#extant projects: 2019 | Explore Tumblr posts and blogs

drsilverfish · 5 years ago

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Nine Minutes to Midnight

5x21 Two Minutes to Midnight

Nine episodes to beat God, and fifteen years since Kripke pitched his original On The Road fan-fiction meets folk horror.

I’ve had a lot of fun in this little corner of Tumblr SPN fandom, over the eight years I’ve been here. I arrived as a newbie in 2012, and people already here were kind to me. I’ve seen people come and go, get disillusioned with SPN and move onto new fandoms, or arrive latterly into this one, brimming with excitement.

This is a weird social media platform, and I doubt it will be around forever, as one of its joys is how singularly bad it has been at integrating advertising.

Some of my favourite things here have been;

Comments in the tags, often funny, thinky, joyful - love this element of Tumblr.

Coda fic - this short-form story-style, which leaps into the fan-fiction gaps, loud silences and lacunae of the text - what a joy.

All the different roles people take on in fandom, as labours of love - gif makers, fic and meta writers, artists, vidders, archivists, signal-boosters, enthusiastic readers and beta-readers, art-lovers, networkers, collaborators, question-askers and answerers, and participants of all kinds (introvert and extrovert).

Completely unrelated to SPN, posts which are full of puns and hilarity, from “lik the bred” to Brits vs Americans on the subject of drinking tea. I still love Tumblr’s collective sense of humour; it’s witty and charming.

The language of gifs; those delightful comtemporary hieroglyphics of emotive expression.

The diversity - English is the shared language, but gradually it’s apparent that despite US dominance of the site, there are people from all over the world here, whose native tongues range from Russian to Italian to Brazilian Portuguese.

The collective meta experience - sharing “live” textual analysis has been huge fun. Viewing a text in a hive mind this way always shows you something you’d have missed on your own. It’s like holding up a crystal to a thousand lights and watching all the different refractions happening at once.

Again, not SPN specific, but experts in various subjects, from Egyptology to Medieval History suddenly emerging from the depths to provide a passionate and erudite exposition on their topic. Often prefaced with, “My time has come...”

Fandom has a dark side. It can be a coping mechansim, for many, in a healthy or less healthy way. There are unfortunately, always the formation of various “in-groups” and “out-groups”, ship wars, harrassment (of other fans, cast and crew), entitlement, and wild unpleasantness. And, that scourge of the internet in general; performative outrage (otherwise known as the outrage economy) which turns up the dial on provocative statements and negative emotion because that acts as catnip for engagement. A lot of people act out their shadow-selves online, projecting their own internal stuff onto others, from behind the screen.

Almost no media texts get to run as long as SPN (fifteen years) but my first fandom was (and is) Doctor Who and that has been going for over 50. It has some absolutely horrendously toxic spaces and places online, and many of pure joy. My advice is - find the joy.

Stories, by inviting us into the shoes of others, teach us at their (and our) best, the invaluable gift of empathy.

Take care of yourselves. Endings are hard, no doubt.

Special shout-out to fellow LGBTQ+ fans - hold onto your hearts.

It can be complicated loving a story telling its queer (romantic/ erotic) love story implicitly (i.e. in subtext).

Don’t forget (as I always say in my tags) subtext is part of narrative - meaning, the totality of a text contains its explicit and implicit elements; its text and its subtext, just like Metatron (aka Robbie T) told us in 9x18 Metafiction.

I wasn’t in the fandom myself, here on Tumblr, but I saw some of the fall-out from BBC Sherlock S4, and it was particularly distressing to see so many young LGBTQ+ fans feeling deeply hurt and even suicidal, because they’d read all the (extensively crafted) queer subtext in that show as a promise which would, inevitably, lead to an unequivocal queer “coming out” for John and Sherlock.

Those queer fans weren’t “self-queerbaiting” - they were just reading the totality of the text. And after all, why not read the subtext that way, as a promise? Being of a generation who’d already gotten to see many explicitly out queer characters on-screen; why not dare to imagine the subtext was a slow-burn romance with an inevitable “out” climax? Especially because Mark Gatiss (one of the writers) is out and queer himself, young queer fans were even more certain that his Sherlock would be the first “out” queer Sherlock on-screen (The Private Life of Sherlock Holmes, 1970, which Gatiss is on record as being a fan of, had previously queer-coded Holmes, as indeed does Downey’s version, in Sherlock, 2009, and Sherlock 2: A Game of Shadows, 2011.)

Of course, the corporate and production politics were no doubt complex behind the scenes at the BBC, and Gatiss himself (apparently) saw things differently saying (in an interview in Oct 2010):

“No, I don’t think I’d make a kind of gay programme. It’s much more interesting when it’s not about a single issue. And equally, I find flirting with the homoeroticism in Sherlock much more interesting.” (Buzz Magazine Oct 2010: p10).

All of which, is why I’ve been adding a disclaimer to my readings of SPN’s queer subtext for a while now - namely, that reading the subtext doesn’t promise a rainbow of obviousness at the end.

As I said, take care of your hearts, lovelies.

Perhaps we shouldn’t need the narrative closet any longer.

But, we are walking between worlds, an old one and a new, both of them currently existing simultaneously, especially in a globalised world.

Queer audience fractions are, generally, more attuned to queer subtext, because it often uses codes derived from queer culture (although reading cinematic/ television subtext of all kinds is a learned skill, and no one is born with text-reading gaydar). So, whilst queer subtext may appear “loud” to some audience fractions, it remains invisible to others. That is, historically, by design, because, whilst “out” queer characters have gradually emerged on-screen since the 1950s [and the end of the Hays Code in Hollywood] queerness was, and still is (depending on where one is in the world) subject to legal penalty, state censorship or corporate production censorship.

A contemporary kind of state censorship is e.g. in China, where overt LGBTQ+ themes and characters cannot be depicted on-screen (hence, the queer subtext in The Untamed). A contemporary commodity kind of censorship might be e.g. notes from the Network, or TPTB at Marvel Studios with an eye on box-office. Queer subtext has the ability to slip past the censors, or be tolerated by them; because, now you see it/ now you don’t. A character with a straight “surface” reading and a queer subtextual one may (depending on the film/ TV product and its market etc,) be seen to pose less risk as a commercial product, whilst being able to appeal to different audience fractions simultaneously. For example, Captain Marvel (2019) and, as above, BBC Sherlock (2010-2017).

And yes, it’s complicated, because in the midst of that still extant censorship, which queer writers and other creatives on set may indeed be trying to work around by using queer subtext, we can see another world is possible. More out queer stories are being told. And, although we may love to see implicit queerness rather than no queerness at all, and indeed although implicit queerness may (arguably) have the freedom (still) to tell less boundaried or stereotyped stories than explicit queerness (with powerful effects on the audience fractions, both queer and straight, who do “see” it) we can’t deny that it does suit corporate entities, in some cases, to be able to appeal to a dual audience without the perceived “risk” of “outness”. A form of “queer-sploitation” which leads to the charge of “queer-baiting”.

The issue is, perhaps, particularly one surrounding male hero characters in Hollywood (and here in the UK) a) because “queer stories” are (still) often, not seen as likely to have universal appeal for broader audiences, whereas “straight stories” are not framed as “straight stories” but as universal ones, and b) because of the persistence of the prejudiced belief in particular that “queerness” undermines masculinity, especially “heroic” masculinity (here we have diverged markedly from the ancient Greeks). It’s somewhat different for female characters, but that’s another post. Fantasy, in the on-screen medium (if less so in fiction or comics) appears to be a more regressive genre than, say, comedy, in terms of the depiction of “out” queer central (rather than side) characters, with the exception of the Wachowskis’ Sense8 (2015-18) in which pretty much everyone is queer. I know there’s Ruby’ Rose’s Batwoman (2019- ) which I haven’t had a chance to check out yet, and we’ve got some queer Marvel (side) heroes upcoming, apparently; Valkyrie in Thor: Love and Thunder and Phastos in The Eternals - let’s see how that goes.

Moreover, queer subtext doesn’t have an exact analogy i.e. a “straight subtext” equivalent. Yes, many films and TV shows imply romantic/ sexual tension and interest between M/ F (pre)couples before it is “confirmed” they’re into each other in the text. However, because straight is the default assumption, audiences may muse and disagree about the potential for a M/ F romance at the implicit stage (as they have done in SPN fandom re Sam/ Rowena) but they don’t ask - “Does this mean they might be straight ????” It is assumed. Queerness, on the other hand, in order to be widely recognised (rather than solely by the subtext-reading audience fraction) must “come out” in some manner, explicitly, in the text (I don’t mean graphically, but “beyond reasonable doubt”). In other words, as painful as it is, we are not starting on a level playing field. It’s not fair, but it is the deal.

That doesn’t mean we can’t love contemporary queer subtextual stories, just that it’s important to acknowledge it can be painful, for some, to do so, and just as it’s important to acknowlege it’s OK to find them too painful to love, also (historical texts obviously operated under different circumstances).

Queer audiences are not homogenous. We can, and do, see things differently from one another, perhaps particularly across generations.

It is the case however, I think, that the structuring of a story by the narrative closet, as SPN has been structured by the narrative closet (up to this point, mid S15) (by which I mean its queerness is transparent to some, invisible to others, by design) cannot help but remind many queer audience members of our own struggles with the real world closet. Indeed that may make the story attractive, or unattractive, to different folk.

Incidentally, which is why I avoid it, I think the “it’s canon”/ “it’s subtext” debate is a false dichotomy and a bit confusing, as there are two, perfectly legitimate (within their own terms) definitions of “canon”. In the fandom sense, where “canon” means a romantic/ erotic pairing explicitly confirmed in the text, Destiel (meaning romantic/ erotic orientation between Dean and Cas) is not “canon” (as at 15x11). It is implied. Of course, it is explicit text that they care deeply for one another - “You’re my family. I love you, I love all of you” (12x12 Stuck in the Middle with You), “You’re my best friend” (15x09 The Trap). The exact nature of that relationship remains, however, deliberately, ambiguous.

In the literary sense, in which “canon” means “the official body of work”, SPN’s official body of work contains a metric tonne of implicit romantic/ erotic Dean/ Cas, so, it is part of the SPN “canon” in that sense - “subtextual canon” if you like. Although, of course, because implied, therefore open to interpretation.... deliberately transparent to some and invisible to others.

Despite all this complexity, and, indeed despite other elements of the SPN narrative which I have struggled with personally (the early seasons’ misogyny is off the charts sometimes, the brutally insensitive manner of Charlie’s death) I have loved this story, Supernatural, truly, madly, deeply, in large part because of its (implicit) queerness. And for may other reasons additionally, from its folkloric beginnings and dark initial cinematographic palette, to its melodrama, to its, eventual, Ourboros structure, and its Jungian alchemical journey marrying the cosmic to the earthly.

