3-D animation, this documentary puts a human face to vaccine science, revealing the character that drove this bold, complex, and heroic man.

When parents began choosing not to vaccinate their children in the 1990s, a cruel irony became clear; Hilleman's unprecedented successes have allowed us to forget just how devastating childhood diseases can be.

DVD / 2016 / 67 minutes

ANTIBIOTIC HUNTERS, THE

Directed by Bruce Mohun

Scientists are hunting urgently for new antibiotics - a challenge that is taking them to some remote and unusual places.

Increasing resistance to antibiotics has been called the most pressing global health problem of our time. Medical experts are predicting a post-antibiotic era, in which people will die of infections easily treated just a few years ago -- unless we find more of these miracle drugs.

THE ANTIBIOTIC HUNTERS follows drug researchers as they investigate the slimy green fur of sloths, the saliva of Komodo dragons, the blood of alligators, and the bacteria in British Columbia caves and on the ocean floor off the coast of Panama -- all part of the urgent hunt to find the building blocks of new antibiotics.

DVD / 2015 / (Grades 7-12, College, Adult) / 44 minutes

DEATH BY DESIGN

Directed by Sue Williams

Debunks the notion that electronics is a 'clean' industry by revealing the human and environmental cost of electronic gadgets that are designed to die.

Consumers love - and live on - their smartphones, tablets and laptops. A cascade of new devices pours endlessly into the market, promising even better communication, non-stop entertainment and instant information. The numbers are staggering. By 2020, four billion people will have a personal computer. Five billion will own a mobile phone.

But this revolution has a dark side that the electronics industry doesn't want you to see.

In an investigation that spans the globe, award-winning filmmaker Sue Williams investigates the underbelly of the international electronics industry and reveals how even the tiniest devices have deadly environmental and health costs.

DEATH BY DESIGN tells the stories of young Chinese workers laboring in unsafe conditions, American families living with the tragic consequences of the industry's toxic practices, activists leading the charge to hold brands accountable, and passionate entrepreneurs who are developing more sustainable products and practices to safeguard our planet and our future.

From the intensely secretive electronics factories in China, to the high tech innovation labs of Silicon Valley, DEATH BY DESIGN tells a story of environmental degradation, of health tragedies, and the fast-approaching tipping point between consumerism and sustainability.

DVD / 2015 / (Grades 7-9, College, Adults) / 73 minutes

INREALLIFE

Director: Beeban Kidron

InRealLife asks what exactly is the internet and what is it doing to our children? Taking us on a journey from the bedrooms of teenagers to Silicon Valley, filmmaker Beeban Kidron suggests that rather than the promise of free and open connectivity, young people are increasingly ensnared in a commercial world. Beguiling and glittering on the outside, it can be alienating and addictive. Quietly building its case, Kidron's film asks if we can afford to stand by while our children, trapped in their 24/7 connectivity, are being outsourced to the net?

While newspapers alternately praise and panic about the glittering world of the Internet, there is a generation of children who have grown up with a smart phone in their hand, connected to the world 24 hours a day, seven days a week.

Public discourse seems to revolve around privacy, an issue that embodies the fears and concerns of adults. What is less discussed is what it really means to always be online, never alone and increasingly bombarded by a world that has something to sell you and appears to know you better than yourself. A world that is so ubiquitous that it is the first thing you see as you wake up in the morning and the last thing you see before you go to sleep at night.

For adults there was a 'before' the net. But for the current generation, at the time of their most rapid development they have no other experience and few tools with which to negotiate the overwhelming parade of opportunity and cost that the internet delivers directly into their hands.

From the bedrooms of five disparate teenagers and then into the companies that profit from the internet, InRealLifetakes a closer look at some of the behavioral outcomes that come from living in a commercially driven, 'interruption' culture.

Following the physical journey of the internet, from fiber optic cables through sewers and under oceans, from London to NYC and finally to Silicon Valley, the film reveals that what is often thought of as an 'open, democratic and free' world is in fact dominated by a small group of powerful players. Meanwhile our kids - merely pawns in the game - are adapting to this new world - along with their expectation of friendship, their cognition and their sexuality.

