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dietasdicas1 · 4 years

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Coronavírus: como sobreviver a ele

No fim de 2019, uma doença misteriosa brotou na cidade de Wuhan, no leste da China. De repente, centenas de pessoas apresentavam uma grave pneumonia. Em poucas semanas, o culpado foi descoberto: um novo coronavírus estava se espalhando ali. Três meses depois, o patógeno já havia pulado fronteiras e invadido praticamente todos os países dos seis continentes, com mais de 1 milhão de casos confirmados e dezenas de milhares de mortes.

–Ilustrações: André Moscatelli/SAÚDE é Vital

O cantor uruguaio Jorge Drexler estava pronto para mais um show na cidade de San José, na Costa Rica, no dia 10 de março. De última hora, o espetáculo foi cancelado por causa da Covid-19, a doença provocada pelo novo coronavírus. Mas o artista deu um jeito de atender o seu público: ele subiu ao palco e fez a performance sozinho, transmitida ao vivo pelo Facebook. E houve uma surpresa em seu repertório, que contou com versos inéditos: “Já voltarão os abraços, os beijos/ Dados com calma/ Se encontra um amigo/ Saúda-o com a alma/ Sorria, jogue um beijo/ De longe, seja próximo/ Não se toca o coração/ Somente com as mãos”. A canção, intitulada Lado a Lado, traz uma visão poética do isolamento social, a principal tática para conter o avanço do coronavírus mundo afora.

Você deve ter visto no noticiário ou espiado pelas ruas: em boa parte do planeta, as lojas estão fechadas. O transporte público opera com restrições. Funcionários de várias empresas trabalham de casa. Até as Olimpíadas, marcadas para o meio de 2020, foram postergadas. A principal competição esportiva do globo não era adiada desde a Segunda Guerra Mundial. “Vivemos uma crise sanitária sem precedentes, que já provoca transformações profundas na sociedade”, diz o sanitarista Gonzalo Vecina, presidente do conselho do Instituto Horas da Vida, em São Paulo.

Nesse contexto, aliás, ficou evidente o despreparo de inúmeros governantes para lidar com a crise: enquanto alguns ignoraram a existência do problema, outros demoraram a tomar atitudes. Para a historiadora Christiane de Souza, do Instituto Federal de Educação, Ciência e Tecnologia da Bahia, esse fenômeno não é exclusivo dos tempos atuais.

“As epidemias obedecem a uma liturgia: no início, os líderes negam o fato, por ser algo novo que coloca em xeque a autoridade deles”, conta. Foi o que ocorreu na Itália: em fevereiro, políticos insistiam que os cidadãos deveriam manter a vida normal. Semanas depois, não havia mais cemitério para sepultar tantas vítimas.

Veja também

MedicinaSintomas pouco conhecidos do coronavírus, de diarreia a perda de olfato26 mar 2020 – 15h03

AlimentaçãoMedidas simples ajudam a evitar que o coronavírus contamine alimentos7 abr 2020 – 17h04

–Ilustrações: André Moscatelli/SAÚDE é Vital

O físico teórico Silvio da Costa Ferreira Junior, da Universidade Federal de Viçosa, em Minas Gerais, está acostumado a trabalhar com fórmulas e equações. Junto com seus alunos, montou um modelo matemático complexo para entender a probabilidade de a Covid-19 se disseminar pelas cidades brasileiras.

“Levamos em consideração as características do vírus, a taxa de infecção, o trânsito de pessoas ao longo do dia…”, explica. Porém, até para as ciências exatas, está difícil determinar como a doença vai se comportar, mesmo num curto período de tempo. “Não conseguimos prever em detalhes o que vai acontecer daqui a quatro dias”, admite.

Se a situação está complicada para os números, que dirá para nós, reles mortais… Caso alguém lhe pergunte hoje quais são seus planos para o mês que vem, qual seria sua resposta? É natural que apareçam na mente pontos de interrogação. Afinal, num cenário com tantas incertezas, nos sentimos impotentes.

Mas é aí que a gente se engana: todo mundo tem, sim, deveres nessa história. “Nós, profissionais de saúde, precisamos que a transmissão do coronavírus ocorra devagar. Assim, teremos equipamentos e remédios para os casos mais graves e urgentes”, diz a infectologista Anna Sara Levin, da Faculdade de Medicina da Universidade de São Paulo. E aqui já não há mistério: a cada cidadão cabe ficar em casa, lavar bem as mãos…

Outro dever cívico na era digital: somos responsáveis por aquilo que compartilhamos sobre o coronavírus nos grupos de WhatsApp e nas redes sociais. “A grande diferença dessa pandemia para as anteriores está na disponibilidade enorme de informações. O problema é que tem muita coisa falsa ou exagerada, que gera pânico”, analisa o infectologista Alberto Chebabo, da Dasa e da Universidade Federal do Rio de Janeiro. Cheque sempre a fonte e a data daquela notícia que você recebeu. Se tiver algo suspeito ou estranho, melhor não passar adiante. Num mundo tão conectado, as fake news conseguem se espalhar mais rápido que o próprio vírus.

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–Ilustrações: André Moscatelli/SAÚDE é Vital

Junte a incerteza sobre o futuro com uma farta porção de notícias falsas. Acrescente pitadas generosas de estresse. E finalize tudo com altas doses de isolamento social. Pronto, eis a receita para a mente entrar em parafuso nestes tempos de coronavírus.

“É curioso notar que em todas as crises humanitárias do passado o recado sempre foi para permanecermos juntos e unidos. Agora é o contrário: fiquem isolados, sozinhos”, compara o médico Antônio Geraldo da Silva, presidente da Associação Brasileira de Psiquiatria. O filósofo grego Aristóteles (384-322 a.C.) já dizia que o homem é, por natureza, um ser social. Como fica, então, nosso bem-estar e nossa saúde quando esse contato nos é tirado?

A ciência pode nos dar a resposta: um estudo assinado por um time do King’s College London, na Inglaterra, e publicado no periódico científico The Lancet, analisou os impactos psicológicos que a quarentena trouxe durante a epidemia de Sars (síndrome aguda respiratória grave), que ocorreu na China entre 2002 e 2003. Os resultados mostram que quase um terço dos indivíduos teve estresse pós-traumático ou depressão após o período longe da vida em comunidade. “Falamos de problemas que ultrapassam classe social, gênero ou região geográfica. Todos precisaremos enfrentá-los num futuro próximo”, antevê o psicólogo Fernando Freitas, da Fundação Oswaldo Cruz, no Rio de Janeiro.

Nos resta segurar as pontas e botar em prática atitudes para deixar a cabeça no prumo. “Nos apeguemos ao fato de que essa situação será momentânea. O afastamento é físico, não emocional: podemos e devemos nos encontrar com amigos e familiares por meio de videochamadas”, sugere a psicóloga Ana Maria Rossi, presidente da International Stress Management Association Brasil (Isma-BR), em Porto Alegre. A esperança é que todos saiamos dessa pandemia um pouco melhores, mais unidos, preparados e conscientes do que estávamos no já distante janeiro de 2020.

–Ilustrações: André Moscatelli/SAÚDE é Vital

O Conteúdo Coronavírus: como sobreviver a ele Apareceu Primeiro no Site Saúde é Vital

O conteúdo Coronavírus: como sobreviver a ele Aparece primeiro em Suplemento e Dieta

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modern-days · 5 years

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~ Issue # 13 ~ Secrets & Lies: In The Thoughts Of Mortal Men ~

PAGE 1, PANEL 1

Page width panel. Night. It’s raining. This is a full exterior shot of the Berlin Opera House. The familiar red and black bunting of the Nazi swastika emblem hangs from it. In full shot, Third Reich members, Josef Wachtler and Holz Drexler descend the steps. There is a bodyguard next to Drexler holding an umbrella for him. In contrast Wachtler is getting soaked.

CAPTION: Berlin Opera House, Unter Den Linden Boulevard.

CAPTION: November 24th, 1938.

WACHTLER: Exceptional. Mr Egk excelled himself tonight I feel. Peer Gynt has rarely been conducted better.

DREXLER: Yes, and with the taint of the Jewish stain removed from proceedings, it was I feel, the most pure of performances the Opera House has seen.

PAGE 1, PANEL 2

Two panels on this tier. Head to waist shot of Wachtler and Drexler, the bodyguard almost off panel.