Reading the show without the queer subtext remains possible, but oh boy is that analogous to only considering the above sea-level portion of an iceberg.

I would prefer a rainbow of obviousness at The EndTM, but I don’t expect one. What I expect is continued, deliberate, ambiguity. Something I am sure we will be debating the ethics of, long after.

I could be wrong :-). But I am taking my own advice, and taking care of my heart.

For now, it’s nine minutes to midnight; let’s see how the story ends.

And afterwards, however the chips may fall, the characters will (as this most meta-narrative of seasons has been busy telling us) be set free of “Chuck’s” control. They will belong to us, in a thousand thousand fan-works, for as long as we care to keep on loving them.

#Supernatural #SPN meta #Meta #5x21 #Two Minutes to Midnight #Endings are hard #Who am I kidding #Fandom is going to go wild #Whatever happens #The great queerbaiting debate #Reading Subtext #Dean is bisexual #Destiel #Still subtext #But subtext is part of narrative

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oddlyunadventurous · 4 years ago

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BOOK REPORT 2020

I’ve always been a sparse reader but 2018 and 19 had me accelerate my reading habits to the point that I think I’ve read the most books this year that I ever had. I suppose I’ll count them all here, just to make sure!! I said something or other about the Moomin books at the end of last year’s Inkt*b*r so, this being the month of traditions, let’s make a new one by tallying up my literary “yays” and “nays” at the end of the season.

Video game text boxes don’t count, online publication articles don’t count, psych/aesthetic papers and 1000 page biosemiotic textbooks don’t count, but they have sure pursued me in my sleep during the year as well. This list is really mostly for my benefit (and no I won’t get a Goodreads account tyvm), so under the cut you’ll find a list of titles in roughly the order I read them, along with short notes. I’ve done longer reviews of these books elsewhere and I need not bore you with them here.

K. Stanislavski - An Actor Prepares (1936) I started reading this book in 2012, then dropped it because I couldn’t understand it at the time. Kostya attends acting school and gets lessons from The Director. He learns to sleep like his cat.

K. Stanislavski - Building a Character (1949) Supposed to have been published along the first one in a single volume. Kostya continues his lessons. A lot of thoughts on walking, gaits, eloquent speech, phrasing, etc. Both these books are wonderful looks into the author’s artistic life. It’s very heartfelt and down to earth, considering it’s quasi-fiction made to edutain. Very inspiring.

M. Polanyi - The Tacit Dimension (1966) A book on the origin of knowledge, the integrated performance of skills, the emergence of life and other phenomena in the universe, marginal control between levels of reality, the moral death of the communist regime caused by the unbridled lucidity of the Enlightenment, the responsibilities of science, and thoughts about open societies of the future. This is one of the two shortest books I’ve read in the list, it covers all of this under 130 pages and manages to do it well.

B. Rainov - Eros and Thanatos (1971) A communist propaganda book attacking western mass media and escapist culture. It gets no points for being correct, as the author mostly swiped the truths from french philosophers. Very variable in its intellectual prowess, almost as if it picks its arguments in order to push an agenda. Informative but also infuriating. Also expectedly homophobic.

J. Hoffmeyer - Signs of Meaning in the Universe (1997) A somewhat pop-sciency book about biosemiotics. Forgettable but also humbly written and explicative.

A. Noë - Varieties of Presence (2012) An unimpressive book about sensory perception. Noë’s theory on sensorimotor action is worth considering but the book is poorly edited and mostly spent arguing with peers.

E. Fudge - Quick Cattle & Dying Wishes (2018) A look into a registry of last wills and testaments from the period 1630 - 1650 in Essex. The book is about early modern people’s relationship to their animals and what they meant to them in life, as well as in death. Fudge’s argumentation is sharp and her style is modern. Being a scholarly book it is really overwhelming with the footnotes sometimes, but otherwise satisfying. One gets beautiful glimpses of family relationships, thoughts and feelings that people now dead for 400 years once held.

G. Márquez - One Hundred Years of Solitude (1967) The Buendia family get all their sons killed. The Banana Company sucks. People love each other. A lot happens, generally. It is a hundred years, after all. The upper class sucks.

K. Polanyi - The Great Transformation (1944) The Industrial Revolution sucked. England sucks. It reduced all its workers to subhuman wretches. Every single decision made after the empiricists made labour and land fictional commodities has been a band-aid to the essential contradiction that the market economy wants to annihilate its human host. Laissez-faire sucks. It caused WW1. Fuck everything. Fun book.

R. Coyne - Peirce of Architects (2019) Talks about architecture and the ideas of logician/father of pragmatism Charles Sanders Peirce (1839-1914). Informative about both. Brisk and not very in-depth, but to its benefit rather than its detriment.

R. Williams - Culture and Society (1958) A survey of the 18th and 19th century England, and the emergence of the concept of “culture” as defence against the horrors that the Industrial Revolution inflicted upon society. Consists of some two dozen outlines of contributors to the romanticist tradition, from Adam Smith, through Ruskin, to Orwell, their beliefs, contributions and literary works. Very eloquent and interesting.

E. Fudge - Brutal Reasoning (2006) A fantastic book about much: early modern views of the difference between a human and an animal, the Christian discourse of reason, the logical fallacies that lead to its implosion, the advantageous use of dehumanisation by imperialists in other to genocide natives, Montague and Shakespeare, and the ethical hell of animal murder that led Descartes to deem animals as machines so as to allow his buddies to perform live vivisections on dogs without feeling guilty about it (this is the real reason, don’t let anybody tell you otherwise). There is even space for an entire chapter about an intelligent horse who could tell a virgin from a whore and learned Latin at Oxford. This is my favorite book I read this year, so it gets an extra long review.

R. Williams - The Long Revolution (1961) A sequel to Culture and Society that’s worse. The start and end are brilliant but the middle sags. It contains some historical reviews of English cultural elements, like the newspaper industry, the Standard English vernacular and the realist novel of the 19th century, but honestly if the book was just about about the creative state (intro) and Marxism (outro) it would’ve been fine, if not better.

P. Klee - The Thinking Eye (1956 & 1964) Bauhaus boy in 1920s Germany! Love you Klee, xoxo. You really have to read his thoughts to understand his work imho. You can appreciate it just fine on the surface level, but his completely eccentric (though very self-consistently logical and sharp) views on art creation open a new outlook into his primitive approach.

F D.K. Ching - Architecture: Form, Space & Order (1979) A staple book for architecture students. Or so I hear. Steeped in gestalt psychology. Very good, though not necessarily stuff I don’t know already. Very nice looking pencil illustrations, Ching looks to be an accomplished technical draughtsman.

H. Wölfflin - Principles of Art History (1915) A strong contender for second place in the tier list. The book examines the transition between Classical to Baroque in Italy and Germany (and all the Germany clones, like the Netherlands). It is a systematic, precise aesthetic treatise that reveals much by conceptualizing and grouping characteristic art features in which the two styles differ, then explaining their bearing on their decorative content as well as the outlook on life that they embody. Lovely.

M. Porter - Windows of the Soul: The Art of Physiognomy in European Culture 1470-1780 (2005) A historiographical treatise about early modern views on physiognomy. The book deals mainly with the extant literature on the subject and tries to gleam what it could mean for the customs at the time - palmistry reading, occultism, persecution of the “gypsies” and the Christian scientific project of attaining meaning. Macro- and microcosms, as above so below, hermeticism, that sort of stuff. It’s an interesting read but it’s too long, the quality of writing varies greatly from chapter to chapter, and it is far too expensive. Wouldn’t recommend it.

S. C.Figueiredo - Inventing Comics: A New Translation of Rodolphe Töpffer's Reflections on Graphic Storytelling, Media Rhetorics, & Aesthetic Practice (2017) This is the shortest book I read, mainly translating Töpffer’s 1845 "Essay on Physiognomy" along with giving his biography and some other paraphernalia. It’s not worth the price for the content contained within, but Töpffer is the father of the modern comic book, so I thought I’d learn what his philosophy was. On that front, at least, very interesting! If only I knew French I’d save myself the trouble and read the original, which is now public domain.

D. Bayles - Art & Fear (1985) A useless self-help book. Not entirely bullshit but completely banal from all angles. Shouldn’t even be on this list but I did read it, so...

I. Allende - The House of the Spirits (1982) A child rapist gets a redemption arc. Well, kind of. All women are queens. Men are awful. The poor are wretches and it’s their fault. Oh no, the communists are going to take our land! Pinochet’s concentration camps sucked. Overall a better magical realism book than 100 Years of Solitude, to be honest. Very well written characters.

R. Arnheim -To the Rescue of Art: Twenty-Six Essays (1992) What it says on the tin. Wide range of subjects, from art appreciation, to schizophrenic and autistic child art, to gestalt psychology, to philosophy of science, to Picasso’s Guernica and the fate of abstract art, to reflections on the 20th century and the writer’s life in pre-nazi Germany and America. I love Arnheim, I’ve read many of his books and I’m glad I picked this one up.

R. Arnheim - Film as Art (1957) A book about cinematography, one of his earliest, actually, mostly a personal translation from an original German book he published in 1933. Somewhat outdated, but foundational. Not as informative to me but I don’t regret reading it.

G. E. Lessing - Laocoon; or, On the Limits of Painting and Poetry (1766) A book by a greekaboo about a fucking dumb poem and a statue of a naked dad and his two sons getting fucked by snakes. It’s misogynistic and authoritarian in several places, and altogether awfully full of itself. 100 pages of interesting observations stretched over 400 pages of boring Greco-Roman literary discourse.

L. Tolstoy - Childhood, Boyhood, Youth (1852, 1854, 1856) One story serialized in a magazine then later collated in three separate books. Aristocrat boy grows up in pre-revolution Russia. A very, very relatable coming-of-age story. Tolstoy is a lovely writer.

F. Dostoevsky - Poor Folk (1846) An epistolary novel consisting of letters between literally Dobby from Harry Potter and his maybe-niece, whom he wants to fuck. Starts bad, gets better by the end. A bit rough and tumble for Dostoevsky’s first, so I forgive him for wasting my time a little bit. A decent character study of the middle/lower classes, at least.

L. Tolstoy - Family Happiness (1859) An amazing romance novel for the skill employed in writing it. It is very short yet delivers so much emotion. Rather simple narrative at its core, but executed with such bravado one cannot help but be impressed.

F. Dostoevsky - The Double (1846) In which the Author starts swinging. A pathetic, neurodivergent old man gets used and abused by the people around him and nobody cares. Satirical and biting, better than his first.