DVD / 2013 / 90 minutes

FORBIDDEN VOICES: HOW TO START A REVOLUTION WITH A COMPUTER

By Barbara Miller

Their voices are suppressed, prohibited and censored. But world-famous bloggers Yoani Sanchez, Zeng Jinyan and Farnaz Seifi are unafraid of their dictatorial regimes. These fearless women represent a new, networked generation of modern rebels. In Cuba, China and Iran their blogs shake the foundations of the state information monopoly, putting them at great risk.

This film accompanies these brave young cyberfeminists on perilous journeys. Eyewitness reports and clandestine footage show SÃ¡nchez's brutal beating by Cuban police for criticizing her country's regime; Chinese human rights activist Jinyan under house arrest for four years; and Iranian journalist and women's advocate Seifi forced into exile, where she blogs under a pseudonym. Tracing each woman's use of social media to denounce and combat violations of human rights and free speech in her home country, FORBIDDEN VOICES attests to the Internet's potential for building international awareness and political pressure.

DVD (Color) / 2012 / 96 minutes

SURVIVING PROGRESS

Director: Mathieu Roy & Harold Crooks

Technological advancement, economic development, population increase - are they signs of a thriving society? Or too much of a good thing? Based on the best-selling book A Short History of Progress, this provocative documentary explores the concept of progress in our modern world, guiding us through a sweeping but detailed survey of the major "progress traps" facing our civilization in the arenas of technology, economics, consumption, and the environment.

Featuring powerful arguments from such visionaries as Jane Goodall, Margaret Atwood, Stephen Hawking, Craig Venter, Robert Wright, Michael Hudson, and Ronald Wright, this enlightening and visually spectacular film invites us to contemplate the progress traps that destroyed past civilizations and that lie treacherously embedded in our own. Leading critics of Wall Street, cognitive psychologists, and ecologists lay bare the consequences of progress-as-usual as the film travels around the world - from a burgeoning China to the disappearing rainforests of Brazil to a chimp research lab in New Iberia, Louisiana - to construct a shocking overview of the way our global economic system is eating away at our planet's resources and shackling entire populations with poverty.

Providing an honest look at the risks and pitfalls of running 21st Century "software" (our accumulated knowledge) on 50,000-year-old "hardware" (our primate brains), Surviving Progress offers a challenge: to prove making apes smarter was not an evolutionary dead end.

