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tartyfart · 2 years ago

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Abigail Child has been at the forefront of experimental writing and media since the 1980s, having completed more than thirty film/video works & installations, and written 6 books. An acknowledged pioneer in montage, Child addresses the interplay between sound and image, to make, in the words of LA Weekly: “brilliant exciting work…a vibrant political filmmaking that’s attentive to form.” Her films rewrite narrative, creating the cult classics PERILS, MAYHEM and COVERT ACTION (1984-87). Other productions borrow documentary to poetically envision public space including B/Side (1996) and SURF AND TURF (2011). Child’s re-constructed home movie THE FUTURE IS BEHIND YOU (2004) served as inspiration for UNBOUND: Scenes from the life of Mary Shelley shot as imaginary home movies. In recent years, Child has expanded her vertical montage to multiple-screen installation with MIRRORWORLDS and THE MILKY WAY. ACTS AND INTERMISSIONS, the second in her trilogy on Women and Ideology, circling around the life of Emma Goldman and a history of protests, premiered at The Museum of Modern Art’s Doc Fortnight in February 2017.

Child is the principal director, cinematographer and editor on her films. Cultural displacements, mostly urban ones, have been at the heart of her concerns. Her work involves intimate collaborations, with poets: Monica de la Torre (To and No Fro), Gary Sullivan (Mirror World), Nada Gordon (Ligatures) and Adeena Karasick (Salomé) as well as with notable downtown composers including John Zorn (The Future Is Behind You), Ikue Mori (B/side, 8 Million), Zeena Parkins (Unbound, Mayhem), Christian Marclay (Mayhem, Surface Noise) and Andrea Parkins (Vis A Vis and Acts and Intermissions). Child is currently working on the last film in the trilogy "The Andriod Project" (wt).

Her films, compulsive visual and aural legerdemain, have been widely awarded and shown internationally. Child has been honored with a Rome Prize Fellowship (09-10), as well as a John Simon Guggenheim, Radcliffe Institute and Fulbright Fellowships. She is winner of the Stan Brakhage Award, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, LEF Foundation, Mass Arts Council, and Art Matters. Child's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibitions (1989+1997); Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; CAPC Musée, Bordeaux; Museo Reina Sofia, Madrid; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Locarno, Berlin, Toronto, Brazil, Mexico City and Seoul, among many others. Her work is in the collections of the Museum of Modern Art New York and Centre Pompidou among others. Harvard University Cinematheque has created an “Abigail Child Collection” which will preserve and exhibit her films.

Child is also a writer with more that 5 books and numerous chapbooks. Her critical study, THIS IS CALLED MOVING: A Critical Poetics of Film (2005) is the only critical book written by an active American artist/filmmaker in over two decades. Her book of poetry MOUTH TO MOUTH came out in 2016, courtesy of Eoagh Press and was honored with a Lambda Prize in 2017. Child is Emeritus Professor of Media at Tufts University, the SMFA, and lives and works in New York City.

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#Abigail child #experimental #filmmaker #poet #sight and sound #video montage #fuckinclass #Youtube

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totalsoccer · 4 years ago

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The ogre looming in Marcelo Bielsa’s rearview mirror receded somewhat as Leeds United returned to both swashbuckling form and the top of the Championship. Thanks to high calibre performances from, among others, Hélder Costa and substitute Pablo Hernández, they now sit one point ahead of West Brom and, more significantly, six in front of third-placed Brentford.

The six straight second-tier wins by Thomas Frank’s side had left Leeds looking a little anxious at kick-off but, on this thoroughly compelling – not to mention fabulously entertaining – evidence, it seems their 16-year Premier League exile is now less than a fortnight from ending after all.

Continue reading... via Football | The Guardian

#IFTTT #Football | The Guardian

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elexonic · 5 years ago

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THE 5G CORONAVIRUS CONSPIRACY THEORY HAS TAKEN A DARK TURN

Mobile phone masts in the UK are still being attacked by arsonists on a daily basis because of a conspiracy theory linking 5G to the spread of coronavirus. New data seen by WIRED UK reveals that dozens of attacks have taken place in the last fortnight, with conspiracy theorists targeting both infrastructure and key workers in the misguided belief that they are somehow spreading coronavirus. In one incident, a broadband engineer was spat at in the face by an enraged member of the public. The engineer is now ill with suspected coronavirus.