A. Lindgren - Pippi Longstocking (1945) I last read this when I was 6 years old so I thought I’d refresh my memory. I remember disliking the book then and I can see why. Pippi’s kind of an asshole. Still very enjoyable to read. I know it’s meant for a younger audience’s reading level yet I cannot help comparing it with Tove Jansson’s books and how much better the prose in there is. Sorry.

***

I think that about rounds them up! That’s about 30 books, give or take. For next year I’m hoping to:

Finish Tolstoy’s and Dostoevsky’s bibliographies

Read more econ and marxist writing (low personal priority but i have to, in THIS economy *rolls eyes*)

Finish the Tintin and Moomin comics, as well as Jhonen Vasquez’s collection of edgy humor

Read more about botany and biology in general

Get started on Faulkner’s and William Golding’s bibliographies

Read more children’s books

Search for more Latin American fiction from the Boom

Read more psych/aesthetics/pedagogy literature, which seems to have become my main area of interest

Thanks for sticking till the end of the list, hope you’ve learned something and maybe you’ll pick one of these up if it took your interest. I don’t have to be a philistine just because I’m drawing video game fanart! Bye now!

#books #book report #reading #2020 #blogging #i'm busy reading i'll go back to drawing in a bit #not art

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arcticdementor · 4 years ago

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In the wake of Trump’s election, Brexit, and the growth of anti-EU populism, the placid doctrines of establishment politics are now being remade. But perhaps more significant is the absolute and utter collapse of Western self-declared “anti-establishment” politics: the “socialist” left has proven to be one of the earliest casualties. The cresting wave of left-wing populism turned out to be illusionary; as it receded, its only lasting legacy was bitter acrimony, rotting political hopes, failed analyses, and stranded careers in academia and the NGO-world.

This is not to say that “the left” has lost. Only the romantic narodism of the 21st century left has truly died: the belief that “the people,” or “the working class,” can be relied upon in the political struggle. One need only consider the riots going on even now in the US, or the one of the many institutional revolutions playing out (at foundations, newspaper editorial boards, and academia), to recognize that the movement is still in good health. But after the disappointments of late-2019 and mid-2020, those revolutions will no longer maintain any pretense of being waged by the people. They won’t even pretend to be waged for them.

…

The left may prefer to talk about a supposed “precarization,” of the college educated, and the right may be more comfortable talking about ”useless college degrees,” but neither side denies the facts on the ground: that for some time now, the West has been using a massive expansion of higher education to create a new class of functionaries—”knowledge-workers” and would-be managers—in numbers far in excess of what the labor market can or could absorb. Yet, it is only just now that we are seeing, with clear eyes, that this class of people (which, again, nobody denies the existence of) might begin acting as a class.

…

Rather than try to pin the blame on American television, or even social media, it behooves us to recognize that the conditions for this new “Springtime of the Managers” are just as ripe in London and Berlin as they are in Portland and New York City. What we have now on the left and right—on both sides of the Atlantic—is an open and bitter class war. It is a conflict between a growing cadre of imperial lords and the peasantry they hope to subjugate; between the managers and petty nobility of the much-prophesied “knowledge economy” and those they aim to manage.

Just as few took the existence of this class of people seriously, no one took the existence of this class war seriously until recently. The left was forced to outright deny it because they were already on the side against the working classes, and any acknowledgment of that fact would destroy their legitimacy. What is East Germany, without Communism? Nothing; it is merely part of greater Germany. The left faced a similar dilemma, and so the charade, emptied of all class conflicts in favor of “cultural” ones, had to be maintained.

Meanwhile, a minority of left intellectuals have already begun jettisoning ideological ties to a people it no longer belonged to or recognized. In the UK, thinkers like Paul Mason diligently sought to replace workers with young (educated) people who have a smartphone as the natural constituency of the left. In the US, Nathan J. Robinson, the publisher of Current Affairs magazine, pleaded for the left to finally abandon Marxism and historical materialism in favor of couching its arguments in moral terms. These characters were, almost without exception, mocked and ridiculed. But time has vindicated them. It is now clear that they took heat not because they suggested a new and different strategy, but because they were advancing the end to the left’s doublespeak and doublethink. The left had long since abandoned the workers; Mason and Robinson were merely preparing the ideological contingency plan for when the workers would abandon the left, as has now well and truly happened.

In the leadup to the 2020 election, the right faced a different dilemma. For them, the class conflict they refused to recognize was internal. The Democrats, having fully consolidated its new political coalition between petty managers, Silicon Valley grandees, and a dwindling base of minority clients, could not only defeat the likes of Bernie Sanders, but also reabsorb all of the hammer and sickle-brandishing “revolutionary communists” back into the machine. Unfortunately for the GOP—as with the Tories in Britain and the Sweden Democrats or Rassemblent Nationale in Europe—the consolidation of “the ascendant” into center-left parties has left them stuck with the political leftovers: an entirely ad-hoc coalition consisting of disgruntled heartland workers, small business owners, and big business also-rans. For this reason, and in part due to the intellectual legacy of the Cold War, talk of actual class conflict comes at a very high risk for the right. Trying to unite the competing interests that make up the extant and potential base of the Republican party is nigh impossible. The Democrats—and the Western left in general—talk about culture rather than political economy because they know the makeup of their coalition, who their enemies are, and what their plan is. Republicans—and the Western right in general—talk about culture rather than politics because they know none of these things.

…

As a political cause, Black Lives Matter seems to thrive just as well among the surplus managers of Dublin as it does in San Francisco—never mind the complete incompatibility of the Irish situation with the American. Sweden, for example, never had a plantation economy nor a period of formal or informal Jim Crow rule. But this in no way impacted the formation of a Black Panther movement in immigrant-dominated suburbs. At first blush, the children of immigrants to Sweden—predominantly of Middle-Eastern descent—cosplaying as 60s-era Afro-American freedom fighters reads as a hilarious anachronism. But there is an institutional logic behind it: Sweden already has a state-funded patronage network geared towards “community organizers” in particular, but also the surplus professional class in general.

Behind most declarations of proletarian solidarity or racial justice, one tends to find repeated and urgent demands for the state to simply create more jobs. How do we solve the thorny issues of racial justice? By diverting more federal and state money to employing the various temporarily embarrassed aspiring commissars currently stocking the shelves at Target, of course! While the language of economic redistribution today maintains a veneer of proletarian radicalism (often eagerly assisted by various red-baiters on the right, as seen during the fairly anemic “Joe Biden will usher in SOCIALISM” run-up to the 2020 election), only the truly credulous could believe that demands for the state to directly and indirectly employ more and more college graduates—creating as many ideological commissariats as necessary to rescue them from the ignominy of having to work at Starbucks—merely represents some innocuous side effect of the political project as a whole.

A full accounting of the scope of the Swedish patronage machine is neither possible nor necessary in this essay, but it does serve as a valuable example. Most of the country’s patronage machine actually predates the class that currently subsists on it. The “one percent rule” which states that at least one percent of the budget allotted to new buildings or infrastructure must be paid to artists for the express purpose of creating art, is just one example. The Swedish Inheritance Fund, (Allmänna Arvsfonden) was established as far back as 1928, when the country abolished the automatic inheritance rights of cousins and other distant relatives in the absence of a written will or close family. Originally, the intention was that the state would use this newly “orphaned” money to fund the care of orphanages and related causes. The fund’s mission has expanded over time to the point where it now funds a great variety of overtly ideological causes—often with next to no oversight. As such, the fund has become controversial, especially in the eyes of the Swedish right.

The various incarnations of the “one percent rule” or the Inheritance Fund only scratch at the surface. On every level—state, regional, and municipal—myriad grants, privileges, subsidies and direct cash transfers are available, aimed at a heterogenous group of race hustlers, artists, activists, and academics. It hardly needs to be said that cultural minority status, or fluency in the shifting language of wokeness, is a strict and unavoidable requirement for those seeking to access these resources. The state also pays the salaries of many Swedish journalists, either directly (through the various public service channels) or indirectly, through massive distribution subsidies. Are you perchance a radical syndicalist on a holy quest to crush the capitalist value-form while also grinding the running dogs staffing the reactionary Swedish state into dust? Have no fear, that state will gladly subsidize both your salary and cost of distribution for your newspaper urging the workers to destroy capitalism! Even as larger and larger parts of Sweden succumb to deindustrialization and lack of opportunity, this money tap will keep flowing.

All of this is to say that there is a very real, non-ideological endpoint for many of the fervent demands coming from the Red Guards of the American cultural revolution. The state can take it upon itself to create and sustain an ever increasing number of jobs for the surplus elite generated by our universities. Moreover, even systems that were originally not intended to serve as patronage machines for surplus managers—such as a state fund for orphans—can easily be repurposed into a job creation program controlled by woke guild rules. Again, to reiterate: very few of our institutions that are now notorious as liberal-hegemonic patronage machines were created for that purpose; they were colonized. American conservatives should thus be very careful in their quips about “socialist Sweden,” given their own immediate future.

…

The left populist project is very much a project of social democracy for young professionals. Joe Biden’s electoral victory—such as it is—would have been impossible without the immense class solidarity and sense of purpose uniting the supposedly “ascendant” or “reality-based” half of America. (Drunk on victory, there is already talk of drawing up lists of people who in any way abetted the old regime.) They no longer feel any need to hide their power, or their plans for the future.

Broadly speaking, these surplus managers have two complementary goals: the above-discussed expansion of the social-democratic state, and the establishment of formal and informal guild protections and structures within the newly-expanded or pre-existing professional fields they hope to inhabit. Some characterize this secondary goal as one of ideological domination of the workplace, but this confuses the means with the ends. Put plainly, the ideas that are getting people fired today are not only empty of content, they are also constantly and arbitrarily changing. Compared to the often murderous totalitarianism of, say, a crusading religious fanatic, there is a distinct lack of object permanence at play here. The religious fanatic, obsessed with forcing everyone to bend to the True Faith, chooses his doctrine once and then sticks to it. But in the world of the woke, doctrine is ever-changing, and the commissars of today will gleefully sign your proscription sentence for holding opinions they themselves held only yesterday.

Yet, in this cultural revolution, the fickleness of its dominant ideas is an essential feature, not a bug. The point of this “totalitarianism” is not to force everyone to think correct thoughts at the risk of getting fired; it is to get them fired. Full stop. Like the medieval guilds of old Europe, surplus managers are threatened by the existence of a mass of people willing to do any job within their ambit that cannot be comfortably accommodated without inviting the pauperization of their entire profession. For the medieval guilds, guaranteeing that only a select few who could actually hope to become carpenters or glove makers had nothing to do with improving the economic efficiency of the towns, but rather to secure the living standards and social status of those carpenters and glove makers already in practice.