DVD / 2012 / 86 minutes

http://www.learningemall.com/News/Science_Technology_Society_202103.html

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orbemnews · 3 years

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Naomi Levine, Lawyer Who Transformed a University, Dies at 97 Naomi Levine, who as executive director of the American Jewish Congress in the 1970s was the first woman to lead a major Jewish advocacy organization, and who later became an instrumental force in New York University’s transformative expansion into a top-tier institution, died on Jan. 14 at her home in West Palm Beach, Fla. She was 97. The death was confirmed by her daughter, Joan Kiddon. Ms. Levine, who grew up in the Bronx in the 1930s, first aspired to become a public-school teacher. But, as she told it, she was rejected after taking an oral exam because she had a lisp and decided to pursue law instead. She attended Columbia Law School, where among the other students in the 1940s were such soon-to-be-prominent women as the pioneering feminist politician Bella Abzug, the labor lawyer Judith Vladeck and the federal judge Constance Baker Motley. In the 1950s, Ms. Levine joined the American Jewish Congress as a lawyer on its Commission on Law and Social Action. There, often in partnership with the NAACP Legal Defense Fund, she wrote briefs in decisive Supreme Court cases, including Brown v. Board of Education, which dismantled segregation in public schools, and Sweatt v. Painter, which successfully challenged the “separate but equal” doctrine established by Plessy v. Ferguson. In 1963 Ms. Levine helped Rabbi Joachim Prinz write “The Issue is Silence,” a speech expressing solidarity with the civil rights movement, which he delivered moments before the Rev. Dr. Martin Luther King Jr. gave his famous “I Have a Dream” speech at the March on Washington. She later taught a class at the John Jay College of Criminal Justice on law and race relations in policing. As she pursued her law career, Ms. Levine often found herself surrounded by men. “I knew I deserved to be there because I was as smart as, and often smarter than, everyone else in the room,” she once said. “And if I kept my mouth shut about it, I could get an awful lot done.” In 1972, Ms. Levine was appointed executive director of the American Jewish Congress, a position that brought her visibility and influence. In an interview with The New York Times that year, she reflected on the women’s movement and the balance of responsibilities between spouses. “I still feel somewhat guilty when I spend too much time away from home, and if my daughter got sick I would stay home and care for her — I wouldn’t expect my husband to,” she said. “The young girls today think differently, and they’re right.” She summed up her view this way: “Women’s lib is probably correct, but it’s not my style.” In 1978, Ms. Levine left the American Jewish Congress and, eager for a new challenge, accepted a position at N.Y.U. She was tasked with helping the troubled institution realize its ambitions of becoming a top-tier university. At the time, N.Y.U. wasn’t the prestigious academic institution it is today. It had a meager endowment and, with its crumbling campus buildings and drab dormitories, was struggling to attract students. Ms. Levine began leading the university’s charge toward change as its chief fund-raiser, and she quickly proved to be gifted at the strategic art of raising money. Over the course of two decades, she raised more than $2 billion; toward the end of her tenure, she was raising around $300 million per year. In 1985, she launched an unprecedented $1 billion fund-raising campaign, which earned her some skepticism, but when the feat was accomplished a decade later, the initiative was celebrated as one the most ambitious such efforts in higher education. By the beginning of the 21st century, N.Y.U. had reinvented itself, and its expansion continued to accelerate through Lower Manhattan. The headline of a 2001 article in The New York Times called Ms. Levine, who was then a senior vice president, the “Dynamo at the Heart of N.Y.U.’s Fund-Raising”; the article noted that the expression “Clear it with Naomi” had become commonplace within the university’s administration. “It is impossible to overstate Naomi’s contribution to the transformation of N.Y.U.,” John Sexton, the university’s president from 2002 to 2015, said in a phone interview. “Anyone who knows the generative forces that took N.Y.U. from its nadir, which is at the advent of her arrival, to where it was in 2000 and beyond, knows that she was one of the key generators of those forces.” After stepping down as the university’s chief fund-raiser, Ms. Levine established the George H. Heyman Jr. Center for Philanthropy and Fundraising at N.Y.U., where she also taught a graduate course called “Ethics, the Law and Board Governance in Nonprofit Organizations.” She retired in 2004. Ms. Levine’s commitment to social issues remained a through line in her career, expressed perhaps most personally at Camp Greylock, the all-girls summer camp in the Adirondacks that she ran from 1955 to 1971. A mail boat would deliver copies of The New York Times to the camp, and Ms. Levine moderated discussions about current events with campers in a dining hall. She reluctantly closed the camp to focus on her work at the American Jewish Congress. Many campers, who still pridefully call themselves “Greylock Girls,” grew up to become leaders in law, business and medicine. “Regardless of age, she wanted these girls to know you can do anything and be anything,” Ms. Kiddon, her daughter, said. “She believed she could empower these girls for life.” Naomi Ruth Bronheim was born on April 15, 1923, in the Bronx. Her father, Nathan, was a salesman. Her mother, Malvina (Mermelstein) Bronheim, was a hospital secretary. When Naomi was a girl, she helped prepare a pot of flanken cholent stew on Friday nights in preparation for the Sabbath, and her mother sewed clothes for the family. Naomi attended Hunter College High School and graduated from Hunter College with a B.A. before enrolling at Columbia Law School, where she became an editor of the Law Review. In 1948 she married Leonard Levine, an accountant who had fought in the third wave at Normandy; he died in 2001. In addition to her daughter, Ms. Levine is survived by two granddaughters and a great-granddaughter. After Ms. Levine retired, N.Y.U. recognized her with a Presidential Medal in 2005. She remained on the board of the school’s Edgar M. Bronfman Center for Jewish Student Life and also advised the Taub Center for Israel Studies. A few years ago, Ms. Levine moved to West Palm Beach, where she began writing a memoir tentatively called “History and Me.” She also started a book and film club at the Kravis Center (which her daughter described as “the Lincoln Center for West Palm Beach”) where members discussed social issues. After watching “To Kill a Mockingbird” (1962), they talked about racism in America; after “Adam’s Rib” (1942), they shared their views on sexism and gender inequality. Ms. Levine hoped to one day show the 1933 film version of “Little Women.” In 2016 she told The Palm Beach Daily News that Katharine Hepburn’s headstrong portrayal of the main character, Jo March, had inspired her when she saw the movie as a girl. “She wanted to free herself from being an ordinary woman,” Ms. Levine said. “That influenced my thinking.” Source link Orbem News #Dies #Lawyer #Levine #Naomi #transformed #university

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timespakistan · 4 years

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‘Street theatre is the best tool for social awareness’: Davinder Daman | Art & Culture | thenews.com.pk

If you have seen the movie Train to Pakistan, chances are you remember Davinder Daman, who has performed in this and several Hindi, Punjabi, and English films. But acting is not his only identity. Instead, he is better known in India as a scriptwriter, a stage actor and a theatre director.