DREXLER: Indeed. And as for that other matter. I suggest you find out everything you can about this Academy organisation before I bring it to the attention of the Fuhrer. His thoughts are still fully occupied with that Kristallnact business. He will be most interested in what you’ve found out, but he will not look favourably on rumours and half truths.

PAGE 1, PANEL 3

In the foreground is Drexler’s car. A driver is already holding the door open. In the background Wachtler and Drexler are in a head to chest shot.

WACHTLER: Yes, of course. I completely agree, Herr Drexler.

DREXLER: Then see to it, Josef, for both our sakes.

PAGE 1, PANEL 4

Page width panel. In the foreground is the car rising up off the ground as it explodes and the flames engulf Watchtler, Drexler and the bodyguard.

S.F.X: KA- BOOM

PAGE 2, PANEL 1

Page width panel. In the foreground is the burning wreckage of the car. In the background, stood in a shop doorway are two figures watching this.

PAGE 2, PANEL 2

Two panels on this tier. This is the introduction of Anna Caspian. It’s a full shot of her and Gabriel. He’s wearing a black suit under his familiar grey coat, and she’s wearing a beige trench coat over brown trousers and a white open necked shirt. Both have their coat collars up and have the appropriate hairstyles for Germany, 1938.

GABRIEL: So that’s why you’re here. It must be a profitable time for an assassin.

ANNA: If you’re immortal and immoral anytime is a profitable time.

PAGE 2, PANEL 3

Head to waist semi- profile shot of Gabriel and Anna with Gabriel in the foreground.

GABRIEL: After everything, I hoped you’d never come back to this.

PAGE 2, PANEL 4

Three panels on this bottom tier. Head and shoulders shot of Anna staring at him.

ANNA: It’s what I do best, for a moment it was different. But it was only a moment.

PAGE 2, PANEL 5

Forehead to chin shot of Gabriel staring across the street, thoughtful, distant.

GABRIEL: Our family was only a moment.

PAGE 2, PANEL 6

This panel is similar to panel 1. In the foreground is the burning wreck of the car, with people from the Berlin Opera House now stood near to it shocked. In the background is a full shot of Gabriel and Anna turning away.

ANNA: a fleeting one. Once it’s gone, it’s gone.

GABRIEL: She’s still out there somewhere.

ANNA: Yeah, and it’s probably best we don’t find her.

PAGE 3, PANEL 1

SPLASH: Night. Full shot of Gabriel from behind in his usual grey coat, denim jeans, boots, etc. He’s walking up a gravel driveway. Up ahead is Wintersky House, which is an old 17th century mansion. In the foreground on the left is a sign that reads; Wintersky House Nursing Home.

CAPTION: Greenhill, Harrow, WinterSky House Nursing Home, present day.

QUOTE: In the thoughts of mortal men, all the good and bad things dwell.

ARTIST NOTE: Chapter title is written at the top of the panel, Secrets & Lies: In The Thoughts Of Mortal Men.

PAGE 3, PANEL 2

Three panels on this bottom tier. Close up of one of the upstairs windows.

CARYS ( O.P ): It’s good to see you again, Mr. Grey. It’s been a while hasn’t it?

GABRIEL ( O.P ): Yes, I’ve been away I’m afraid. I’d hoped to visit sooner.

CARYS: ( O.P ) Well, you’re here now. That’s what matters.

PAGE 3, PANEL 3

Full shot of Gabriel and the nurse, Carys, facing each other. They’re stood in a long carpeted hallway outside a bedroom door. Carys wearing a starch white uniform.

CARYS: There’s been no change, I’m afraid.

GABRIEL: It’s okay. There never is. Thank you, Carys.

PAGE 3, PANEL 4

In the foreground is a head to waist profile shot of a woman laying in bed, the covers up to her chest. Her features mostly covered by the room’s shadows, but we see enough to see her eyes are closed, and her face is pale. It’s of course Epiphany as we first saw her in issue 3, but at this point the readers are still unaware of who she is. In the background Gabriel is staring down at her, his face the saddest we’ve seen.

GABRIEL: Hello Eph.

PAGE 4, PANEL 1

Two panels on this top tier. Dawn. Full shot of Gabriel from behind leaving WinterSky House. In the foreground we see someone has been waiting.

ANNA: How is she?

PAGE 4, PANEL 2

Head and shoulders semi- profile shot of Gabriel looking over his shoulder.

GABRIEL: If you can ever bring yourself to actually go in, you’ll find out.

PAGE 4, PANEL 3

Two panels on this tier. Head to waist shot of Anna with WinterSky House behind, now with shoulder length hair with purple highlights, wearing a knee length denim jacket, knee length black dress, black tights, and boots.

ANNA: Gabriel, please.

PAGE 4, PANEL 4

Head to waist shot of Gabriel now turned around to face her properly.

GABRIEL: The same. She’s always the same.

PAGE 4, PANEL 5

Two panels on this bottom tier. In the foreground is a head to waist shot of Gabriel walking away, with a full shot of Anna stood behind him.

ANNA: Hey, do you fancy a drink?

PAGE 4, PANEL 6

Similar to previous panel, but now there’s a look of resignation on Gabriel’s face.

GABRIEL: Yes … yes, I do.

PAGE 5, PANEL 1

Page width panel. Night. Full profile shot of the Trinity standing in the smoking, wrecked fairground. Elijah Grimm has his boot on Clayton’s face, pushing him into the dirt, while Joshua is leant over him. The Pilgrim has his gun pointed at Big John, who is sat up against the Merry- Go- Round with a shoulder wound. In the foreground is the body of Eleanor, her face bloodied and lifeless.

CAPTION: Searchlight, Nevada.

JOSHUA: It’s a simple enough question, all it requires is a simple answer.

CLAYTON: Fuck you, that simple enough!

PAGE 5, PANEL 2

Three panels on this tier. Head and shoulders shot of Clayton, now further squashed into the dirt as Elijah presses down harder with his boot.

ELIJAH: Brother Joshua asked you a civil question, where’d the girl go?

CLAYTON: Urghh! Sonavabitch! We don’t betray our own! Wouldn’t tell ya even if I knew!

PAGE 5, PANEL 3

Head to waist shot of Joshua looking down from Clayton’s P.O.V. JOSHUA: No, you wouldn’t, would you. But you, you would come after us, of that I’m sure.

JOSHUA: Brother Elijah, he’s all yours.

PAGE 5, PANEL 4

Head to waist semi- profile shot of Elijah aiming his pistol down at Clayton.

ELIJAH: Thank you kindly, Father Joshua.

PAGE 5, PANEL 5

Two panels on this bottom tier. In the foreground is a head to chest shot of Joshua. In the background is a head to waist shot of Elijah firing his pistol.

S.F.X: BAM!

JOSHUA: He was their leader. Leave the others. They’re not important. Men of God such as ourselves shouldn’t bloody our hands more than necessary.

PAGE 5, PANEL 6

Head and shoulders semi- profile shot of Big John, wounded and sat up against the Merry- Go- Round. His eyes are filled with hatred and vengeance.

BIG JOHN: That was your first mistake, preacher man.

PAGE 6, PANEL 1

Two panels on this top tier. In the foreground is a head to waist semi- profile shot of Catalina pressed up against her caravan, holding her stomach where she’s been shot, her hands bloodied as blood runs from her mouth. In the background are the Trinity walking away in full shot. The writing on the side of caravan reads; ‘Catalina, Mistress of the Serpents.’

CATALINA: Bastards …

PAGE 6, PANEL 2

Head to chest shot of her struggling to pull the door open. Her hands covered in blood.

CATALINA: Damn it! No, please, just a little more time.

PAGE 6, PANEL 3

Two panels on this tier. Full shot of her now standing in the interior of her caravan, leaning on the open door, inside the room is full of charms and precious stones, with beaded curtains, snake cages and dream catchers.

CATALINA: Just a little more …

PAGE 6, PANEL 4

Close up shot of her bloodied hands grabbing an old, battered leather book.

CATALINA: … time.

PAGE 6, PANEL 5

Page width panel. Head to waist semi- profile shot of her now sat on the sofa, cradling the book tight, and there’s a big blood stain over her stomach.

CATALINA: I give you my strength please, get this message to them. Gwen’s in danger … terrible danger …

PAGE 7, PANEL 1

Three panels on this top tier. Head to chest semi- profile shot of her with her head lulled back on the sofa. She’s still cradling the book tightly.