Guilds, unlike unions, are institutions meant to inflate scarcity. It is hard to imagine an American auto workers union threatening strike action in order to forestall Ford or GM from producing more cars. After all, more cars means more workers, means more potential union members, means more power for the union. The specific political opinions of any one worker does not factor into the basic arithmetic. For a guild, however, the arithmetic of power is very much concerned with the ability to discipline its own members, as well as raise barriers of entry into the workplace via social, cultural, or other grounds. For the union, having more members is (almost) always just a good thing. For the guild, it is a nightmare scenario. (Of course, exceptions exist. In some narrow vocations, unions maintain scarcity through licensing requirements and other means. But even then, the interests at play are economic, managing qualified labor scarcity for the benefit of its members.)

It is significant that the figure of “the boss” is imagined by these surplus managers as being evil not because he is a capitalist, but because his myopic profit motive or outdated personal morality is an obstruction to the creation of committees staffed by employees for the purpose of firing and disciplining other employees. Today, one can even be a millionaire capitalist while maintaining a properly anti-capitalist, revolutionary outlook, denouncing other companies that refuse to discipline their workers for ideological commitments.

…

To illustrate the hopelessness of any conservative or right-wing project which aims to somehow “shift the debate,” consider the way those same efforts played out on the left before the election. Take the case of Jacobin magazine’s recent article entitled, “Trying to Get Workers Fired Is the Wrong Way to Fight Racism.” Within minutes of its being published to Twitter, the article was inundated with angry and shocked reactions from mostly self-identifying socialists. The idea that bosses shouldn’t be trusted with the power to arbitrarily dismiss workers over allegations of racism produced a firestorm of controversy among the people who, we are supposed to believe, represent the vanguard that will lead those same workers into a revolution against those same bosses.

If this is just a modern expression of “Marxism,” then it has certainly come a long way.

…

Just as the Boston Tea Party looms large in the minds of Americans, the entrance of the black ships into Edo bay occupies a place of importance in the Japanese historical memory. It is seen as the moment in which the simmering social and political contradictions irrevocably boiled over. Neither the British monarchy nor the Japanese shogunate recognized what was happening until well after the point of no return. The fight against Trump has already forced such massive changes that the old social compact no longer exists. Silicon Valley has merged with the larger progressive machine, taking it upon themselves to guide (if not outright control) political discourse, picking political winners in a completely open and blatant manner.

The old order that was constituted in the US in the 90s depended on the separation not of church and state, but of the separation of civil servants, technical expertise, and scientific empiricism from politics. Without it, end-of-history liberalism lacks any legitimating mechanism. But it is precisely this separation that has just been destroyed; often violently and publicly. The election—with its artfully coordinated media blitz, the monumental failure of institutional polling (again), and the sudden about-face on the existence of electoral interference, is just the final swing of the knife against what remains of post-war Western liberalism.

This is not some trifling ideological point. The last year has seen very large institutional changes in the real world—huge cash transfers from business to various progressive NGOs, the embrace of political education in government institutions as a matter of course (briefly and ultimately meekly resisted by Trump’s executive order, now poised to return stronger than ever). On top of that, the US has seen a series of rolling purges of politically unreliable people from all positions of importance within academia, journalism, and similar sectors. Are those people going to suddenly be rehired now that Trump is gone, no harm, no foul? Will the alliances forged between progressive liberal causes and big business be voided, and all that money returned?

Even so, it is very much in doubt that many people actually want to go back. All these new alliances, all of these new technical and social instruments of political control and discipline, are far too useful for anyone to willingly give up. You can hear it clearly coming from congresswoman Alexandra Ocasia-Cortez: the tune for the future seems to be a mix of revenge and reeducation, not restoration. But since the deplorables are unlikely to whip themselves in penance, the reeducators will have to be trained, deployed, and (one would assume) amply paid for their work.

The class war is here. It will not go away on its own. After 2020, not even the staunchest anti-communist or “traditional conservative” on the right should indulge fantasies to the contrary. Donald Trump, whatever else one may say of him, was not defeated by ideas, but by a society-spanning managerial omerta, organized by a stunningly impressive (and frankly, terrifying) class alliance working together in total discipline.

In an era of elite overproduction, the only realistic means of sustaining the unsustainable elite’s social status and standard of living is by increasing the exploitation of the rest of the population; demands, taxes, and tithes levied against the two-thirds of America that does not attend college by the one-third that does. And so more institutions will be built, more money will be transferred from the undeserving poor to their educated superiors. Our media personalities, academics, and experts will continue the work of inventing new crimes for their gardeners, gig workers, and unemployed countrymen to commit, so that they might maintain this process of looting and extortion.

Those of us outside this coalition of the ascendant—whatever else we may lack in commonality—are now called upon to realize one very basic point: regardless of whether you call yourself a national conservative, a one-nation Tory, a part of Blue Labour, or a labor populist, this class war cannot only be analyzed and complained about. It must be vigorously prosecuted and won. It is one thing to debunk the “Marxism” of the surplus managers, but another thing entirely to strike against the structures of their guild privilege, dismantle their networks of patronage and access, and defund and marginalize their institutions and money pipelines.

The battle lines of the class war have been drawn. For those of us who would fight against this miserable vision of the future, it is high time we proclaimed our own Sonnō jōi. Only then can we hope to restore some semblance of dignity. Only then can we hope to halt the creeping rot that is eating us from within.

#malcom kyeyune #the bellows #class warfare #professional managerial class #read the whole thing

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theawkwardterrier · 5 years ago

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2019 fic roundup

Buffyverse

The Words Beneath Our Words

MCU

Perfect Targets Beneath the Flap A Light in the Window These Bricks and Beams Carry With Us Though It's Called Dancing (to me it's romancing) things left behind and the things that are ahead

1. Looking back, did you write more fic than you thought you would this year, less, or about what you’d predicted?:

I've had a policy over the past through years of not predicting (I’m so easily prone to getting weighed down by disappointment in myself), but I’ll say it was less than in the past (not an overwhelming number of individual fics, and not a lot of variation in genre) but in some ways a lot more (things left behind).

There is something a little different from other years, though, because in 2018 I had decided to stop writing. It seemed like a perfectly sensible time to do so: it had been just over ten years since I started writing fic regularly, just under ten since I started participating in IWRY marathon, I’d made friends and improved in my writing both through age and through practice, and I’d just finished my World Without Shrimp IWRY series and had no new projects brewing. I was starting to feel sort of old-married to my fandoms, the love still there but the passion somewhat fading. But it was also a move made bitterly, out of anger and sadness and frustration.

I know there are writers who will write regardless of the feedback they get. I know there are writers who don’t register the hits or kudos they get, those who don’t compare their stats to other writers, who keep themselves focused on themselves and their own work, thinking “I like my story - it’s good and writing it helped me to grow” rather than “I like my story, and more people should have too.” I think that type of writer is admirable. I’m not one of them. I don’t know that I ever can be. And, as I’ve mentioned in the past, I was really torn up that But A Walking Shadow didn’t get much of a reaction.

It’s strange - I love my own fic, but I truly don’t think I’m the most amazing writer or anything. And I certainly get wonderful feedback, including plenty on my other 2018 stories, many of which were very well received. But there was just something about what happened with that one story that really affected me. Maybe it was a sense of hopes dashed after a lot of effort, or, as I mentioned during last year’s roundup, a feeling that I had done everything “right” with it, and it didn’t result in a greater impact. Maybe it was the feeling that Woman Borne was somehow retroactively not as well-received as I thought it had been if people weren’t looking for a follow-up and weren’t as interested when it arrived. I felt as if I had spent a decade trying to become Something and had finally gotten close and it just wasn’t working. (I was also having a pretty hard year in general, and mental-healthwise, wasn’t in the best place.) Regardless of the reason, in the later part of 2018, I started wondering what would happen if I just...stopped?

Like I said, I thought it would be a fairly good time to do it, there were Reasons for it, but I was also having a supervillain moment of “if I’m not appreciated, I just won’t do it anymore, I’ll just tell myself stories and won’t write them or show them to anyone, so there.”

And then Endgame came out. And I wrote anyway. Obviously.

I’m not much better in my comparisons with others, and in some ways I’m worse, though I’m working on it. I know that it’s not logical or healthy, to have this endlessly gluttonous desire for recognition which might not even be possible to ever fulfill. (Like, realistically, what do I want? For every fic reader to be obsessed with my work? For the world to hail me as the next Shakespeare????) I am trying to manage my expectations and to focus on the positives of my accomplishments and place less stock in the reception. We’ll see how it goes.

Anyway, I don’t predict what I’ll write, or how much. At this point, who knows.

2. What pairing/genre/fandom did you write that you would never have predicted in January?:

As I said, in January, I was certain I would never write fic again, so I suppose it was all unpredictable. That said, everything stayed fairly status quo (Steve/Peggy, Buffy/Angel), though I guess my OCs - the whole cast of them! - were a surprise.

3. What’s your own favorite story of the year? Not the most popular, but the one that makes you happiest?

There’s usually one that jumps out, but from 2019, I was really proud of things left behind in a grand sense (length! characters!) and probably Beneath the Flap in a smaller sense (I’m always really excited when I can translate one universe into another - Attachments’s internet security officer/email monitor becoming a CA:TFA appropriate WWII military mail censor is pretty good).

4. Did you take any writing risks this year? What did you learn from them?

Including so many OCs in things left behind, I think. Even though I did something similar before with Adrift, Ashore, it felt so, so nerve-wracking to include pieces like chapter 22, which is almost entirely Drea with cameos by Steve and Peggy and Tony and the Jarvises. Like, how much would people’s interest extend past the MCU characters they came to read about? (Luckily, apparently a fair amount.) One of the things I started to realize as I’ve written more and more of the story is that I do feel, I guess, ready to try writing new characters and building a world of my own in a way that I didn’t before.

5. Do you have any fanfic or profic goals for the New Year?

This is not a prediction because I’ve already fulfilled it as of this writing, but: keep posting chapters of things left behind, mostly. I’d love to expand to a new fandom, but I’ve been in a real rut for the past few years; nothing’s really captured my interest in that certain way, and I’m sighing over the lack of a shiny hyperfixation.

As I’ve gained confidence in my own writing independent of an extant media universe (see above), it’s possible that I might try writing something non fanfic at some point in the future, but I don’t actually have an idea and the details of anything surrounding that are so hazy I don’t even think I could list it as a goal. (Also, a maximum of four people are allowed on the page at once, so that will put a damper on things).

6. From my past year of writing, what was…

Story Most Underappreciated by the Universe:

I think they all mostly got what they were due this time around (or more than their due; see below), though I would never say no to more feedback on new chapters of things left behind. There are people who comment on every chapter and I absolutely can never thank them enough for that, but it is a little dispiriting to watch the hits going up without even a note saying, “hey, this was great!” or “I can’t give kudos again but I liked this chapter.” Like I said, I’m trying to work past this sort of thing and I’m not going to stop writing because of it, but...it would still be nice...