Wired UK

This story originally appeared on WIRED UK.

Since March 30, there have been 77 arson attacks on mobile phone masts across the UK, with staff working on mobile infrastructure also reporting 180 incidents of abuse. There have been 13 additional incidents of sabotage reported, ranging from failed arson attacks to attempts to damage mobile network infrastructure in other ways. From April 20 through May 5, more than a week after the supposed peak of attacks in early April, there were 16 arson or sabotage attacks on mobile phone masts. When failed or attempted attacks are added to the tally, that number increases to 74.

The figures from the mobile phone sector are mirrored by Openreach, which is responsible for maintaining much of the UK’s broadband infrastructure. The company has recorded 63 incidents of abuse directed towards its staff while out working since April 1, with conspiracy theorists often filming such encounters while shouting and swearing at terrified key workers. Footage of these confrontations is then shared on social media. In the last two weeks of April, Openreach recorded 20 incidents of this nature.

https://elexonic.com/2020/05/09/the-5g-coronavirus-conspiracy-theory-has-taken-a-dark-turn/

#coronavirus 5G mobile conspiracy theory

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wreathedwith · 8 years ago

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Write-up - Masterclass: Charlie Brooker in Conversation, 09/04/2017

This event was part of the BFI’s inaugural television festival. (Really good to see TV getting some love as well as films on this sort of platform!) LBC radio host and Newsnight presenter James O’Brien was asking the questions.

It was held at the BFI IMAX, which meant there was a massive screen in front of which there was a tiny plinth from which Brooker and O’Brien sat and chatted.

I was three rows from the front, central section (nobody was allowed to sit in the first row – maybe Brooker can’t cope with people being that close, idk). There was a camera operator filming from one row behind me – not sure what they plan to do with the footage, but keep an eye out for it potentially turning up.

I’m trying to primarily mention stuff here that I haven’t seen covered in interviews before (or just stuff I personally found interesting), as this was essentially a swift go-through of Brooker’s career and certainly some of it’s been covered before. Anything in quotes here may not be word for word perfect as this is all just taken from my notes.

Brooker (looked great and) was wearing a black polo shirt, black trousers, khaki jacket and grey trainers. If you ever had any doubt whether he’s just wearing his own clothes on Wipe, they’re the same trainers he wore in 2016 Wipe when he gets up from the sofa after Trump wins the election and walks off the set (they showed this clip! I don’t offhand remember things that well! I’m not that fucking weird!).

Said massive screen was filled with a massive picture of Brooker (the picture above, so if it’s a bit photoshopped I understand better why now). Predictably when he came on, Brooker reacted with some discomfort to this truly giant photo of himself and said he looked like “a dick” in it.

O’Brien kicked things off by saying he’d received an email from BFI’s comms department telling him that Brooker is a “capable talker” and that his main job would be to keep things on track and watch the time. (This was definitely a problem in Brooker’s interview with Grace Dent, to be fair.) He did a good job of keeping Brooker roughly on track… and Brooker kept apologising for rambling on.

This is pretty much going to be random bits and pieces in the order which they were talked about from here on in:

Brooker misunderstood the requested measurements for his nascent cartoons for Oink magazine, thinking they were in millimetres not centimetres, and so drew his first cartoons for them very small. He used this as the first of several examples of him having no idea what he was doing.

Assuming if you are reading this, you will already know Brooker didn’t get his degree because he wrote his dissertation on video games (an unacceptable topic). O’Brien asked what the thesis actually was. Brooker: “I don’t think it had one! I was just a fan. ‘I like video games’, basically.”

Brooker used to work at a CEX! [second hand video games shop] (I have a deep affection for CEX.) He did cartoons for their ads as well.

Brooker described tvgohome.com as primarily a discipline to see if he could reliably produce something every fortnight. He confirmed there were no ads on it and it wasn’t monetised in any way (except for the exposure that it gave him that lead to job offers).

Brooker said he was first working in The 11 O’Clock Show’s writers’ room in 1998 or 1999. If the cameramen laughed during the rehearsal (“they would laugh at ‘cock’ and ‘fuck’”), that material would stay in.