PAGE 7, PANEL 2

Similar to previous panel but now her mouth is opening impossibly wide and a faint glow is coming from the book.

PAGE 7, PANEL 3

Similar to previous panel but now a dove is emerging impossibly from her mouth.

PAGE 7, PANEL 4

Three panels on this bottom tier. Overhead shot of her sitting limply on the sofa. Her arms limp at her side now. The book is in her lap, no longer glowing. The dove is now flying out of the caravan’s open window.

CATALINA: Go now … find them … warn them. I’m done here …

PAGE 7, PANEL 5

Overhead full shot of the dove flying up into the sky with the caravan below.

PAGE 7, PANEL 6

Similar to panel 4 but closer now, Catalina’s eyes dead and lifeless, her skin pale.

PAGE 8, PANEL 1

Page width panel. Full exterior shot of ‘The Devil’s Crow’ pub. It’s raining.

GABRIEL ( O.P ): Thanks for letting us in so early, Cob

COB ( O.P ): No problem, Gabe. Good to see you, Anna.

ANNA ( O.P ): And you, Cob.

PAGE 8, PANEL 2

Page width panel. The P.O.V is from the left of the panel. In the foreground is a full profile shot of Gabriel and Anna sat at one of the floor tables, Cob in the background behind the bar cleaning glasses with a cloth.

ANNA: I heard you were in Berlin again a few months ago. No time to say hello?

GABRIEL: I was following up a lead on Abbadon. He’d been seen there.

PAGE 8, PANEL 3

Three panels on this bottom tier. Head to waist profile shot of Gabriel and Anna facing each other across the table, with Cob in the background.

ANNA: I’ve never understood why you keep searching for him. He obviously doesn’t want to be found.

GABRIEL: It’s about family, Anna. You wouldn’t understand.

ANNA: Nope, I guess I wouldn’t.

PAGE 8, PANEL 4

Similar to panel 3 but now it’s a closer head to chest profile shot of them.

ANNA: Have you ever considered it might be best not finding him? Whenever he has turned up bad things weren’t too far behind. Have you forgotten what his so called ideas cost our family? He’s bad news, Gabe.

GABRIEL: I haven’t forgotten.

PAGE 8, PANEL 5

Head to waist shot of them, Anna studying Gabriel closely, like she’s testing for a reaction.

ANNA: Then why?

GABRIEL: Nothing about my brother was ever easy, but he’s still my brother.

PAGE 9, PANEL 1

Two panels on this top tier. Similar to the previous panel, a head to waist shot.

ANNA: And Eph, what have you done for her, except visit her?

PAGE 9, PANEL 2

Similar to the previous panel, but Anna has turned toward the bar again.

GABRIEL: More than you’ll ever know, Anna, and I’ll let that pass because I know you’ve been out there looking for a way to help her as well.

PAGE 9, PANEL 3

Two panels on this tier. Head and shoulders semi- profile shot of Anna, her head now slightly bowed. He’s called her out and she clearly knows it.

ANNA: Yeah, well, it’s not that I don’t care, it’s just …

PAGE 9, PANEL 4

Head to chest profile shot of them facing each other across the table. Anna has now lifted her head back up and is staring directly at him again,

GABRIEL: We’ve got pretty good at hiding things.

ANNA: Yeah, something like that.

PAGE 9, PANEL 5

Two panels on this bottom tier. Head to waist shot of Anna running her finger along the rim of her glass. Her stare thoughtful as well as distant.

ANNA: It haunts me, Gabe, what if she never wakes up.

PAGE 9, PANEL 6

Close up semi- profile shot of Gabriel, his face almost filling up the panel.

GABRIEL: What haunts me is what might happen if she does.

PAGE 10, PANEL 1

Page width panel. Full shot of Gwen, Sabrina and Redgrave walking along a desert road. Redgrave in front, with Gwen, then Sabrina following. In the foreground is the abandoned police car and up ahead of them is a dilapidated, abandoned Diner.

SABRINA: Jesus, I never knew it got so damn hot out here.

GWEN: We’ve usually got an air conditioned caravan to retreat to, Sab, kind of makes a difference.

PAGE 10, PANEL 2

Page width panel. Head and shoulders profile shot of Gwen and Sabrina.

SABRINA: Yeah, good point. We’d still have an air conditioned car as well if someone had checked the fuel gauge.

SABRINA: Some getaway, huh?

PAGE 10, PANEL 3

Three panels on this bottom tier. Head to waist semi- profile shot of Redgrave with the surrounding seen desert in the background behind him.

REDGRAVE: I was trying to get us away from the homicidal madmen who were trying to kill us, checking the fuel gauge wasn’t exactly my first priority.

PAGE 10, PANEL 4

Head to chest profile shot of Sabrina, her face screwed up and tongue poked out.

PAGE 10, PANEL 5

Full shot of them from behind stood in front of the dilapidated Diner, which has a dirty dusty sign on it that reads; Martha’s Diner.

SABRINA: Yup, I kinda guessed that, least you found us some first class accommodation, Father.

REDGRAVE: It’s Jacob, just Jacob.

PAGE 11, PAGE 1

Page width panel. Wide shot of the Diner’s interior. It’s dusty, and shadowy and full of cobwebs, with beams of daylight seeping through drawn blinds. At its far end is a full shot of Gwen, Sabrina and Redgrave. Gwen is looking at the empty tables, Redgrave is stood at the doorway with his gun ready, and Sabrina is leant over the counter peering behind it.

SABRINA: This is weird, there’s still stuff on the tables. It’s like they left mid mouthful or something… oh Jesus, what the f-?

PAGE 11, PANEL 2

Three panels on this tier. The P.O.V is from behind the counter looking up at Sabrina as she peers over the counter, with Gwen seen over her shoulder.

GWEN: Sab, you alright?

SABRINA: Uh, I don’t think everybody left.

PAGE 11, PANEL 3

Full shot of a fully clothed skeleton that’s obviously been in the Diner a long time.

PAGE 11, PANEL 4

This panel is similar to panel 2, but now Gwen is also peering over the counter.

SABRINA: Guess this guy didn’t have enough fibre in his diet, huh? What a crappy place to die.

GWEN: Oh, what happened to him?

PAGE 11, PANEL 5

Two panels on this bottom tier. Head to waist profile shot of Redgrave, still stood by the open doorway.

REDGRAVE: He was probably a vagrant, or a traveller of some sort. He must have died in his sleep.

PAGE 11, PANEL 6

Head to waist shot of Gwen and Sabrina from behind at the counter. Sabrina is peering over it, but Gwen, still leaning on it has turned to Redgrave.

GWEN: You seem to have all the answers, maybe it’s time you gave us some.

PAGE 12, PANEL 1

Two panels on this top tier. Full profile shot of Gwen and Sabrina leant up against the counter. Both of them now turned facing Redgrave directly.

REDGRAVE: Such as?

GWEN: Such as who are you, how come you knew I was in danger, and who the hell were those guys?

PAGE 12, PANEL 2

Head to waist shot of Gwen and Sabrina leant on the counter, Sabrina indicating to Gwen with her thumb.

SABRINA: An’ for that matter, why the hell they want her dead.

GWEN: What she said.

PAGE 12, PANEL 3

Two panels on this tier. Head and shoulders shot of Redgrave, frowning.

REDGRAVE: Would you like me to answer one or all of the above.

PAGE 12, PANEL 4

Head and shoulders shot of Gwen. Her eyes narrowed as she frowns in return.

GWEN: All would be good.

PAGE 12, PANEL 5

Two panels on this bottom tier. Head to waist profile shot of them facing each other.

REDGRAVE: Well, firstly, my name is Jacob Redgrave.

GWEN: And you’re a priest, right?

PAGE 12, PANEL 6

Similar to the previous panel but now Sabrina is indicating toward his gun.

REDGRAVE: Sort of, I was. I lapsed, it’s a long story.

SABRINA: Yeah, must be, ain’t known any preachers who carry a gun.

PAGE 13, PANEL 1

Three panels on this top tier. This panel is an overhead shot of Gwen, Sabrina and Redgrave with one of the Diner’s ceiling fans in the foreground.

GWEN: And you’re English, I get that much from the clipped accent.

REDGRAVE: I’m from Cambridge, the Cambridge in England that is.

SABRINA: Oh, scholarville. So how did you know Gwen was in danger?