Most Fun:

I think Perfect Targets. There’s a touch of awkwardness to it that I wasn’t really able to smooth out, but I like the tone of it, the seriousness balanced with humor/aggravation.

Most Disappointing:

It has got to be A Light in the Window. I reread my own fic possibly more than anyone else alive, and I can’t bear to even look at this one because I think it’s so clunky and weird. Like, the very very center is an interesting idea, but I can’t believe I wrote it considering the secondhand awkwardness that I experience when thinking about it. The feedback on it has been incredibly generous.

Most Sexy:

The scene in chapter 3 of things left behind where Peggy and Steve start getting hot and heavy at the carnival? Or maybe chapter 3 in general?

Hardest to Write:

I stopped writing chapter 28 of things left behind for around six solid months and I’m still not certain I got it 100% fixed up, so probably that.

Most Unintentionally Telling:

I'd love to be either a Buffy or an Angel in The Words Beneath Our Words, but sometimes I feel like my love language is ¯\(°_o)/¯. Good luck being in a relationship with me! (Just kidding - who would?! Rosa_Diaz_laughing_at_the_party.gif)

Choice Lines:

Usually I’m obsessed enough with my own work to list fourteen million, but this time the prospect legit exhausts me. Pick your own if you’d like, I guess?

#this is like a mental breakdown/ugly look into my ugly psyche disguised as a fic roundup #(I felt like I had to get it out but if you want to like me in the future maybe don't read it?)

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erikaalamode · 4 years ago

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The fairy godmother dress portion of the transformation took a while to figure out. . . I started with a historical inspiration, and I drafted my pattern based on a couple extant robe à la polonaise gowns! I wanted something with a strong structure so it would hold up to the transformation easily. . . But I ended up remaking the bodice three times, because as it turns out, I picked CURSED FABRIC for this whole project!!! The iridescent stretch lamé that looked so pretty and fun on the roll??? Yeah not pretty and fun to work with!! . . The first time I assembled the bodice, I put it on to take pictures to submit for the Mousequerade, and when I raised my arms to try the transformation, the fabric frayed out under my arms like sparkly armpit hair!!! And this, in spite of the fact that I’d serged all the overlay to the polycotton sateen base layer, bound all the seam allowances with bias tape, and top stitched across either side of each seam to hold it all in place. . . So I ended up redoing the bodice, this time with fusible web gluing the lamé to the sateen so that it wouldn’t fray independently. Which was a great idea, except that the fusible web took any flex out of the fabric, making the whole thing too tight when worn. So I had to pick the whole bodice apart to let out each seam by a 1/4 inch, making for a third assembly. . . Photo by @portraits.n.cosplay at the @disneybooks Art of Costuming exhibit at @disneyd23 expo 2019!! . . #fairygodmother #cinderella #fairygodmothercosplay #cinderellacosplay #disney #disneycosplay #disneyprincess #disneylife #cinderella2015 #disneyprincesses #memade #sewing #cosplay #cosplayer #costume #costumer #bibbidibobbidiboo #adreamisawishyourheartmakes #onceuponatime #happilyeverafter #fairytale #fairy #d23expo #d23 #d23expo2019 #costumedesign (at Cinderella's Castle) https://www.instagram.com/p/CEH1cwBjdZf/?igshid=cwv4m59zp9kx

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mannekenpressprints · 4 years ago

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“The Great One”, 48”x36”, and “Caprese”, 48”x34” by Gary Justis, 2019. Archival pigment prints in editions of 3. These works are included in “Gary Justis: Head On Horizon”, viewable on Artsy (link in bio). The images are photograph of projected light. Gary Justis’ photographs explore both abstraction and visual metaphor. Rather than capturing extant objects or scenes, Justis employs analog procedures to create them. Using LED, incandescent, refracted and reflected light, Justis manipulates the projected light with optics to create images that suggest life forms, objects and peculiar structures, capturing them using photography • • • “Gary Justis: Head On Horizon” includes 7 kinetic sculpture/light installations and 15 photographs of projected light. The exhibition continues through July 15. All work is available from Manneken Press. DM or email for exhibition checklist/prices. #garyjustis #thegreatone #caprese #archivalpigmentprint #headonhorizon #mannekenpress #light #photography #abstractphotography #limitededition #lightasimage #artsy #collectprints (at Manneken Press LLC) https://www.instagram.com/p/CCTXvcOFu6q/?igshid=1bxzymugdhgaw

#garyjustis #thegreatone #caprese #archivalpigmentprint #headonhorizon #mannekenpress #light #photography #abstractphotography #limitededition #lightasimage #artsy #collectprints

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romanov-ramblings · 5 years ago

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Renderings of the Lilac Cabinet (Mauve Boudoir), and the Palisandre (Rose-wood) Drawing-Room of Her Majesty, Empress Alexandra Feodorovna at the Alexander Palace as it looked before 1941. I started these renderings (with Windows/MS Paint) as the reconstruction project (rehabilitation as well) of the Alexander Palace in Tsarskoe Selo is going on currently. PLEASE if you decide to re-post and/or share these, make sure that you credit me appropriately. I work very hard on my pieces, and these are no different. They took hours of research, fine-tuning colours, and even making colour palettes for each of the rooms. Thank-you! On October 24th, a big unveiling was done of the currently-in-progress reconstruction. The rooms unveiled were the following: 1. The Bedchambre of Their Majesties. 2. The Lilac Cabinet (Mauve Boudoir) of Her Majesty. 3. The Palisandre (Rose-wood) Drawing-Room of Her Majesty. 4. The State Reception-Room of His Majesty. 5. The “Old” Working-Study of His Majesty. 6. The Moorish Bathchambre of His Majesty. Rooms that are in the process of reconstruction (or restoration): 1. The Maple Drawing-Room of Her Majesty. 2. The “New” Study (Front Office) of His Majesty. 3. The Corner Reception-Room of Her Majesty. 4. The Mountain Hall (Parade Enfilade of State-Rooms). 5. The Imperial Library (total of four rooms, two being the Great and Small Libraries). By Spring 2020, GMZ Tsarskoe Selo has said the first eight reconstructed interiors will be opened for the high season (most likely May) of tourism. The entirety of the rehabilitation project for the Alexander Palace will be completed no earlier than 2022. The Alexander Palace is to become a memorial museum to the Imperial Family. Some background information on the Alexander Palace’s saga: 1792-1796: Designed and built for the future Tsar Alexander I, by the Italian architect Giacomo Quarenghi. It is designed essentially as a Summer estate, and not a full palace. 1894-1917: Permanent residence of Tsar Nicholas II, Empress Alexandra and their five children. The Imperial Family began to live at the Alexander Palace on a permanent basis more so in 1905. 1917-1918: (September) autochrome plates are made during the inventory of the Palace complex at Tsarskoe Selo. 1918-1941: The Alexander Palace is kept as a museum “honouring” the Imperial Family. Looting happens from with-in the Palace-museum. Between 1930 and 1941, the NKVD has permission to use the left wing (not the Imperial Wing, which was the right one) as a “holiday” establishment. An orphanage is established in the former rooms of the Imperial Children during this period. In 1941, evacuation of the Palace-museums in and around Saint Petersburg begins. Over 800 pieces of art-work and even furniture are evacuated from the Alexander Palace by the last curator at this time; Anatoly M. Kuchumov. 30,082 Total pieces were in the Alexander Palace in 1941, including 20,000 books from the Imperial Library (and personal collections of the Imperial Family). 1942-1944: The German forces (National Socialist Party, Nazi’s) occupy Tsarskoe Selo and make the Alexander Palace SS headquarters of operations. Along with Spanish allies, they loot and damage the Palace complex of Tsarskoe Selo. Much wooden decoration of the interiors is used as fire-wood. Shelling and artillery fire further damages the interiors. 1944-1946: Inventory of the suburban palace complexes. The Alexander Palace is the least-damage of them, and so all the collections are sent here. The Palace is mothballed, and in 1946, given to the USSR Academy of Sciences to store the collections of the Institute of Russian Literature. 1947-1951: The Alexander Palace begins a lengthy process for a major exhibition on the life of Alexander Pushkin (150th Anniversary, which Tsarskoe Selo has been renamed to). During this period, the remnants that remained of the damaged rooms of the Imperial Family were completely destroyed. Generic, Russian Empire style rooms were installed to preserve the work of Quarenghi. In 1951 the ownership of the Palace-museum is transferred to the Russian Navy. In the same year, what is left of the Alexander Palace’s collection (part of the collection of the evacuated items in the central repository of museum funds of the suburban palace-museums is received at Pavlovsk. October 2009: Ownership of the Alexander Palace is given back to GMZ Tsarskoe Selo. June 2009-2011: The Parade Enfilade, and roof of the Alexander Palace are restored and fixed for the 300th Anniversary of the founding of Tsarskoe Selo. These three State-Rooms original to Quarenghi’s design are unveiled in 2011 to the press and tourists after. 2015: Studio 44, headed by Nikita Yavein was awarded the commission for the project of the reconstruction and rehabilitation of the Alexander Palace. A press release is held in the Alexander Palace detailing the reconstruction, and rehabilitation project. 2015-2019: The Alexander Palace (closed in 2015) has been under a comprehensive reconstruction/rehabilitation project under the auspices of GMZ Tsarskoe Selo and Studio 44, the firm awarded the commission in 2015. Stavros, a furniture design firm in Saint Petersburg has presided over all the wooden decoration; Artcorpus_Interiors has presided over all of the ceramic tiling, and was predominantly responsible for the work on the Moorish Bathchambre of His Majesty. Janusz Matusiak was responsible for all of the reproduction textiles (curtains, furniture upholstery, etc) for the reconstructed interiors. October 24th, 2019: A second press release is held in the Alexander Palace for the unveiling of the current progress of the reconstruction: Eight historical interiors (of which one was still extant from after the Second World War) were unveiled to the press. It is anticipated that the eight reconstructed rooms will be fully opened to the public during the high season of tourism in May most likely. The project itself will be finished no earlier than 2022.

#alexander palace #nicholas ii #empress alexandra feodorovna #giacomo quarenghi #gmz tsarskoe selo #studio 44 #stavros_spb #artcorpus_interiors #janusz matusiak #Tsarskoe selo #Russia #reconstruction #rehabilitation #restoration #Александровс��ий дворец #Царское село

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bmthrive19 · 5 years ago

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RAGNAROK

If the 19th century can be characterised by the rise of industrialisation and the 20th century by the expansion of the market economy and globalisation, the defining characteristics of the 21st century are dramatic and pervasive transformations and a shift from unipolarity towards multipolarity.