There was a sketch show based on tvgohome.com in 2001, but Brooker didn’t think it was very good, in part because he didn’t sit in on the edit (he always likes to do this now).

Brooker’s hands were so fidgety when they showed the 2016 Wipe clip (Trump’s win)! To be fair, it was on an IMAX screen in front of loads of people. (I think I saw Jonathon Ross in the audience but I’m not 100% sure.)

Chris Morris corner: O’Brien hypothesised that Brooker really started on the satire when he met Morris. Brooker didn’t really disagree or agree with this (“Maybe…”). Brooker said (as he has elsewhere) that he met Chris Morris through a mutual friend, that Chris Morris contributed some material to tvgohome [under the name Sid Peach] and that they talked about the Nathan Barley [TV show] idea “for four or five years”, because Morris’s gestation period is slow. Brooker said he enjoyed the conversations he had with Morris about Nathan Barley during this period. Whether the show happened or not was definitely in the hands of Morris, as Brooker seems very much in his ‘I have no idea how to get TV made’ stage at this point (also a bit in awe of Morris maybe?) – O’Brien asked Brooker if he ever asked Morris ‘well, are we going to do this then’ and Brooker said “No! He keeps going on about it – I thought unless he’s having a breakdown this will happen eventually.” Brooker said Morris gets things made through sheer force of will.

Brooker also said that his role in the creation of Morris’s Paedogeddon was to “sit in his office and say ‘that would be funny’ to suggestions I thought would be funny”. And Brooker realised Morris could get anything made when he got Paedogeddon made, as when Brooker first heard the idea he thought that it would never get made (this is an understandable viewpoint).

Brooker said the idea for Screenwipe was based on Bushell on the Box, which was certainly not a TV show I previously knew had existed. (Weirdly this sort of reminded me of Peep Show being inspired by Being Caprice in its similar obscurity.) An early title idea was ‘Charlie Brooker’s TV Inferno’ and (as he’s mentioned before) it was going to be like a sort of TV viewing party. (“As if I’m any good at interacting with human beings.”)

Brooker described his old flat where they used to shoot Screenwipe as a flat, not a house. (Maisonette? It does have stairs…)

Brooker described himself as “flailing immediately at the most casual barbeque” regarding current affairs knowledge, so thought could self-improve by reviewing the news as if it was a trashy TV show. (Newswipe is born). He said it felt weightier than the TV criticism.

Brooker doesn’t watch the news (if it can be avoided, which as he said often it can’t now) when he’s not doing a News/year-end Wipe! He said he avoids it as it makes him sad but also because he knows he’ll have to review it at the end of the year now anyway. As he’s said elsewhere, he felt so morose about 2016 he wasn’t sure at one point in November whether he could do the show, but interestingly said that doing Have I Got News For You straight after Trump’s election made him feel a bit better because he “had to do it” [had to face it and do the show].

Brooker doesn’t like the word satire.

They plan Wipes using storyboards, putting in sofa, desk or “walky-talky, as we call them” (!) sections. Brooker said it took them a “fucking long time” to learn to do that and they used to shoot loads more than they needed. More on the production method: researchers condense hundreds of hours of logged footage, and Brooker watches some of it with the writers and they come up with one liners while they’re watching it then.

Brooker called TV “a disgusting lie” in a very circa 2006 Screenwipe sort of way as he explained Wipe is filmed on the same set location where the Apprentice board room is filmed [shots suggest it’s in Canary Wharf when it’s in fact a set in Acton], and he walks out to the ‘Apprentice losers’ café’ (The Bridge Cafe) in 2016 Wipe because it really is next door to their set, just as it’s next door to the Apprentice’s set.

Brooker thought Dead Set would end his career (as a critic) if it ended up being shit, as he wouldn’t be able to critique TV again. He said he was surprised it turned out so well.

Dead Set has a lot of shake-cam – Brooker said after a clip “it makes you feel a bit sick” watching it on an IMAX screen. He also pointed out a “clunky” bit of ADR that I didn’t notice at all!

Brooker said he really enjoyed making Dead Set. Dead Set was delayed for a long time because of the Big Brother racism controversy in 2007.