PAGE 13, PANEL 2

Head and shoulders semi- profile shot of Gwen and Sabrina, with the daylight falling through the Diner’s blinds, casting shadows over their faces.

GWEN: You were told in a dream weren’t you?

SABRINA: What?

PAGE 13, PANEL 3

Head to chest semi- profile shot of Redgrave. His expression surprised.

REDGRAVE: Yes, yes I was.

PAGE 13, PANEL 4

Three panels on this bottom tier. Head and shoulders shot of Gwen and Sabrina, with Sabrina wide eyed, looking amazed at what she‘s hearing.

GWEN: Old carnival seer, less dead and deep fried than she should be, calls herself Sister Midnight, right?

SABRINA: Well, I’ll be a sonavabitch.

PAGE 13, PANEL 5

Head to chest profile shot of Gwen and Sabrina facing Redgrave, also in profile.

REDGRAVE: Yes, how did you-?

GWEN: Me too.

PAGE 13, PANEL 6

Forehead to chin shot of Redgrave, the daylight seeping in, shadows on his face.

REDGRAVE: I see.

PAGE 14, PANEL 1

Two panels on this top tier. Head to waist shot of Redgrave from behind, with Gwen facing him, Sabrina now behind the counter in the background.

GWEN: She tell you who that preacher was?

REDGRAVE: His name is Joshua St. John. He was a real preacher once.

REDGRAVE: A very long time ago?

PAGE 14, PANEL 2

Head to waist profile shot of Gwen staring at Redgrave, with her arms now folded.

GWEN: How long?

PAGE 14, PANEL 3

Three panels on this tier. Head to waist profile shot of Redgrave staring in return.

REDGRAVE: Let’s just say he’s a lot older than he looks.

PAGE 14, PANEL 4

Head to waist shot of Sabrina now leant on the counter, chin cupped in hands.

SABRINA: And now he kills people right?

PAGE 14, PANEL 5

Forehead to chin semi- profile shot of Redgrave, with the shadows on his face.

REDGRAVE: I’m afraid so, yes. He believes he’s on a mission from god.

PAGE 14, PANEL 6

Two panels on this bottom tier. Head to waist face on shot of Gwen her arms folded.

GWEN: Is he?

PAGE 14, PANEL 7

Head to waist semi- profile shot of Redgrave raising a lighter to the cigarette now in his mouth.

REDGRAVE: I’ll pretend I didn’t hear that. But wherever his mission comes from he believes in it totally, and that makes him very dangerous.

PAGE 15, PANEL 1

Two panels on this tier. Full shot of them now sat at one of the diner tables.

GWEN: You two got history, huh?

REDGRAVE: Not me personally, people I used to work for.

SABRINA: So what about his two even creepier friends?

PAGE 15, PANEL 2

Similar to the previous panel, with the three of them sat at the table, Redgrave is dragging on his cigarette and Sabrina has her head buried in her hand.

REDGRAVE: His associates are Elijah Grimm and Jeremiah Ezekiel, who go by the colourful alias’s of The Hand of God and The Pilgrim. The three of them are known as The Trinity. They’ve been around a long time.

SABRINA: Jesus, I couldn’t even make this shit up.

PAGE 15, PANEL 3

Three panels on this tier. Head and shoulders shot of Gwen staring at Redgrave.

GWEN: Have they killed our friends?

PAGE 15, PANEL 4

Similar to the previous panel, no dialogue, illustrating the awkward moment.

PAGE 15, PANEL 5

Head and shoulders shot of Redgrave, smoke pluming up from his cigarette.

REDGRAVE: It’s quite possible, I’m sorry.

PAGE 15, PANEL 6

Two panels on this bottom tier. Forehead to chin semi- profile shot of Gwen.

GWEN: And what exactly have I done to piss them off so much they want me dead.

PAGE 15, PANEL 7

Forehead to chin shot of the left side of Redgrave’s face on the right of the panel.

REDGRAVE: Well, from what I gather, it’s not just you, it’s your whole family they want to kill.

PAGE 16, PANEL 1

Half page panel. Full profile shot of Gabriel and Anna sat at the table in ‘The Devil’s Crow’ pub, their figures and the interior mostly in shadow.

ANNA: You seem different to when we last met.

GABRIEL: Different how?

PAGE 16, PANEL 2

Two panels on this vertical tier. Head and shoulders semi-profile shot of Anna.

ANNA; I don’t know, I can’t put my finger on it. You were always kinda closed off.

ANNA: I know that better than anyone.

PAGE 16, PANEL 3

Head to waist semi- profile shot of Anna as she raises her glass to her mouth.

ANNA: But this feels different.

PAGE 16, PANEL 4

Three panels on this bottom tier. Head to chest shot of Gabriel raising his glass.

GABRIEL; What are you saying?

PAGE 16, PANEL 5

Head to chest profile shot of them both facing each other across the table.

ANNA: I’m saying there’s a darkness around you, Gabe. It’s like a cloud hanging over you, and I’ve seen it before, in the eyes of people who know what’s coming, who know they’re approaching some kind of end.

ANNA: And they’ve accepted it.

PAGE 16, PANEL 6

Forehead to chin semi- profile shot of Gabriel looking at her, no expression.

GABRIEL: I haven’t accepted anything, not yet.

PAGE 17, PANEL 1

Page width panel. Exterior shot of the Diner with an evening sky behind it.

GWEN: My family? The only family I ever had was Henry Jones, and apart from a few guest appearances in my dreams he’s long gone.

REDGRAVE: Oh, come now, Gwen, we both know that isn’t true.

PAGE 17, PANEL 2

Two panels on this tier. Full shot of them, Sabrina and Redgrave still sat but Gwen is now stood, leaning forward with her hands on her hips.

GWEN: What?! What do you mean?

REDGRAVE: I mean your grandfather, he came to you didn’t he, when the dead briefly returned six months ago.

PAGE 17, PANEL 3

This panel is similar to the previous panel but now a closer shot of them.

GWEN: How do you …? Oh right, Sister Midnight.

REDGRAVE: Yes.

GWEN: So you’re saying what he told me is true?

PAGE 17, PANEL 4

Page width panel. Over head shot of the three of them with one of Diner’s ceiling fans in the foreground, obscuring our direct view of them.

REDGRAVE: I am.

GWEN: Why would he lie to me for all those years?

PAGE 18, PANEL 1

Two panels on this top tier. This panel is a head to chest profile shot of Redgrave.

REDGRAVE: I would assume to protect you, given what’s happened today.

PAGE 18, PANEL 2

Head and shoulders shot of Gwen, her stare questioning as she looks at Redgrave.

GWEN: Yeah maybe. Do you know where my mother is then?

PAGE 18, PANEL 3

Three panels on this tier. Head to waist semi- profile shot of Redgrave as he stubs out his cigarette in an ashtray, seeming to consider his options.

REDGRAVE: No, and that isn’t my first priority at the moment, keeping you safe is.

PAGE 18, PANEL 4

Head to waist shot of Gwen from Redgrave’s P.O.V as she leans forward, hands on her hips.

GWEN: What?! If my mother is alive I want to find her! I don‘t care if-

PAGE 18, PANEL 5

P.O.V through the glass of the Diner’s window as Redgrave looks outside.

PAGE 18, PANEL 6

Page width panel. Head to waist shot of them. The window behind Redgrave explodes and as it does he reaches over pushing Sabrina out of the way. Gwen is staggering backward and shielding her eyes from the glass.

S.F.X: Blam! Blam!

S.F.X: Kerrash!

REDGRAVE: Get down!

SABRINA: Holy!

GWEN: Arrghh!

PAGE 19, PANEL 1

Page width panel. Night. Full shot of Lucy walking along a London street in the rain. She’s dressed in her familiar long black velvet coat over a tight black vest, with tight grey trousers, and the usual black boots.

CAPTION: London.

PAGE 19, PANEL 2

Three panels on this tier. Head and shoulders shot of her staring up through the downpour.

PAGE 19, PANEL 3

From Lucy’s P.O.V as the dove that Catalina sent descends through the rain.

PAGE 19, PANEL 4

Head to waist profile shot of her, the dove perched on the palm of her hand.

PAGE 19, PANEL 5

Page width panel. Similar to panel 1, but now it’s a full shot of her from behind walking in the direction she has just come from. The dove flying up.

PAGE 20, PANEL 1

Two panels on this top tier. Night. Exterior shot of the Devil’s Crow pub.

COB ( O.P ): Night all, see you soon.