During his extraordinary career spanning over half a century, Daman has penned almost 50 plays that have been performed in Pakistan, India, the US, Canada and Thailand. These raise social awareness on gender bias, inequalities, and marginalization in agrarian societies. He also runs the Norah Richards Rangmanch theatre group in his hometown of Mohali near Chandigarh.

He has recently published a collection of his plays. The Punjabi Academy in New Delhi has included an English translation of his play Qatra Qatra Zindagi in an anthology of plays it has published.

In the following interview, Daman talks about a wide variety of issues including street and popular theatre, freedom of expression, and theatre’s contribution in raising social consciousness.

The News on Sunday: You were raised in rural Punjab, where stage drama and literature are not a part of life. How did you develop an interest in theatre?

Davinder Daman: As a child, I was thrilled to watch nautankis performed in my village. In those days, bhands and comedians used to perform at weddings, and it was great fun to watch them. Then I started performing as a child artist in the street theatre produced by some progressive groups that visited my village. These activities became a primary source of training that prepared me to participate in school plays, where the visiting Parsi theatre companies also inspired me to be part of the amazing world of theatre.

TNS: How would you differentiate between street theatre and popular theatre?

DD: In my view, the objective of stage drama is entertainment, while the street theatre primarily aims at raising social awareness among the masses. Don’t get me wrong, it does not mean that stage theatre cannot promote social issues, but most of the time, entertainment is their business. Also, the street theatre comes to perform for its audience and the stage audience goes to the venue. I would say the street theatre primarily addresses social and cultural issues, and that pop theatre has a different objective altogether.

TNS: Street theatre has had a critical role in India historically. How did the progressive movement utilize this medium to initiate a dialogue with the masses on poverty, workers, farmers, and class issues?

DD: Yes, the street theatre in India began examining political and social issues in 1941. Independence and people’s rights were its major themes. As street theatre participated in the freedom movement against the colonial government of those days, British rulers suppressed these performances in several areas, mainly for its nationalistic content. A play spearheaded by Bhagat Singh was banned at the Lahore National College of Arts. Street theatre was also a significant force behind the 1946 rural uprising in 4,000 villages of Hyderabad, where feudal lords were removed from their land. The farmers also refused to pay taxes in the Punjab in 1957-58 with support from street theatre. Numerous people lost their lives or were arrested during the struggle.

TNS: We hear a lot about curbs on freedom of expressionin the subcontinent these days. Do you think it has reached the world of theatre yet?

DD: Governments do not have to curb the media these days as media houses are controlled by corporate lobbies that do not allow any criticism of the government as part of media discourse. This helps keep alive an illusion of democracy. Historically, however, the theatre has always been a prime target of government restrictions in India before and after independence. My play Suraj ka Qatl (Killing the Sun) was banned in the 1975-76 emergency in India even though it was based on the life of Guru Taigh Bahadur as a historical figure. Another play, Tapish (The Heat), was banned as it exposed the state intelligence agencies. My play on Bhagat Singh also came under attack during the resistance movement in the Indian Punjab when a university in Haryana cancelled it and called the police. The audience, however, kept watching the play in the dark using their cell phones as a source of light after the university cut off electricity supply on the campus. Four different groups have performed the play in Pakistan. One of the performances was at Shadman Chowk in Lahore, the place where Bhagat Singh was hanged.

TNS: You have been a stage performer and a playwright for a long time. Do you think TV has adversely affected the theatre in India?

DD: Theatre has been a part of the Indian tradition for a long time. It survived the film industry first, then TV and now social media. I don’t think other media outlets can replace theatre. In fact, theatre has now become a culturally integrated institution. Festivals are now being organized, and conferences being held on various aspects of stagecraft and theatre. I would say people the new media can mesmerize the people, but its overarching influence is temporary.