Triggered by disruptive technological change, the onset of the Fourth Industrial Revolution has led to fundamental changes in the nature and structure of the economy. With significant redistribution of the level, location and composition of output, our organisations are more global and interconnected than ever. A hastening erosion of trust in extant political frameworks and institutions is driving human societies to be more isolated and divergent.

In fact, with the increasingly strong probability of global growth falling short by at least 1 percentage point from projections, the magnitude of the decline is comparable to the agonising global recession of the early 2000s.

By contrast, the economic outlook for South Asia continues to be strong. In the past half-century, emerging and developing economies have significantly enhanced their contribution to global output from around 15% to well above 50%. Underpinned by strong domestic demand, private consumption and investment, a growth projection of 7% suggests South Asia’s resilience and strength to not only weather the global slowdown but also to contribute to propelling global growth forward.

Especially noteworthy is the economic outlook of the region’s largest economy, India. With its GDP growth projected to again increase by 7.5% in the next few years, India continues to be one of the world’s fastest-growing major economies. India’s has been a dramatic rise, deserving of the global attention that it has commanded. The stage is set for India to realise its vision of becoming a $10-trillion economy in the next decade-and-a-half and to assist in appeasing the woes besetting the world economy.

Steered by decisive leadership, India is rising to the occasion through a significantly enlarged global profile. India’s commitment to renewable energy through voluntary and ambitious renewable power capacity targets, a lead role in the Paris Climate Agreement negotiations and the International Solar Alliance shows its aspirations of becoming a leader in environment security and climate change mitigation.

India has also expanded its global stature in space exploration through widely celebrated breakthroughs such as its recent lunar mission and its distinction of becoming the fourth country worldwide to shoot down a low-orbit satellite with a missile. India, too, is more involved in global humanitarian efforts and development initiatives, including infrastructure development in Afghanistan, the International North-South Transport Corridor, the Ashgabat Agreement, the Chabahar port and the India-Myanmar-Thailand highway. The Indian Prime Minister has articulated his strong vision for an India-Africa cooperative interest and India’s deepened participation in coalitions such as the Shanghai Cooperation Organisation, the Asian Infrastructure Investment Bank, the India-Brazil-South Africa Dialogue Forum and the BRICS group demonstrate its growing global influence and appetite for enhanced visibility on a range of global initiatives and multilateral fora.

So while there is no agreed definition of what is a 'superpower', fundamental characteristics that is consistent with all definitions of a superpower is a nation or state that has mastered the seven dimensions of state power: geography, population, economy, resources, military, diplomacy and national identity.

Bharat will replace any one of the three superpowers, either Russia, China or America from the list of top three countries of the world in terms of economy and strength, opined famous politicians.

Task in hand

Given the prospects for growth in the country come up with a detailed plan on how you will make India a superpower.

The 5 prerequisite to make a country a superpower are:

1.Strong political system

- Come up with a way to ensures that the government functions efficiently and works for the betterment of people

- Continue with democracy or come up with a new political system to govern our country

2. Strong financial markets

- Come up with ways to increase FDI in India

- Promote and make the BSE, NSE or a new stock exchange the biggest in the world by market capitalisation.

3. The Defence Force (Army-Airforce-Navy)

- Ways to improve the technological as well as physical power of the army

- Develop a new structure to make the army more effective

4. Population

- Improve the quality of education

- Increase the wage level for individuals

- Increase employment opportunities

- Increase life expectancy

- Methods to reduce overall population to help the economy

5. Upcoming fields

- Ensure growth of the country in the fields expected to boom and grow in the future.

- Target industry's and explain how to integrate them in our country.

Along with this, your deliverables include –

• A phase wise implementation plan.

• A Press Release regarding India’s Mission and Vision.

• A detailed Budget and its allocations.

• Tackling other Superpowers

• Differentiation Strategies

(The world is likely to have a lot of superpowers later, how will you make sure that there is only one: India)

DELIVERABLES

- A report of 15 pages

- A PPT of not less than 7 slides

Deadline

Soft copy submission at 11pm 23/11/2019.

(Remember, this is a very long task, a lot of deliverables are required and expected.

Reduce detail and make effective use of time.

What you find on the internet is what everyone else finds. How you use it to your leverage is what makes you different.

Make sure information being communicated is precise and crisp.)

For any queries, feel free to contact Sankalp

Regards,

Team Best Manager.

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scifigeneration · 6 years ago

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2019 PHILIP K. DICK SCIENCE FICTION FILM FESTIVAL ANNOUNCES BI-COASTAL EVENT IN NEW YORK AND CALIFORNIA

The Philip K. Dick Science Fiction Film Festival, the annual festival that honors legendary novelist Philip K. Dick through the dynamic power of science fiction film, is returning for its seventh outing with a full schedule of events. For the first time since its inception, the festival will hold a bi-coastal gathering presenting a lineup of films, premieres and panels for audiences in New York City, Los Angeles and Santa Ana, CA. The ambitious endeavor will provide a platform for independent filmmakers who tackle a variety of themes that empower the narratives of Philip K. Dick, whose work continues to serve as a profound mark on the literary and entertainment worlds.

The festival will open in New York City on Thursday, March 7th and Saturday, March 9th. Following its long history in New York, the festival regards the city as an exemplary location to utilize science fiction as a means of connecting with audiences. "We have developed a strong following here," said Daniel Abella, the founder and director of the festival. "Our fans have become loyal supporters of our films and platform so we acknowledge their support by bringing back great sci-fi year after year." Features include Saku Sakamoto's ARAGNE: Sign of Vermillion about a young woman's discovery of a mysterious class of insects and the U.S. premiere of Taking Tiger Mountain Revisited, the remastered version of Kent Smith and Tom Huckabee's post-apocalyptic 1983 film starring Bill Paxton. Then, a lone survivor searches for answers after the human race vanishes in the World Premiere of John Norby's Assimilation.

The west coast edition of the festival will run in partnership with Media Arts Santa Ana (MASA), a non-profit organization that supports its community's cultural empowerment through special resources and initiatives. "We are excited to bring the festival to Santa Ana and allow fans to see some great films," said Victor Payan, the director of MASA who worked with the festival to organize a divine salute to its namesake, a resident of the city in his final years where he wrote several of his last major works. "This will help create discussion about how Santa Ana and Orange County influenced Philip K. Dick's vision and celebrate one of Santa Ana's most treasured and influential artists."

Festivities begin on Thursday, March 14th in Los Angeles with the city serving as a prime destination to bring the festival. "Blade Runner is set in L.A. in 2019," said Abella when referring to the 1982 adaptation of Philip K. Dick's novel Do Androids Dream of Electric Sheep? "There is no better honor than by holding the festival in the very city and year depicted in one of the greatest sci-fi films of all time." Screening titles include Matthew Evan Balz's Corvus, which follows a woman's perilous efforts to build a machine capable of hypnosis and the depiction of extant technology in Emily Dean's Andromeda about an android's awakening of human emotions. Closing the night is Josh Gibson's atmospheric Pig Film about a woman's work on a hog farm during the impending end of the world.