GABRIEL ( O.P ): Goodnight, Cob.

ANNA ( O.P ): Night.

PAGE 20, PANEL 2

Full shot of Gabriel and Anna leaving the pub and stepping out into the rain.

GABRIEL: Well, thanks for that enlightening peer into my soul, Anna, the next time I feel the need to be analysed I will be sure to give you a call.

ANNA: No one knows you like me, Gabe, I just wish sometimes you’d actually listen.

PAGE 20, PANEL 3

Three panels on this tier. Head to waist shot of Gabriel and Anna passing a doorway which has the silhouetted figure of Lucy stood in it.

LUCY: Listening was never my brother’s strong point.

PAGE 20, PANEL 4

Head and shoulders shot of Anna as she turns toward Lucy and the doorway.

ANNA: Lucy?

PAGE 20, PANEL 5

Head to chest shot of Lucy, now stepped out of the doorway into the rain.

LUCY: Hello, Anna.

PAGE 20, PANEL 6

Two panels on this bottom tier. Head to chest shot of Gabriel, frowning.

GABRIEL: What is it, sister? What’s wrong?

PAGE 20, PANEL 7

Similar close up shot of Lucy, with the night rain running down her face.

LUCY: It’s Gwen. She’s in trouble.

PAGE 21, PANEL 1

Two panels on this top tier. In the foreground is a full shot of Joshua from behind. He’s stood facing the diner which is in the background of the panel.

JOSHUA: I know you can hear me, Mr Redgrave. There’s an easy way to do this.

JOSHUA: Send Miss Jones out to us, then you and the other girl can walk away.

JOSHUA: What I have to do does not require your sacrifice.

PAGE 21, PANEL 2

Head to waist shot of Jacob crouched in the table booth with his gun ready by the smashed window, Gwen and Sabrina crouched behind him.

REDGRAVE: I won’t turn her over to you, Joshua.

PAGE 21, PANEL 3

Two panels on this tier. Head to chest semi-profile shot of Redgrave.

JOSHUA ( O.P ): She’s powerful, dangerous. You must see that. If you still hear his word at all, you would know that.

REDGRAVE: It wasn’t me who stopped listening.

PAGE 21, PANEL 4

Head to waist shot of Redgrave and Sabrina, Sabrina now crouched up closer.

SABRINA: Why isn’t he doing that thing he did to Sherriff Holt on us?

REDGRAVE: It won’t work, not while we’re this close to Gwen.

PAGE 21, PANEL 5

Two panels on this bottom tier. Head to chest shot of Sabrina leant forward, with a confused expression. She’s not getting what he’s saying at all

SABRINA: Oh … what? Why?

PAGE 21, PANEL 6

Similar to panel 3, with Redgrave in a head to chest semi-profile shot.

REDGRAVE: I’ll explain later, now be quiet!

PAGE 22, PANEL 1

Three panels on this tier. Head to waist shot of Elijah, his pistol now drawn.

ELIJAH: I’d listen to the man if were you, if ya don’t this ain’t gonna end well for you or the stick figure.

PAGE 22, PANEL 2

Head to chest shot of Sabrina leaning forward. Her face full of anger and indignation.

SABRINA: Stick figure! Why that cowpoke hick sonavabitch!

PAGE 22, PANEL 3

Head to waist shot of Gwen and Sabrina. Gwen has her hand on her shoulder.

GWEN: Maybe I should …

PAGE 22, PANEL 4

Three panels on this vertical tier.. Head and shoulders shot of Sabrina.

SABRINA; No way, G girl. We’re in this together.

PAGE 22, PANEL 5

Close up shot of Redgrave, just his eyes and mouth, the tip of the gun just in panel.

REDGRAVE: Then it isn’t going to end well.

PAGE 22, PANEL 6

Half page panel. This echoes panel 1, page 21. In the foreground is a full shot of Joshua from behind, with the Diner in the background of the panel.

JOSHUA: Very well, then you leave me little choice. May the Lord have mercy upon your souls.

( Taken from Volume Two: Days Of Midnight )

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artemiyshokin · 5 years

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kassandra. [ohn]macht des sehens.

2019, Hochschule für Schauspielkunst “Ernst Busch”

Was sehen wir, wenn wir uns umschauen? Und was wollen wir nicht sehen? Was sah Kassandra als der trojanische Krieg seinen Anfang fand? kassandra. [ohn]macht des sehens. ist ein Spiel über das Sehen, bei dem selbst professionelle Seherinnen nicht richtig hinschauen. Stückentwicklung von TokToy: Lioba Biehler (Schauspiel), Paulina Bittner (Schauspiel, 4. Studienjahr UdK), Maikel Drexler (Puppenspiel), Friederike Förster (Regie, 4. Studienjahr HfS Ernst Busch), Anna-Sophie Fritz – (Schauspiel), Paul Hentze (Puppenspiel/Puppenbau, 4. Studienjahr Zeitgenössische Puppenspielkunst HfS Ernst Busch), Marleen Ilg (Dramaturgie), Grace Lauer (Schauspiel), Sophie Peters (Kostümbild, UdK), Moritz Schaller (Musik), Artemiy Shokin (Bühne) , Tobias Wollschläger (Schauspiel) Diplominszenierung Regie / Freies Diplom Zeitgenössische Puppenspielkunst in Kooperation mit der UdK und dem TokToy Kollektiv

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kenyatta · 7 years

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Eric Parker, who was featured in an iconic image of the standoff pointing his rifle in the direction of federal agents, made it clear to the undercover FBI team that he had no interest in bloodshed. An electrician from Idaho, Parker was hesitant to meet with the filmmakers and expressed his concerns that discussing the events that day could leave him legally exposed. At the same time, Parker was deeply frustrated with how the story had been presented. “We were all pinged as right-wing extremists and gun nuts,” he said during his first call with Anna. Still, he said, his lawyer had given him strict guidance on talking to the press.

“This is not about getting people in trouble,” Anna assured him. “This is about spreading your message.”

Parker eventually agreed to take part in the project. On August 17, 2014, the Longbow crew traveled to a lodge in Montana, where Parker and his family, along with his friend and fellow standoff participant Scott Drexler, were planning a relaxing weekend of fishing in the mountains. Parker took a seat on a porch outside.

In the two-hour interview, Parker explained that his motivation for traveling to Nevada was twofold. First, he saw the video depicting the BLM tasing Cliven’s son and throwing his sister to the ground as part of a broader trend of police brutality. Second, he viewed the establishment of the free speech zones, coupled with the presence of well-armed federal agents, as an attack on the First Amendment. By traveling to Nevada with weapons, Parker explained, he and his friends hoped to prevent what they viewed as unlawful arrests or use of force against protesters.

“They got 200 armed men with body armor rolling around,” he said. “We need 200 armed men with body armor rolling around.” Far from the coordinated operation government prosecutors would later allege, Parker said the actual confrontation was disorganized and ultimately terrifying. “I thought we would be there, armed, of course, and stand our ground and make sure the protesters don’t get pepper-sprayed and make sure that the illegal arrests stopped,” he explained. “I wouldn’t have thought in 100 years we would be on a bridge staring down federal agents.”

When he took his position on the pavement, the moment when the famous photo was taken, Parker said his hands were shaking.

“How do you acquire your target?” Johnson asked him.

“There’s no picking the target,” Parker answered. “I wasn’t chambered, and my finger wasn’t on the trigger. … Nobody wanted to die.”

(via The Bizarre Story Behind the FBI’s Fake Documentary About the Bundy Family)

#2014 bundy standoff #eric parker #FBI #psyops

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korkep-blog · 7 years

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Tanulmányúton Nógrádban

Az 1996-ban megalakult Községmegújítási Társulás (Spolok pre obnovu dediny) egyik legfőbb küldetésének tartja, segítse a vidék beilleszkedését a társadalomba, emelje és nemesítse a vidéken , a községekben élők életminőségét és életét. Tagjai rendeszeresen látogatják a szlovákiai telepüôléseket és régiókat. A közelmúltban megtartott útjukon Nógrádba látogattak el.

Az 1996-ban megalakult Községmegújítási Társulás (Spolok pre obnovu dediny) egyik legfőbb küldetésének tartja, hogy segítse a vidék beilleszkedését a társadalomba, emelje és nemesítse a vidéken, a községekben élők életminőségét és életét. Céljai között szerepel a községek fejlesztésének, a vidéki közösségek segítése, az egykori hagyományok felelevenítése és megőrzése.