TNS: In what sense is Punjabi theatre different from the Hindi theatre? How do you see the future of theatre in India?

DD: The Punjabi theatre is indeed a recent phenomenon as compared to the Hindi theatre in India, which has been active since 1914 when an Irishwoman, Norah Richards, produced the play Suhag written by Ishwar Chander Nanda. As the Punjab has been a target of foreign invasions, theatrical tradition took a long time to take root here. In its absence, the tradition was kept alive by the popular folk comedians known as bhands. Let me say, however, that the quality of Punjabi theatre is no worse than the Hindi theatre. The future of street and pop theatre seems to be very bright in India. At the same time, the plight of the creative lot associated with the stagecraft continues to be deplorable.

The author is an academic scholar, media strategist, and freelance journalist based in the United States

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ladystylestores · 4 years

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Kalki Subramaniam: If I don’t tell Indian transgender community’s stories, who will?

Written by Kalki Subramaniam

Kalki Subramaniam is a transgender rights activist, artist and founder of the Sahodari Foundation. The opinions in this article belong to the author.

I remember my childhood so vividly. Until the age of 11, I was a playful, happy child at home, and a good student at school.

Growing up in rural India, I was considered the more privileged child among my two sisters, having been born male. Yet, deep inside, I longed to be my true self.

I was a naturally effeminate child. I felt uncomfortable being addressed as “he,” and it seemed like there was this girl inside who liked everything a little girl of my age liked. This made me a constant target. But I didn’t fear those big, bullying boys and would fight back, never ashamed of who I was.

Then, at the age of 14, I gave up. After I started losing interest in school, certain teachers became aggressive and would punish me with a cane. I could never tell my parents. Amid painful episodes of shame and self-doubt, I considered ending my own life, though my family’s love stopped me from doing so.

I cut class and would go to parks and forests to get away from everyone. Under the trees, I wrote poetry and imagined my future life in drawings, which helped me heal my inner wounds.

“I with in” by Kalki Subramaniam. Credit: Courtesy Kalki Subramaniam

When I finally came out as transgender to my parents, I was taken to a psychiatrist to help with my gender dysphoria, or the distress caused by the discrepancy between a person’s body and their gender identity. He asked me to draw how I saw myself in the future, so I drew a beautiful girl with a long skirt, hat and a big smile. He was taken aback, but he eventually helped me gain my family’s acceptance.

This is the dilemma faced by teen children with gender dysphoria. Unable to bear the bullying but terrified of disappointing their parents, they fear going to school and they fear dropping out, too. If they “out” themselves, only a few are accepted by their parents.

“The deepest wounds cannot heal until they are expressed. Practicing art helps us heal emotional injuries, by providing a safe opportunity for self-expression and shaping one’s identity.”

Kalki Subramaniam

When our families reject us, we find solace and refuge with other “hijras” who are also struggling to survive. In my lifetime, I have lost many transgender friends to suicide. Other friends died from AIDS.

As a teenager, I witnessed — and was the victim of — harassment. A transgender friend of mine, who was a sex worker, was raped by seven men. Another friend was chased by her own brother wanting to burn her. While another friend was driven out by her family. These childhood experiences built my raging desire for justice and inspired me to become an activist for the transgender community.

Healing through art

After completing my master’s degree in journalism, I started a magazine called Sahodari (or “sister”) to reach out to and support the transgender community. I used photographs, art and text to educate people about mental health, transitioning and their right to dignity.

Within a few years, I had founded the Sahodari Foundation and trained our team in visual storytelling.

Subramaniam pictured delivering a performance poetry piece. Credit: Sakthi Nithyanandan

Art has helped me identify my self-worth. It has been a medium for me to express my hope, joy, fear, anguish, desires and struggles. It is a reflection of my deep self that mirrors my journeys. It is a divine experience. When I paint, it is like my blood flows into the canvas and there is a soul connection. My artworks “The Purple Princess” and “I with in” celebrate the pure feminine and androgynous expressions with bright fluorescent colors. More recently, I have started to incorporate augmented reality into my artworks — a technology that will help provide another level of meaning and emotional engagement with audiences.