O’Brien [I’m making this look much more 1984 than it was] asked if Brooker was at a point in his career when he could anything he wanted made. Brooker considered this, said he didn’t know, but he was sure “as a psychological exercise” he could come up with something unbroadcastable.

Brooker was in the writer’s room for 8 Out of 10 Cats for a bit. O’Brien said that you don’t get into those rooms by accident. Brooker (sort of) insisted that he did, saying that he got that job because the same production company [Zeppatron, of Endemol] were doing both that and Dead Set.

When asked by O’Brien about ideas getting rejected, Brooker said he wrote a sitcom that was rejected called ‘God Save the Queen’ about a punk band (“basically the Sex Pistols”) getting hanged by a Tory MP for treason in 1977 and then “going through the space time continuum” to the then present day. He said what dates it now is that they’re “complaining about ringtones”. (This sounds nuts. Somebody commission this now.)

Brooker pitched A Touch of Cloth five years before it got made.

Brooker liked any TV [and/or film] growing up that made him feel “sick and lost”, like The Wicker Man.

Brooker said he had been writing an episode of the next series of Black Mirror that day, and he’s made it “so fucking horrible it amuses me”.

Talking about getting to do most of the things he wanted to do when he was growing up, Brooker said “I haven’t made a ZX Spectrum game yet”. O’Brien asked if he’s ever written for video games. Brooker said no, he wouldn’t know how to get into that as it’s a very different discipline, and with the notable exception of The Last of Us he just wants to skip the story when it comes up in games so he can play the game!

Brooker originally pitched eight half hours for Black Mirror, and planned to only write one to two of them himself. Was keen for it, like Dead Set, to be played straight, unlike The Twilight Zone which he described as “a bit camp”.

The pig fucking idea came from an idea he’d had for ages of doing a spoof of 24 where Jack Bauer had to fuck a pig.

(O’Brien acknowledged that Brooker has been asked about this before.) Brooker said he’d be writing blackmail notes or “running shirtless into traffic, screaming” if he knew about the whole [Cameron] pig thing, not writing Black Mirror episodes.

Clip of White Christmas was played, meaning giant IMAX Jon Hamm!

Brooker, it should be noted, gave a little nervous laugh before everyone applauded after every single clip shown.

The clip was of Hamm’s character explaining the cookie/copy technology in this episode. Brooker: “That’s a lot of exposition. Fucking hell.”

Brooker said he thinks the stage direction he wrote in the script for when the copy’s light goes out was “The LED dims forlornly.” :(

Brooker said he didn’t know stage directions had to be written in scripts (“I thought you just wrote dialogue!”) until he read a script of Ross Kemp: Ultimate Force. O’Brien said he hadn’t been going to ask one of his intended questions – do you read much – until Brooker mentioned that, which was some of the least pretentious reading in the history of reading (O’Brien’s words). Brooker said that he doesn’t read much. When he reads he reads non-fiction. At the moment he just reads “fucking kids’ books; the Mr Men”.

Netflix Black Mirror differences: on a global scale, and a larger budget, but he described the budget as still not being large. Brooker said San Junipero was the first episode he wrote for the latest series, and that he wrote it very quickly, but he originally thought [spoiler if you haven’t seen it] seeing the two main characters in hospital would be the ending and then he surprised himself by keeping going. He was very specific in his instructions for the arcade games in this episode, and was genuinely very disappointed they couldn’t clear Outrun for use.

Brooker said he was worried about writing San Junipero as it was a love story between women and he isn’t a women and also “I have no human emotions”.

Brooker thinks satire is counterproductive and that change only comes from “mass peaceful civil disobedience”. So there you go kids.

There were a few questions from the audience, which were… mostly OK. Asked about personal fears going into his work, Brooker cited White Bear, saying he constantly worried about “being put in a perspex case and accused of murder”. He also said he worried about scarring his leg on the edge of the glass coffee table he was sitting behind. Just that he’s a constant worrier, basically. He also said he worried about running out of ideas.

AMAZING question phrasing from I think a 16 year old student, who also said her teacher “makes us read your Guardian columns for revision” (“fucking hell”, said Brooker). “How would you advise getting into TV and journalism? Would you just work in shops like you did, or… ?”