Füleken. Felvétel: Puntigán József.

A főbb prioritásai közé tartozik az államilag támogatott Községmegújítási Program (Program pre obnovu dediny) támogatása. Ez az egyik legrégebbi támogatási program amely a községek fejlesztésére, megmaradására irányul, Kiemelten a jelenünkben számos községben tapasztalható elnéptelenedés (fiatalok elvándorlása) megállítását, az egészséges környezet fenntartását. Partnereivel évente meghirdeti az Év községe versenyt. Támogatja az vidéki ihletadó iskola terjesztését, azaz a pozitív példák bemutatását az önkormányzatok, vidéki közösségek és az egyének részére is.

Anna Kršáková elnöknő. Felvétel: Puntigán József.

Anderko Erika. Felvétel: Puntigán József.

Céljai szellemiségében tevékenységének fontos, mondhatni elengedhetetlen részét képezi az is, hogy tagjainak bemutassa az ország egyes régióit, hiszen a gyakorlat azt mutatja, hogy ezen a téren sok a tennivaló, van még mit tenni.

Sokan nem ismerik, hogy milyen szépséges területek, értékes látnivalókban gazdag régiók találhatóak az országon belül.

Ivona Cimermanová. Felvétel: Puntigán József.

Jozef Klinda. Felvétel: Puntigán József.

A társulás tagjai legutóbb Nógrádban tettek kétnapos látogatást, s a velük való beszélgetések megerősítették a fentieket. Megnézve Fülek és tágabb környezetének néhány érdekességét, megállapították, hogy van miért visszatérni ide.

Füleken a vár bejáratánál. Felvétel: Puntigán József.

A látogatás első napján a füleki és somoskői várakkal és történetükkel ismerkedtek meg. A jelenlévőket a társulás elnökének, Anna Kršákovának a bevezetője után a város és a Novohrad-Nógrád Geopark nevében Anderko Erika, a Geopark elnökségi tagja üdvözölte. A geoparkot, annak létrejöttét, történetét és jelenét diaképes vetítés keretében Ivona Cimermanová, projekt menedzser, valamint Jozef Klinda vázolták fel.

A Füleki Vármúzeumban. Felvétel: Puntigán József.

Füleken a szakmai vezetést a Füleki Vármúzeum biztosította számukra. A Bebek toronyban jelenleg két állandó és egy időszakos kiállítás látható. Az első a terület paleontológiai leleteivel ismerteti meg a látogatót, a további emeleteken pedig a Füleki vár történetét és a régió régészeti leleteit mutatja be. Utóbbi a vár területén szinte folyamatosan folyó régészeti feltárások eredményeként folyamatosan bővül.

De nem csak ezzel. Fülek városa sikeresen pályázott a vár környékének felújítására. Ennek köszönhetően teljesen megújul a Várfelső utca, a bejárati része, bővül a parkolási terület, szebb, vonzóbb lesz a vár teljes környezete.

Sátorosbánya,Miklós-torony. Felvétel: Puntigán József.

Nem kevesebb érdekességet rejt magában a Somoskői vár is. A Somoskőre és Macskalyukra vezető tanösvények sátorosbányai kiindulási pontján, a Miklós toronynál a község polgármestere Juraj Badinka köszöntötte a csportot, elmondva a település jelenének történéseit is.

A Somoskői várat magyarországi oldalról, Somoskő községből közelítették meg. A látogatás a Vár alatt lévő Petőfi kunyhóban kezdődött, amely Petőfi Sándor 1848-as látogatásának állít emléket. Mellett található egy kis terem, ahol a régió legismertebb várainak makettjei vannak kiállítva.

A Petőfi kunyhónál. Felvétel: Puntigán József.

A Somoskői várban Jozef Klinda, környezetvédelmi szakember, a szlovák környezetvédelmi ill. a Kulturális minisztérium egykori vezető beosztású munkatársa kalauzolt. A nevéhez fűződik a szlovákiai tájvédelmi területek koncepciójának kialakítása, a tájvédelmi körzetek, közöttük a Cseres-hegység Tájvédelmi Körzet kialakítása.

Ugyancsak aktív részese volt annak is, hogy az 1980-as években részben megújult a Somoskői várrom. A Társulás tagjai így első kézből kaptak tájékoztatást az egykori felújítási munkákról ill. arról, hogy azok az 1989-es társadalmi változások után miért maradtak félbe. A várban eredetileg étterem, szálloda, pince is helyet kapott volna, de ezek pénzhiány miatt már nem valósultak meg.

Kazamata a Somoskői várban. Felvétel: Puntigán József.

A látogatás elmaradhatatlan része volt a Somoskői bazaltömlés és az alatta található kőtenger megtekintése. Az előbbi európai ritkaság – ez és a vár így nem véletlenül lett a Novohrad-Nógrád Geopark jelképe is. A Somoskői Vár a szlovák-magyar határvonalon található, s így a szlovák-magyar együttműködés jelképe is.

Kazamata a Somoskői várban. Felvétel: Puntigán József.

A várba vezető tanösvények bejárására ugyan nem maradt idő, de az elhangzott, hogy különböző pályázati forrásoknak (az egyik az említést nyert Községmegújítási Program) köszönhetően megújulnak a tanösvények hídjai, táblái. A sátorosbányai parkolóban, a Simon-toronyban pedig a Novohrad-Nógrád Geopark információs pontja lesz kialakítva.

Eresztvény,látogatóközpont. Felvétel: Puntigán József.

A nap túrás része a Geopark eresztvényi látogató központjának megtekintésével zárult, ahol Drexler Szilárd üdvözölte a jelenlévőket. Bemutatva nekik a geoparkról készült filmjét is.

Ipolytarnóc, geológiai tanösvény. Felvétel: Puntigán József.

Ipolytarnóc,Miocén erdő. Felvétel: Puntigán József.

A látogatás másnapján az Ipolytarnóci Ősmaradványok meglátogatása volt a programon, valamint a megújult 3D film vetítésével végződő geológiai tanösvény, a Miocén-erdő és a 4D film megtekintése. A beszélgetések során szó esett arról is, hogy mennyire megnövelné a terület értékét, ha a szlovákiai részen található maradványok is fel lennének tárva és bemutatásra kerülnének.

Rátkán. Felvétel: Puntigán József.

A kétnapos látogatás zárasaként a Fülek melletti Rátka község látta vendégül a társulás tagjait. A községet, eredményeit, terveit és problémáit Milan Spodniak polgármester mutatta be.

Zárszó. Felvétel: Puntigán József.

Puntigán József

#Anna Kršáková #Drexler Szilárd #Eresztvény #Főoldal #Fülek #Füleki Vármúzeum #Ipolytarnóc #Ivona Cimermanová #Jozef Klinda #Községmegújítási Társulás #Milan Spodniak #nógrád #Novohrad-Nógrád Geopark #Petőfi Sándor #Rátka #Sátorosbánya #Somoskői vár

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biofunmy · 5 years

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MoMA Reboots With ‘Modernism Plus’

When the Museum of Modern Art reopens on Oct. 21 after a $450-million, 47,000-square-foot expansion, it will finally, if still cautiously, reveal itself to be a living, breathing 21st-century institution, rather than the monument to an obsolete history — white, male, and nationalist — that it has become over the years since its founding in 1929.

After decades of stonewalling multiculturalism, MoMA is now acknowledging it, even investing in it, most notably in a permanent collection rehang that features art — much of it recently acquired — from Africa, Asia, South America, and African America, and a significant amount of work by women. In short, what’s primarily different about the reopened MoMA is the integrated presence of “difference” itself — a presence that takes the museum back to its experimental early days, when American self-taught art and non-Western art were on the bill.

Did we need a supersized (one-third larger), nearly blocklong multiplex MoMA — with a Diller, Scofidio + Renfro /Gensler extension tacked onto the 2004 building designed by Yoshio Taniguchi — to accommodate this presence? No. As we learn from every art fair every year, more art is not more. What’s needed is agile planning and alert seeing, and these are evident in the museum’s modestly scaled opening attractions, which include focused surveys of two African-American artists (Betye Saar and William Pope.L), installations by artists from India (Sheela Gowda and Dayanita Singh), a sampler of Latin American work, and a permanent collection gallery devoted to contemporary art from China.