Many people in the community are artistic and creative, but they seldom have the opportunity to practice their art. I realized that our community could not only express themselves through art, they could make a living from it. That is how our Transhearts project was born. I traveled with my team to several cities and small towns in south India to offer free workshops on expressive painting. It has been a therapeutic experience for the participants. When they are making art, they forget time.

Participants create works during a Transhearts workshop. Credit: Sahodari Foundation

We have exhibited the community’s artworks in galleries, universities, colleges and public spaces. The reception had been tremendously positive. When people see the artwork they can identify and empathize with us.

Each piece of art tells a story. Abinaya’s “The Struggling Sex Worker” was a moving work, very raw in portraying the exploitation of trans bodies. Viji D’s “Begging Cycle” expresses the anguish of asking for money from strangers in trains to meet her basic needs. Nayanthara’s “Finding Oneself” is beautiful, spiritual and powerful.

“Begging cycle” by Viji D Credit: Matilda Södergren

“Finding Oneself” by Nayanthara Credit: Courtesy Kalki Subramaniam

The deepest wounds cannot heal until they are expressed. Practicing art helps us heal emotional injuries, by providing a safe opportunity for self-expression and shaping one’s identity. It can bring out our beautiful side. It can make us more tolerant of differences — and of one another.

Standing up against violence

Sexual violence is a terrible, horrible, health-affecting issue that transgender people have endured for decades. Research from the Indian states of Maharashtra, Tamil Nadu and Karnataka found that four in 10 transgender people will experience some form of sexual abuse before the age of 18. Many of us remain silent victims.

The Red Wall Project was created to empower the voices of India’s transgender and gender-diverse people, and to help resist the crimes perpetrated against us. It is a community “art-ivism” project whereby participants are interviewed by my team and write down their experiences of assault, abuse or rape on paper marked with their palm prints in red paint.

Listening to the experiences can be traumatizing, yet we are determined to do it. If we don’t tell our community’s stories, who will?

With their consent, we bring these stories to the public. During the exhibitions, I use my poetry and performance art to provoke dialogue about taking action against gender-based crimes.

Participants in the Red Wall project write their stories. Kalki sees the red painted palms signifying “a slap against abusers and a sign of resistance.” Credit: Sahodari Foundation

The testimonials have been exhibited at the British council in Chennai, the Alliance Française in Trivandrum and various other educational and cultural institutions across India.

We want to reach out to India’s young people with our stories, and tell them that it is unacceptable to hurt people based on their gender identity. Through victims’ first-hand accounts, we can show them that we are human beings who deserve better treatment, respect and dignity.

Whenever we exhibit these testimonials, I see people reading them patiently for hours. I have seen visitors who, after reading, sit in silence in tears. Young people come to me and say, “What can I do to stop this violence? How can I be supportive?” And I tell them: “Educate yourself more, sensitize your family and your friends to be trans-friendly. Empathize with us. That is all we need.”

Struggle for recognition

For decades, our community has struggled for acceptance and equality. In 2014, hard-fought battles led to a milestone victory when India’s Supreme Court finally recognized transgender people as a “third gender.” It was a move I had long lobbied the judiciary for, and the legal recognition meant, for instance, that people could enroll at academic institutions, as openly transgender, without fear.

“The rainbow is shining bright and beautiful. I see hope.”

Kalki Subramaniam

Many corporations have started to hire transgender employees. Years of activism and awareness-building have resulted in many other welcome changes, including the positive portrayals of transgender people in mainstream media and films. In January 2020, the Transgender Persons (Protection of Rights) Act came into effect, providing further legal protections of our rights and welfare.

Students read Red Wall testimonials. Kalki sees the red painted palms signifying “a slap against abusers and a sign of resistance.” Exhibited together, she says the palms are a unified and powerful statement from victims seeking justice for the crimes committed against them. Credit: Sahodari Foundation

There is still much work to be done. We are still fighting for affirmative action to ensure jobs and places at educational institutions. We want protection against stigma and discrimination, and legal guarantees that the punishments for crimes against transgender people will be severe.

But the rainbow is shining bright and beautiful. I see hope. I see a better future for our generation of queer Indians. I see India as a place that can uphold LGBTQI rights in the world. And I see India as a pioneer of transgender rights in the future.

For more on the author, visit her website.

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