(Brooker said it was much more difficult now and he was creating a website that lead to everything else when website were unusual things. He advised uploading something to youtube, but making it the most personal and idiosyncratic thing you can do both to attract attention and because if it is successful at attracting attention you will have to write for other people for a while and not get to do your own stuff for a while.)

(For the journalism, Brooker said he had no idea. When people would tell him he had to come up with an angle he’d think “what the fuck is an angle?”. He said he liked writing a TV column because he didn’t have to come up with what he’d be writing about.)

Someone asked if he agreed with a journalist quote who said he was a “disappointed idealist”. Brooker: isn’t everyone? Brooker said he writes to amuse/entertain himself rather than convey a message, and finds preachiness in other’s work annoying.

Someone asked if he was taking any pitches (no, in part to avoid any accusations of stealing someone’s idea just because they happen to have a similar one to something he may already be working on). Brooker said he’s “not very good at bringing other people in”, and that for this series of Black Mirror they were looking at getting more creatives involved and also looking at how to structure a writer’s room as he doesn’t really do this currently. Hopefully encouraging news for those who would like to see more off-camera diversity.

Someone asked him if he’d seen anything in the news that’s more horrible than what he could create for Black Mirror. Brooker: “Yes, of course! And it’s really happening, the news!” (I sort of want to make ‘It’s really happening, the news” my new blog title.)

I wanted to ask, but didn’t get called on (er, also I was too shy to put up my hand, probably why) about diversity – Brooker’s said in the past he doesn’t necessarily imagine all of Black Mirror’s storylines with the gender, race and/or sexuality of the eventual main characters, and that he consciously injects that diversity – wanted to ask him if there was a point he got more conscious about doing this, and also that hopefully the benefits of it are self-evident but what would he say to people who are worried about getting it right or aren’t doing it at the moment. Or something along these lines. Because I’d be interested and also let’s get the straight white men who are doing well on the in front of camera diversity front to talk to other straight white male writers about how they can too.

At the end, Brooker said ‘oh, we go!’ and jumped up to leave with O’Brien in quite an amusing / adorable way.

Hope some of that write up was interesting to you! It was a great and well-run hour and a bit event that I really enjoyed attending.

#long post #charlie brooker #write up

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astrocenter · 7 years ago

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Karwa Chauth- Part 1 (8th October, 2017)

Kartik month in Hindu calendar is the eighth lunar month and is full of festivals. One of the popular festivals which fall in the Kartik month is Karwa Chauth. The most tough and romantic festival of Karwa Chauth is celebrated in Northern part of India mainly Punjab, Haryana, Himachal, Delhi, Uttar Pardesh, Uttrakhand, Rajasthan, Madhya Pradesh and Gujrat . It is a ritual that the married women follow to seek prosperity, longevity and good health of their husbands.

“Karwa” means an earthen pot with a spout and “Chauth” means the fourth day. Karwa Chauth is celebrated on fourth day of the waning Moon fortnight of Krishna paksha in the month of Kartik for one day from before rising of Sun and till rising of Moon. The pot signifies the peace and prosperity and is necessary for the rituals that are followed on this festival. On Karwa Chauth, the married women keep a fast without drinking even a drop of water throughout the day.

This year Karwa Chauth falls on 8th Oct, 2017 (Sunday). The auspicious time for puja 17:55 to 19:09.The time of appearance of Moon in Chandigarh 20:35 PM.The Chaturthi is begin on 8th October 16:58 PM.

The Legends of Karwa Chauth

1. Mahabharata Story

The earliest reference of a Karwa Chauth can be found in the great epic of Mahabharata. As per Mahabharata, Arjun, a supreme warrior and one of the Pandavas, went to the Nilgiri Hills to offer his prayers and worship the Gods. Draupadi, wife of the Pandavas, was accompanying him. On the way, Draupadi was struck with fear believing that she was alone in the forest with no one to protect her. As she treated Lord Krishna as her Brother, she invoked him to appear before her and help her out of this grave situation. On listening to her fear and perplexity, Lord Krishna cited an example of Goddess Parvati. Parvati in a similar situation asked Lord Shiva’s help. Lord Shiva explained to her that to ward off such apprehensions, a woman could observe a fast on Kartik Krishna Chaturthi as a remedy. Lord Krishna advised Draupadi to undertake this fast and also assured her of he victory of the Pandavas. Women also pray to Lord Ganesha for the fulfillment of all their wishes.