But in every museum with an active acquisition program, the permanent collection galleries are key. They’re the heart, brain and soul of the place; its history and memory. Special, short-term shows bring people through the door. But they end, move on. If you want to know what a museum is really about, what it’s feeling and thinking, keep your eye on the art it owns and gives its walls and floors to, long-term.

Judged by this metric alone, the expanded MoMA is making obvious efforts to reshape its image without going entirely off-brand — to tell the tale of what might be called Modernism Plus, with globalism and African-American art added.

The museum has long been famous for inventing an ironclad view of Modern art as a succession of marquee “isms” (Cubism, Surrealism, Abstract Expressionism, etc.), and arranging its holdings to illustrate that. The very rough outline is still in place on the three floors of collection galleries: art from the 19th century through 1940 on five, from 1940 to 1970 on four, and from 1970 to the present on two. But the main route is now peppered with unexpected inclusions and interrupted by theme-based detours and byways.

Also, walls between disciplines, once firm, are down. The permanent gallery rehang, coordinated by five chief curators from departments across the museum, has been, and will be, a collaborative project. The prevailing style is mix-and-match, with sculpture, painting, design, architecture, photography and film bunking in together (something that will freak out orthodox modernists). But, rest assured, each discipline gets some space of its own.

The jumble can be confusing, as, at first, are certain features of the general floor plan. Previously, visitor traffic entering the main lobby from West 53rd Street flowed to the right, toward the Sculpture Garden and up to the galleries. Now you have a directional choice. You can still go that way, or opt to go left toward the new Geffen wing, where you will find, among other things, street-level galleries to which admission is free (as it has been, since 2013, to the Sculpture Garden).

One of these holds a selection of design items chosen by Paola Antonelli, senior curator in the department of Architecture and Design. Another, the double-height Projects 110 Gallery, has a set of penumbral oil-on-barkcloth narrative paintings by the young Kenyan-born painter Michael Armitage, in a New York solo debut. Organized by Thelma Golden, director of the Studio Museum in Harlem, this show is the first in a series to be presented here by the Studio Museum while its new David Adjaye-designed home is under construction.

Upstairs navigation is easier, familiar. As before, the permanent collection galleries begin, chronologically, in the Taniguchi building and move from there straight west into the Geffen, with black metal door frames marking the points of transition. And on the fifth floor you’re eased into a plunge into modernism with a grouping of Brancusi sculptures set just outside the galleries themselves.

The Brancusi installation is classic MoMA: white walls, lots of air, few words. The idea is that this art doesn’t need commentary; it speaks for itself, and anything added, beyond light and space, is superfluous. You can argue with this approach — I do; I like lots of take-it-or-leave-it contextual information — but it has always been the MoMA way. Inside the galleries, the old-school hands-off mode continues, though with some tweaks. Each gallery has (at least) a short thematic title, so visitors can get a sense of what connects the works of art in the room — an idea, a medium, a place, a time — and a brief explanation of the theme.

The first gallery, now labeled “19th Century Innovators,” is pretty much a painting hit parade — Cezanne’s “Still Life with Apples” (1895-98), Rousseau’s “The Sleeping Gypsy” (1897) and, straight ahead, van Gogh’s “The Starry Night” (1889) — with a few painterly prints (Mary Cassatt, Pierre Bonnard) thrown in. But to this familiar two-dimensional European world MoMA has introduced an American wild card: half a dozen nugget-like ceramic bowls and jugs by George Ohr (1857-1918), the self-proclaimed “Mad Potter of Biloxi.”

Ohr was turning out hundreds of these gnarly, pinched earthenware vessels in the American South at the same time Van Gogh was painting “Starry Night” in an asylum in the south of France. And in the year Ohr died, in Mississippi, even locally all but unknown, Brancusi finished his first version of“Endless Column,” on view just beyond the gallery door. In the pre-expansion MoMA, these three artists were unlikely to have met. Here they’re caught up in formal and psychological conversation.

Farther on, after you’ve passed through a mesmerizing gallery of early photographic images — including Anna Atkins’s lacy 1850s botanical studies and a 1905 film of the New York City subway, looking every bit as funky then as now — you find another meeting of artistic minds, this one a genuine startler.

The gallery itself is a virtual Picasso shrine, with his 1907 “Les Demoiselles d’ Avignon” at the center, and related pictures ranged around it. But there’s a major out-of-time entry here too: a 1967 painting, acquired in 2016, by the African-American artist Faith Ringgold depicting an explosive interracial shootout. Titled “American People Series #20: Die,” it speaks to “Demoiselles” both in physical size and in visual violence. And just by being there it points up the problematic politics of a work like Picasso’s — with its fractured female bodies and colonialist appropriations — that is at the core of the collection. MoMA traditionalists will call the pairing sacrilegious; I call it a stroke of curatorial genius.

There are other such moments, less emphatic, on all three floors. One comes with the sight of Alma Woodsey Thomas’s incandescent 1973 “Fiery Sunset” plugged into an otherwise all-Matisse room. And there are several in a group installation evoking the matchless élan of the New York City painter Florine Stettheimer.

No curatorial credits are posted anywhere. But I hope that whoever chose to include a 1981 piece by the East Village artist Arch Connelly (1950-1993), will accept my personal thanks. The Connelly contribution, a mirror-shaped canvas encrusted with hundreds of fake pearls and titled “Self-Portrait,” suits the Stettheimian “extravagance-is-me ” ethos to a T.

On the long historical walkabout of some 60 collection galleries spread over three floors, there’s pretty much something for everyone. You get a big hit of Jackson Pollock, a Frida Kahlo fix, megadoses of Pop and Surrealism; Soup Cans, “Water Lilies,” and Cindy Shermans to burn — all the things that many people come to MoMA, selfie sticks in hand, to see.

But you also get specialty shows, the equivalent of mini-seminars, on books made by artists in Revolution-era Russia (most are by women), on architecture as sculpture, and on the epic potential of Latin American Mail Art. And there’s one exhibition, smallish in floor space but large in material, focused on the poet Frank O’Hara, who was a MoMA curator. To some visitors these will seem esoteric and pass-byable, but they’re a testament to the museum’s archival depths and its scholarly chops. And, once you put a toe in, they’re fun.

Finally, we get charismatic images by names that should be on every art-lover’s A-list but aren’t — yet: Geta Bratescu, Graciela Carnevale, Sari Dienes, Rosalyn Drexler, Valie Export, Beatriz González, Maren Hassinger, Atsuko Tanaka, along with Benny Andrews, Ibrahim El-Salahi, and May Stevens, all three part of the exceptionally strong installation of Vietnam War-era art, “War Within, War Without,” that brings the 4th floor rehang to a close.

Work by many of these artists has entered the collection in just the past few years. (When you’re traveling the galleries, pay attention to the acquisition dates on the labels; they can tell you a lot about the politics of purchase.) Much of it could find no place in MoMA’s canonically gated modernist story. The current version of Modernism Plus is by no means an in-depth rewrite, but it has the makings of one, depending on how it’s developed.

And, in one of the most promising features of the reopened museum, the mechanics for development are there. Post-expansion plans call for regular rotation and refreshment of the collection. Every six months, a third of the galleries on floors five, four and two will be reinstalled. By the end of 18 months, everything, the promise is, will, have been rethought. Destination favorites — “Starry Night,” “Desmoiselles” — will no doubt stay on view, but what’s around them will change, which will change them too.

Such flexibility offers tremendous potential for new thinking, particularly at a museum whose curatorial staff has, in the past few years, begun to diversify (though not its board of trustees). Flexibility also, it’s worth saying, allows the option of backpedaling should the opening “new” model prove to be little too new for a healthy box-office.

My guess is that in some hopefully ever-improving version, this 21st century MoMA will work, if only for self-preservative reasons. Multicultural is now marketable. To ignore it is to forfeit profit, not to mention critical credibility. And the new MoMA is obviously tailored to a new and younger audience, one that has no investment, nostalgic or otherwise, in the old pre-Taniguchi model, which now lives on mostly in the memories of a fading population (which itself had no direct experience of the original, progressive 1930s museum).

On the evidence of what I see in the reopened museum, a bunch of very smart curators are putting their heads together to work from inside to begin to turn a big white ship in another direction. We’re not talking Revolution. With this museum we probably never will. But in the reboot there are stimulating ideas and unexpected, history-altering talents around every corner. As long as both keep showing up at MoMA, so will I.

Museum of Modern Art

The museum reopens to the public Oct. 21 (member previews begin Oct. 12); moma.org.

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jennieboultbee · 6 years

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Judson Dance Theater:

The Work Is Never Done

Through February 3, 2019

The Museum of Modern Art

https://www.moma.org/calendar/exhibitions/3927?locale=en

For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers gathered in Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, for a series of workshops that ultimately redefined what counted as dance. The performances that evolved from these workshops incorporated everyday movements—gestures drawn from the street or the home; their structures were based on games, simple tasks, and social dances. Spontaneity and unconventional methods of composition were emphasized. The Judson artists investigated the very fundamentals of choreography, stripping dance of its theatrical conventions, and the result, according to Village Voice critic Jill Johnston, was the most exciting new dance in a generation.

Through live performance, film, photography, sculptural objects, musical scores, poetry, and archival materials, Judson Dance Theater: The Work Is Never Done traces the history of Judson Dance Theater both in and outside the church, from the workshops that took place there to other spaces around downtown New York. Artists in the exhibition include George Brecht, Trisha Brown, John Cage, Al Carmines, Lucinda Childs, Philip Corner, Merce Cunningham, Diane Di Prima, Bill Dixon, Rosalyn Drexler, Judith Dunn, Simone Forti, Gene Friedman, David Gordon, Anna Halprin, Lawrence Halprin, Alex Hay, Deborah Hay, Fred Herko, Storm De Hirsch, Jill Johnston, LeRoi Jones, Allan Kaprow, Fred McDarrah, Robert Morris, Claes Oldenburg, Aileen Passloff, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, Elaine Summers, Cecil Taylor, Stan VanDerBeek, James Waring, Robert Whitman, Phyllis Yampolsky, and La Monte Young.

#https://www.moma.org/calendar/exhibitions/3927

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peterbaur · 2 years

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youtube

Das neue Leben

Schauspielhaus Bochum

with

William Cooper, Viviane De Muynck, Anna Drexler, Damian Rebgetz, Anne Rietmeijer

Director: Christopher Rüping

Staging Peter Baur

Costumes: Lene Schwind

Dramaturgy: Vasco Boenisch

Music: Jonas Holle;

Piano arrangements: Paul Hankinson

Lightning: Berd Felder

Premiere on 10th September 2021

#Youtube

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twistednuns · 6 years

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June 2018

Travelling makes me happy. Makes me feel like a more interesting person, makes my life feel much richer. I'm thankful for every opportunity I get to see the world. My time in Bali was fantastic. I carried around four books all the time and yet I only managed to read about 100 pages. There was just so much to do and see.

The word Geräuschkulisse

Roasting peaches on top of halloumi slices with a dash of honey and apple cider vinegar. Mmmh.

"Whether it’s meditation, reading, or trekking through Timbuktu, you must find something that gives you a happiness that is not contingent on others." One or two people about the importance of being alone.

Shopping at the market early on Saturday morning. The charming dude who sold me strawberries, mangoes and an avocado. Empty aisles at the drugstore. Carrying everything home in my huge trekking backpack, almost losing balance on the bike.

The rust-coloured &otherstories dress with tortoise shell buttons. Such a dream, alas, too small. Had to send it back. Sigh.

Going to Im Grünen Festival near the Austrian border with Markus. Stopping at Chiemsee for a swim. The band Leoniden covering the old Sugababes song Overload (got stuck in my head immediately). Realising that it keeps getting harder for me to be in bad company. The more I like myself the less I like others.

Veganz Choc Bar Coconut. Even more addictive than the dm bio coconut bars and the Rapunzel ones. Delicious.

Spending an evening with Franzi at the new rooftop beergarden. It's on top of a parking garage near Stachus!

Alessandro's HAND!SPA hand cream which comes in a little yellow macaron box and smells like lemon buttermilk.

I finally caved in and bought a SodaStream Crystal. Bye bye, bottled water and plastic waste! EDIT: I also got a high speed blender. Hello, nicecream!

Getting to know my new neighbour Silvie.

Making pink and yellow slime with the sixth-graders.

Learning about how brazil nuts grow. They're huddled against each other in a big shell! Weird. I never knew.

Reading Linnéas Jahrbuch, an old Swedish children's book favourite of mine. I love Lena Anderson's illustrations.

Thoughts about the monstera hype.

A small girl said goodbye to her friend one morning on the subway: "Dann noch ein schönes Leben!"

Such a busy Saturday. Getting all my affairs in order in the morning, writing long to-do-lists. Going grocery shopping, buying plants at Ries. Visiting Sabine, working on our song for the choir. Getting a message from Manu: his parents have a sales booth at the Africa festival in Munich and he doesn't wanna go alone. Going home, baking a cake, hurrying to the subway, meeting up with him and his mum. She got us in for free and I had such a nice evening there. Eating, drinking, walking around, talking to the parents, some friends, buying a ring, chili oil and lemon/orange pepper. Discussing art with his dad. Joking around with his mum. I felt very comfortable in that warm and familial atmosphere. Also, everyone kept thinking we were a couple. Mh.

Hanging out at Maria Einsiedel on a Sunday afternoon. Reading. Only jumping into the Eiskanal once. Very refreshing. I like that feeling as if thounsands of tiny needles were pricking your skin, just a little bit.

Climbing. Up the monkey bars, the wall in the boulder room, over the fence. It's nice to feel strong and capable, earn that sense of accomplishment, to feel your muscles working.

Solving two anagrams after staring at those words for almost two hours.

Feeling like wonderwoman. I don't know what happened but since the beginning of 2018 I've been feeling like a completely different person. I'm much happier, I have more energy. I enjoy getting things done and going the extra mile - often quite literally when I simply walk to the next bus stop instead of waiting, or when I start cleaning or doing things that are not absolutely necessary. I'm starting to feel like myself. To come closer to my true sense of being. It took me ten years longer than I thought it would but I guess I needed to take the long route.

I made sweet potato toast for the first time. A great savoury breakfast option!

Murakami's Wind-Up Bird Chronicle. The book is almost 800 pages long and I'm not quite finished but I have to say that so far I like it even more than Kafka on the Shore. All those visionary women, the shadow world - and the stories about the Soviet–Japanese border conflicts during the Second World War (submarines, sitting in wells, shooting zoo animals, being skinned alive) creep the shit out of me. I also love the focus on neat clothing in that book.

Safiya Nygaard is a good/weird person. Seriously. All those pop-culture references. Thank you, sister.

Playing around with the Bitmoji app (and the fact that mine looks a bit like Rachel Weisz).

Terrazzo tiles.

Booking my flights to Australia and Indonesia! I'm so excited. I've never travelled alone for more than a few days and now I'm going to be away for almost a month. I'm gonna spend almost 27 hours on planes on my way to Brisbane. What an adventure.

Ulli Lust's graphic novels.

My new yoga class. I'm going to be there every Wednesday, cursing myself and my decision to commit to this. It's exhausting and weird but so good for me. But I've already found out that I'm able to put my feet behind my head in a backwards bend. Way to go.

Learning how to use a potter's wheel. I didn't do too well because you need to stick to rules (something I'm bad at - at least when it comes to art) but turning and shaping the semi-hard pots afterwards is so much fun; exactly my thing. I need to practise, it's awesome to see a vase growing between your hands.

Miranda July's The First Bad Man at Kammerspiele Munich. This is the most hilarious and entertaining production I've ever seen in a theatre, I suppose. Anna Drexler reminds me of Birgit Minichmayr and has a lot of comedic talent. And Brandy Butler, geez, that voice. You could see quite clearly that someone had a lot of fun putting this play together.

Love in Translation

"If I'm not the love of your life I'll be the greatest loss instead." - Rupi Kaur (and the first part of her poetry collection The Sun and Her Flowers - I thought her poems about losing love were very relatable)

Meeting the bees! I designed honey jar labels last year and now I got to know the industrious little workers behind our product. We harvested and pressed the honey - I even petted the bees, they are so soft. I had a pretty nice day. And I love crushing honeycombs with my bare hands. Good texture and a very satisfying feeling.

Going dancing for the first time in... a very long time. I met up with Frank and Claudia at Import Export, took a picture of the fake Pommesbude and had actually quite a lot of fun doing silly moves, talking to Frank. It was weird because we kept saying the same thing at pretty much the same time. So that means we're still the same kind of lame/awesome?

#personal #present perfect #things i love #june #2018 #june 2018

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