2. Story of Karwa

A long ago a women named Karwa was devoted and was having intense love, affection, emotions and pure by heart in her body for her husband ( true Indian wife) This true love for her husband gave her spiritual power (shakti).

One day her husband while taking bath in the river was caught by the crocodile. Karwa saw that her husband leg has been caught by the crocodile and he saw her husband crying for help and was not able to pull his leg from the mouth of crocodile. Karwa came immediately and bound the crocodile with a strong cotton yarn and requested the crocodile to leave the leg of her husband and they both tried to get release from the mouth of crocodile but failed desperately.

Karwa prayed to the Lord Yama the lord of Death and requested to send the crocodile in hell so that to free her husband from the clutches of crocodile. Yama did not acceded her request .Karwa threatened to curse Yama and cursed the ultimate destroy destruction him. Yama became afraid on being cursed ( Sharap) by Pati vrata (devoted) wife and sent the crocodile to hell. She was able to get free her husband from the clutches of death as she was blesses with the spiritual power (shakti) being pati vrata istri and was capable of giving curse to the Lord of death Yama.

Both Karwa and her husband enjoyed many years of wedded bliss-this day Karwa chauth is celebrated with great faith and belief known and famous in the name of KARWA.

3. The Story of Queen Veeravati

A long long time ago, there lived a beautiful girl by the name of Veeravati. She was the only sister of her seven loving brothers, who was married to a king. On the occasion of the first Karwa Chauth after her marriage, she went to her parents’ house. After sunrise, she observed a strict fast. However, the queen couldn’t stand the rigors of fasting and was desperately waiting for the moon to rise. The seven brothers, who loved her dearly, were very disturbed watching the distress of their sister and decided to end her fast by deceiving her. Then the brothers reflected a mirror through Pipal tree leaves. The sister, taken it as moon rise, broke the fast and took food. However, the moment the queen ate her dinner, she received the news that her husband, the king, was seriously ill. The queen rushed to her husband’s palace and on the way, she met Lord Shiva and his consort, Goddess Parvati. Parvati informed her that the king had died because the queen had broken her fast by watching a false moon. However, when the queen asked her for forgiveness, the goddess granted her the boon that the king would be revived. But to achieve this, she would have to undertake the Karwa Chauth fast under strict rituals, then only her husband would come top life. Thus, by strictly following all the rituals of Karwa chauth, queen Veeravati relivened her husband.

4. The Story of Satyavan and Savitri There is the story of the Satyavan and Savitri. When Lord Yama, came to procure Satyavan’s soul, Savitri begged him to grant him life. When he refused, she stopped eating and drinking and Yamraj finally relented. He granted her, her husband’s life. To this day, Karwa Chauth is celebrated with great faith and belief.

Karwa Chauth Fast ‘Karwa Chauth’ is a ritual of fasting observed by married Hindu women seeking the long life, well-being and prosperity of their husbands. Married women keep a strict fast and do not take even a drop of water. It is the most important and difficult fast observed by married Hindu women. It begins before sunrise and ends only after offering prayers and worshiping the Moon at night. No food or water can be taken after sunrise. The fast is broken once the Moon is sighted and rituals of the day have been performed. At night when the Moon appears, women break their fast after offering water to the Moon.

Importance of Fasting

Hindus believe it is not easy to unceasingly pursue the path of spirituality in one’s daily life. Therefore a worshiper must strive to impose restrains on to get the mind focused. And one form of restraint is fasting. However, fasting is not only a part of worship, but a great instrument for self-discipline too. It is a training of the mind and the body to endure and harden up against all hardships, to persevere under difficulties and not give up.

Look forward to my Article 2 on Karwa Chauth tomorrow, which will cover the Karwa Chauth rituals, fasting and pooja Vidhi.

PARMOD KUMAR

A Banker turned Astrologer. I research and practice Astrology, Numerology, Palmistry and face readings (Psychic).

For astrological remedies please email at [email protected] or post your query at http://pkastrocenter.com/horoscopeanalysis.

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