The festival then opens in Santa Ana, CA from Friday, March 15th through Sunday, March 17th. Essential films include Unzipping, the cinematic directorial debut of actress and writer Lisa Edelstein about the poignant unfastening of a marriage and Star Trek veteran Walter Koenig's confrontation with fate in Michael Baker's Who is Martin Danzig? Holding its World Premiere is Tony Dean Smith's mind-bending thriller Volition about a clairvoyant man's quest to avoid his own murder and the U.S. and L.A. Premiere of Sarah K. Reimers' Bitten about a dog's rabid night of risk and adventure. Dive Odyssey kicks off a lineup of feverish documentaries as Janne Kasperi Suhonen takes viewers on an absorbing aquatic journey and Colin Ramsay and James Uren decipher what makes "good" artificial intelligence in the dawn of ethics and technology in Good in the Machine. Observing the 90th anniversary of Philip K. Dick's birth and the 50th anniversary of Blade Runner's origin novel, the two organizations joined forces for the Philip K. Dick Multicultural Dystopian/Sci Fi Short Film Challenge, a short film competition that invited participants to develop projects that analyze contemporary life in view of themes associated with Philip K. Dick. The challenge also evaluated Philip K. Dick's cultural influence on the Santa Ana community and to encourage the representation of multicultural stories by traditionally underrepresented sci-fi filmmakers. "Anyone who has ever felt alienated should look up to PKD," said Abella. "Because the heroes in his stories were everyday people attempting to retain their dignity in a progressively dehumanized world." The festival's expansion has also furthered its commitment to feature a more inclusive brand of filmmaking with 31 percent of the official selections directed or co-directed by women and minority filmmakers. Many films are seen from the perspectives of racially and gender diverse characters. "There is a new freshness entering the genre," said Abella, who curated an equality-driven showcase of films from the emerging talent strengthening the industry. "Science fiction is based on exploring the 'other' and no one is more qualified than those groups who have been marginalized to tell their story using the tools of sci-fi." THURSDAY, MARCH 7, 2019: Museum of the Moving Image (36-01 35th Ave, Astoria, NY 11106) Block 1: Best of Philip K. Dick Short Films Time: 6:00pm - 8:00pm Glitch Noir 2 - The Rise of el Pelon (2018) Director: Cody Healey-Conelly Run Time/Country: 1 min, USA Synopsis: A trailer to the sequel of Glitch Noir tells the story of a futuristic private eye who with the help of an A.I. that processes big data, tracks and unhinged killer through the murky neon streets of the Sprawl. The Last Office (2018) Director: Trevor Hoover Run Time/Country: 12 min, USA Synopsis: In an alternate 1940s, a switchboard operator must endlessly serve as the link between two worlds, connecting calls across the barrier line of life and death. One day, he fields a call from someone he knew in a past life. Harsh Reality (2018) Director: Iain Marcks Run Time/Country: 18 min, USA Synopsis: A cynical professional gamer's life is turned upside-down when he's forced to see the world in a different way. Some of Her Parts (2018) Director: Abie Sidell Run Time/Country: 11 min, USA Synopsis: When future medicine allows people to live past the human body's shelf life, a young woman visits her grandmother in the hospital and is forced to question the value of immortality when you still end up in a box. How I Got to the Moon by Subway (2018) Director: Tyler Rabinowitz Run Time/Country: 13 min, USA Synopsis: After being diagnosed with ALS, a curmudgeonly older man goes to the hospital with his partner to record his voice bank before he loses the ability to speak. Regulation (2018) Director: Ryan Patch Run Time/Country: 11 min, USA Synopsis: In the near future, a young social worker named travels to a small community to administer behavior-modifying 'patches' that guarantee happiness for the wearers. She then must decide what to do when a precocious 10-year-old girl refuses to accept the patch. To Be Forgotten (2018) Director: Masa Gibson Run Time/Country: 25 min, USA Synopsis: A recovering addict trying to erase the online records of his past transgressions gets a call from a mysterious company that claims it can help him be forgotten - not only by the Internet, but by all the people that ever knew him and by the natural world itself. The Desert (2018) Director: Ben Bigelow Run Time/Country: 14 min, USA Synopsis: In a suburban mansion, a woman sneaks into her son's virtual reality chamber. Here, he wanders through a desert with extraordinary powers. The machine is intended as a psychiatric treatment, yet Martha's trespass sets in motion a series of threatening events. The virtual reality, it seems, has begun to leak into their home. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 2: International Sci-Fi Short Films Time: 8:00pm - 10:00pm The Ticket (2018) Director: James Villeneuve Run Time/Country: 11 min, Canada Synopsis: A man's life takes a dark turn when he accepts a ticket to board a giant space craft. Synthia (2018) Director: Maria Hinterkoerner, Bernhard Weber Run Time/Country: 12 min, Austria Synopsis: In the near future of Vienna, every household is supported by a personal assistant robot called Synthia, built by tech giant ENYO. The robot is equipped with a neuronal network and has access to all electronic devices. Synthia listens, and she learns. N (2018) Director: Iacopo Di Girolamo Run Time/Country: 14 min, Italy Synopsis: An expressionist nightmare in which an inventor and his colleague test the 'Automaton,' a machine able to create things from nothing. The machine works perfectly as long as the items it is asked to create start with the letter "N" in German. The results of the test will be predictably catastrophic. I Want To Kill (2017) Director: Dan Yadin Run Time/Country: 5 min, USA Synopsis: An unhinged, psychedelic romp through the bleak depths of space. Into the Dark (2018) Director: Benjamin Berger Run Time/Country: 12 min, USA Synopsis: In the wake of a widespread viral epidemic, two U.S. soldiers stranded during their mission must fight to survive while an old man and his ailing daughter, running low on food, wait to be rescued. Destroyer of Worlds (2018) Director: Samual Dawes Run Time/Country: 44 min, UK Synopsis: A precocious teenager must reluctantly leave his life in 1954 behind when his father makes the most devastating discovery to date: Leap Theory. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. SATURDAY, MARCH 9, 2019: Producers Club (358 W 44th St, New York, NY 10036) Block 1: Japanese Anime Feature Time: 11:00am - 12:30pm ARAGNE: Sign of Vermillion (2018) Director: Saku Sakamoto Run Time/Country: 76 min, Japan Synopsis: Directed by the digital effects producer of Ghost in the Shell 2: Innocence, a college girl moves into a building on the outskirts of town and sees an insect coming out of the arm of a woman. She learns that they are called "Spirit Bugs," and have existed since ancient times. Unravelling the mystery, she discovers this is only the prelude to a new form of terror. Block 2: International Sci-Fi Short Films Time: 12:30pm - 3:00pm The Vault (2018) Director: Sara Martins Run Time/Country: 10 min, Canada Synopsis: In this post-apocalyptic sci-fi web series, a ragtag group of survivors live in an underground military bunker known as Vault 175. Seedling (2017) Director: Stevie Russell Run Time/Country: 13 min, Ireland Synopsis: A young couple have an encounter with a strange, unknown life form. Graffiti (2017) Director: Barcsai Bálint Run Time/Country: 19 min, Hungary Synopsis: A delinquent sees graffiti of his future self and tries to understand what is happening. Compatible (2018) Director: Pau Bacardit Run Time/Country: 15 min, Spain Synopsis: In this web series, a man has an opportunity to upgrade himself for greater electronic compatibility. Colony (2018) Director: Catherine Bonny Run Time/Country: 15 min, Australia Synopsis: Indentured servants try to establish a new planet but something is alive in the ocean. Eva (2018) Director: Xheni Alushi Run Time/Country: 15 min, Switzerland Synopsis: An introverted young girl discovers a gateway to a parallel world, in which she finds comfort and ease for her guilt. Birth (2018) Director: Andrea Cecconati Run Time/Country: 16 min, Italy Synopsis: Inside a waiting room where people choose to be born or be deleted forever, a little girl tries to drive people who have chosen not to exist into the row of birth. Space Between Stars (2018) Director: Samuel W. Bradley Run Time/Country: 10 min, Canada Synopsis: A group of ethereal creatures exploring a derelict space station are drawn out into the vast, unsettling environment. As their fate begins to crystallize, questions are raised about the nature and ambiguity of conflict. Space Flower (2018) Director: Pam Covington Run Time/Country: 13 min, USA Synopsis: A young woman longs for a forbidden love. From Life (2018) Director: Uli Meyer Run Time/Country: 8 min, UK Synopsis: An amateur artist sketching in a churchyard has a series of encounters with a young woman believed to be a ghost. In fact, the truth is stranger than that. La Supercafetera (2018) Director: Vektorjack, HD Carlos Run Time/Country: 10 min, Spain Synopsis: Three friends share a very special coffee maker but instead of coffee it produces pin badges which give superpowers to those who wear them. By using these superpowers, the three geeks get involved in a quest that will eventually take them to a post-apocalyptic future. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 3: Best of Philip K. Dick Short Films Time: 3:00pm - 5:00pm The Last (2018) Director: Samuel Turner and Andrew Dobson Run Time/Country: 9 min, UK Synopsis: Struggling to survive in isolation, a scientist carries out vital work. The Last Dance (2018) Director: Chris Keller Run Time/Country: 8 min, UK Synopsis: In the not-too-distant future, an old man works alone in his garage, click-click-clicking the hours away on an old desktop computer. He is making something great and the not-too-distant future will become the not-too-distant past. The Jump (2017) Director: Andy Sowerby Run Time/Country: 10 min, UK Synopsis: An astronaut braves a pioneering solo mission into deep space, leaving behind her loving husband. Through disjointed communications, she discovers her life on Earth has changed forever. Baby I'm Yours (2017) Director: Hadley Hillel Run Time/Country: 12 min, USA Synopsis: In the future as it was imagined in the 1950s, a boy notices his mother acting strange and begins to question whether or not she is a robot. Uncle Griot (2018) Director: Paul Charisse Run Time/Country: 6 min, UK Synopsis: A young girl takes her uncle for a walk. The Drone (2018) Director: Wojciech Lorenc Run Time/Country: 14 min, USA Synopsis: DJ, a small quadcopter is simply trying to fit in. Zoe (2018) Director: Leif Brönnle Run Time/Country: 17 min, Germany Synopsis: A young woman without identity or memory. Two scientists with great ambition. A sequence of tests that will bring them all to their psychological frontiers. The Photographer (2018) Director: Mazhar Kamran Run Time/Country: 18 min, India Synopsis: A woman appears to a photographer but sometimes not in his photos. Faulty Father (2018) Director: Benjamin Welmond Run Time/Country: 10 min, USA Synopsis: In the near future, a young father's morning routine is put on the fritz when he uncovers his wife's bizarre secret, one that forces him to question his sense of self and his role in the family. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 4: Horror and Sci-Fi Short Films Time: 5:00pm - 7:00pm Headcleaner (2018) Director: Nick Scott Run Time/Country: 29 min, UK Synopsis: A documentary filmmaker follows a working class recluse from Scotland who can control his environment through the power of sound. Over a fractured timeline, viewers witness the struggle to reconcile the recluse, his mastery of sound and a found footage tape of a sonic weapon called The Drone Tape, tested on humans in the seventies that will ultimately lead to horrific consequences for the filmmaker's family and the world at large. Post Mortem Mary (2017) Director: Joshua Long Run Time/Country: 10 min, Australia Synopsis: A girl and her mother run a post mortem photography business in 1840's Australia. Whistler's Mother (2018) Director: Robbie Robertson Run Time/Country: 18 min, USA Synopsis: The artist James McNeill Whistler spent years trying to capture the essence of his mother for his most famous work of art—not to create a masterpiece but to save his mother from possession by the Baba Yaga, an evil Russian witch. The Observer Effect (2017) Director: Garret Walsh Run Time/Country: 19 min, Ireland Synopsis: A woman is haunted by a dark watcher, a man obsessed with thoughts of her vicious murder but as the fateful hour draws near bizarre events unfold to reveal truths they could never imagine and a secret that will change their lives forever. The Cold Dark (2018) Director: Mikko Löppönen Run Time/Country: 19 min, Finland Synopsis: A woman wonders off into the dark to search for medicine for her wounded father. As she rummages a cabin, she stumbles upon two men who grant her cover for the night. But something outside is listening. Thursday Night Basic (2018) Director: Mike Hay Run Time/Country: 5 min, UK Synopsis: The story of a man who is changed and ultimately transported to another place, maybe even another dimension, due to watching some strange 8mm footage and drinking something even stranger. Beyond the Wall of Sleep (2017) Director: Peter Miller Run Time/Country: 10 min, Australia Synopsis: An exploration of sleep, sanity and space via H. P. Lovecraft and The Rules and Regulations of the Insane Asylum of California. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 5: Feature Presentation Time: 7:00pm - 8:30pm Taking Tiger Mountain Revisited (2018) �� U.S. Premiere Director: Kent Smith, Tom Huckabee Run Time/Country: 77 min, USA/UK Synopsis: In this remastered version of the 1983 film, an American draft dodger in a dystopian future is brainwashed and programmed by militant feminists to assassinate the Welsh minister of prostitution. Lurching unwittingly toward his goal, he makes a series of furtive connections with societal outliers like himself, including a feral child, a gentle prostitute, a sadomasochistic delinquent, a lovelorn androgyne, a hippie dope dealer, and a mute nymphomaniac while fending off predators who would sell him into sex slavery. Eventually, he is forced to focus on his mission and face the dreadful dilemma tormenting his psyche: to kill or not to kill. Starring Bill Paxton (Aliens). Written and directed by Tom Huckabee and Kent Smith. Co-written by William S. Burroughs, whose source material Blade Runner (a movie) provided a basis for the film. Block 6: Experimental Sci-Fi Feature Presentation Time: 8:30pm - 10:00pm Assimilation (2018) — World Premiere Director: John Norby Run Time/Country: 79 min, Ireland Synopsis: In the near future, exponential growth in technology triggers an event that wipes humankind off the face of the Earth. But from where did the grand plan for this event come and who or what is behind it? A lone survivor searches for answers in her quest to reconnect with life. THURSDAY, MARCH 14, 2019: Echo Park Film Center (1200 N Alvarado St, Los Angeles, CA 90026) Block 1: Sci-Fi Short Films Time: 7:00pm - 9:00pm Corvus (2018) Director: Matthew Evan Balz Run Time/Country: 10 min, USA Synopsis: A woman builds a machine with hypnotic capabilities. No Country for Old Lizards (2018) Director: Emiliano Rago Run Time/Country: 4 min, USA Synopsis: A conspiracy theory fanatic finds out an unpleasant truth. A Psalm of Sight - Verse 1: Zerfall (2018) Director: Julian Curi Run Time/Country: 15 min, USA Synopsis: Gifted with eternal life after drinking from the Holy Grail, a medieval knight spawns an alternate history where technology is God, and man is machine. Dace Road (2018) Director: Silk Run Time/Country: 9 min, France/UK Synopsis: On a night ride, a female cab driver tries to convince her client he is in a coma and that a collision is the only way for him to wake up. The Golden Record (2018) Director: Rachel Goldfinger Run Time/Country: 7 min, USA Synopsis: An alien crosses her barren planet and stumbles upon a record from Earth. While she is mesmerized by the record's bold, beautiful images, she undergoes a harsh awakening that only her own reality can truly comfort her. The Well (2018) Director: Adam Wheeler Run Time/Country: 19 min, USA Synopsis: When Ted, a withdrawn bachelor discovers a mysterious book while searching for his recently disappeared mother, he enlists the help of an old high school science wiz to piece together a confounding puzzle that seems to center around his family home. The Great 60 Days (2018) Director: Tae-Woo Kim Run Time/Country: 9 min, South Korea Synopsis: A doctor experimenting on fruit flies develops a substance that can dramatically increase activity in brain cells. After a series of failures, one fruit fly finally has a huge reaction when its intellect becomes mutated. Andromeda (2018) Director: Emily Dean Run Time/Country: 15 min, USA/Australia Synopsis: An android who, through her friendship with a little girl, becomes alive. Void Vision (2018) Director: Alexander Stewart Run Time/Country: 8 min, USA Synopsis: An abstract short in which real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 2: Feature Presentation Time: 9:00pm - 10:00pm Pig Film (2018) Director: Josh Gibson Run Time/Country: 60 min, USA Synopsis: In an empty world, a solitary female mechanically follows the protocols of a factory hog farm. Her labors are sporadically punctuated by musical rhapsodies as she moves toward the impending end. Is it the end of the world, a program malfunction, or the beginning of a film? FRIDAY, MARCH 15, 2019: Ebell Club (625 French St, Santa Ana, CA 92701) Block 1: Philip K. Dick Multicultural Dystopian/Sci Fi Short Film Challenge Time: 7:00pm - 8:00pm Winning films to be announced at the screening. Filmmakers will be present for a post-film Q&A. Block 2: "When Worlds Collide" Short Films Time: 8:00pm - 9:00pm Deep Dive (2018) Director: Mohammad Soleimanifeijani Run Time/Country: 6 min, USA Synopsis: A young Persian refugee arrives at the border of Los Angeles and is given a mandatory set of government-issued immigrant transition AR lenses. Shut out of other people's reality she slowly descends into a new form of digital alienation. Who is Martin Danzig? (2018) Director: Michael Baker Run Time/Country: 11 min, USA Synopsis: A mysterious old man sits in the park feeding pigeons, ruing the refuse of humanity encroaching on his sanctuary. He then meets his much younger replacement and learns to accept his future - with the fate of all humanity in the balance. Starring Walter Koenig (Star Trek) and Kevin Page (RoboCop). Precipice (2018) Director: Sean Young Run Time/Country: 4 min, Canada Synopsis: The planet's organics-engineer must decide if we are a species worth salvaging or if eradicating all life on Earth is the answer. Unzipping (2018) Director: Lisa Edelstein Run Time/Country: 15 min, USA Synopsis: A woman feeling unfulfilled discovers a zipper tab under her husband's tongue. Unable to resist, she pulls it and her entire life changes. But when newness turns into the new normal, she is once again unfulfilled and realizes her mistake: the problem has always been her. Starring Lisa Edelstein (House, Girlfriends' Guide to Divorce) in her cinematic directorial debut. Tomorrow, Shall We All Be Transhumans? (2019) Director: Benoît Schmid Run Time/Country: 9 min, Switzerland/France Synopsis: Jump into a mesmerizing journey into the spirit of the first man who succeeded to digitize his own brain, algorithm his soul, and who injects himself some Holy Transgenic Fluids in order to transcend his flawed flesh. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 3: Special Guests Time: 9:00pm - 10:00pm A panel of special guests to attend the festival with an announcement made at a later date. SATURDAY, MARCH 16, 2019: Orange County Museum of Art: OCMA (1661 W Sunflower Ave, Santa Ana, CA 92704) Block 1: New Frontiers: Documentaries From The Edge Time: 11:00am - 12:45am Dive Odyssey (2018) Director: Janne Kasperi Suhonen Run Time/Country: 9 min, Finland/Norway Synopsis: A meditative journey into the depths of water and mind, viewers enter on a journey into crystal clear darkness where the only light ever is man-made. Weather and Chaos: The Work of Edward N. Lorenz (2018) Director: Josh Kastorf Run Time/Country: 11 min, USA Synopsis: The first film about Edward N. Lorenz and his role in Chaos Theory produced with the participation and of scientists who worked alongside him. With their help a closer look is taken at what the "butterfly effect" actually meant in the context of Lorenz's work and why it should make all rethink the understanding of the universe. Nobody Dies in Longyearbyen (2017) Director: David Freid Run Time/Country: 9 min, Norway Synopsis: Permafrost in a northern island of Norway is affecting Global Seed Vault, infectious diseases like anthrax, influenza and global warming. Good in the Machine (2018) Director: Colin Ramsay, James Uren Run Time/Country: 15 min, UK Synopsis: The question of how to make "good" AI, what it means for a machine to be ethical, and who or what is the agent of the machine. Every Ghost Has An Orchestra (2017) Director: Shayna Connelly Run Time/Country: 7 min, USA Synopsis: What happens after we die is a universal question explored by paranormal researcher and experimental composer Michael Esposito. He straddles the line between spiritual and material and asks the audience to reflect on our purpose, legacy and what our actions say about who we are. UnderSee (2018) Director: Margie Kelk, Lynne Slater Run Time/Country: 6 min, Canada Synopsis: Sea creatures with large eyeballs are curious about invasive gray sludge. Beth's Three O'Clock with Dr. Harlow (2018) Director: Emma Penaz Eisner Run Time/Country: 3 min, USA Synopsis: A woman discloses a recent dream to her analyst. A vivid study of casual brutality and failed empathy, this surrealistic film intermixes stop motion animation with live action sequences. Musa Malvada (2018) Director: Liz Tabish Run Time/Country: 15 min, USA Synopsis: In London 1929, a fortune teller with dark secrets of her own visits various clientele throughout the city. As she navigates the tempestuous personalities and shocking visions, she must choose between telling the truth and her own survival. Extent (2017) Director: Paul Michael Draper Run Time/Country: 13 min, USA Synopsis: Time stands still as two old friends attempt to grapple with a question that defines their very existence. If you could live forever, would you? Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 2: Feature Presentation Time: 1:00pm - 2:30pm Mechanical Telepathy (2018) Director: Akiko Igarashi Run Time/Country: 76 min, Japan Synopsis: The depiction of love and skepticism through the relationships between researchers who visualize human hearts. Block 3: International Sci-Fi Short Films Time: 4:00pm - 5:45pm I Don't Want To Be Alone (2019) Director: Sergio Rozas Run Time/Country: 19 min, Spain/Japan Synopsis: A lonely girl walks around a future Tokyo chased by weird huge monsters. Even though she fights them, the monsters just keep growing in size and number so the girl has to make a decision. Blink (2018) Director: Atmaja Bopardikar Run Time/Country: 15 min, India Synopsis: A man is unable to understand what is happening to him and as his wife slowly loses her patience, he tries in vain to regain control of his perfect life, until one day he finds out it is not him but his shifting realities. Zilly's War (2018) Director: John Broadhead Run Time/Country: 25 min, USA Synopsis: A brilliant young woman on a four year mission to an alien planet finds herself remembering her childhood and facing her inner demons. The Nine Billion Names of God (2018) Director: Dominique Filhol Run Time/Country: 15 min, France/Switzerland Synopsis: In New York 1957, a Tibetan monk rents an automatic sequence computer. The monks seek to list all of the names of God. They hire two Westerners to install and program the machine in Tibet. A short film is based on the book by Arthur C. Clarke. Tatu (2018) Director: Garcerón Alejo Run Time/Country: 2 min, Argentina Synopsis: In this trailer, monster robots in a car junkyard battle it out. The Picture of Dorian Gray (2018) Director: Michal Janicki Run Time/Country: 9 min, USA Synopsis: A stop-motion animated journey through Oscar Wilde's iconic story about a man who sells his soul for eternal youth. The Desert (2018) Director: Ben Bigelow Run Time/Country: 14 min, USA Synopsis: In a suburban mansion, a woman sneaks into her son's virtual reality chamber. Here, he wanders through a desert with extraordinary powers. The machine is intended as a psychiatric treatment, yet Martha's trespass sets in motion a series of threatening events. The virtual reality, it seems, has begun to leak into their home. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers and cast members. SUNDAY, MARCH 17, 2019: Ebell Club (625 French St, Santa Ana, CA 92701) Block 1: Best of Philip K. Dick Short Films Time: 11:00am - 1:00pm Subverse (2018) Director: Joseph White Run Time/Country: 10 min, USA Synopsis: In this web series, in an alternate reality where everyone spends all their time indoors staring at computer screens, a man agrees to go on a date in the 'outside' world but it doesn't go well. Filled with self-loathing, he returns home and plunges headfirst into a drunken, hallucinogenic trip through the dark net. Ladies and Gentlemen, We Are Floating in Space (2018) Director: Tristan C. Pina Run Time/Country: 10 min, Canada Synopsis: An unfulfilled high school senior becomes obsessed with an ominous radio broadcast containing steps to a cryptic puzzle. Thinking he is being pursued by a sinister organization, his search for clues takes over his life. Ultimately putting the pieces together, it becomes unclear whether or not it was all real. Beyond the Door (2018) Director: Em Johnson Run Time/Country: 20 min, USA Synopsis: One day Hedy brings home a cuckoo clock to decorate the baby's room, unbeknownst that the cuckoo clock has the ability to love and hate just like humans. The cuckoo clock tests the couple's love by mimicking the presence of their deceased son. Based on a short story by Philip K. Dick. Enthusiasm Abounds (2018) Director: Mark Ross Run Time/Country: 13 min, USA Synopsis: In a world where social justice is automatic and absolute, enthusiasm abounds. Flies (2018) Director: Baobab Run Time/Country: 14 min, UK Synopsis: In the faded beauty of the house of his ancestors, a man waits for the return of the love of his life. Dark fantasies and crushing reality weave a dangerous journey as a struggle unfolds for his mind and ultimately his life. Avicenna (2018) Director: Daniel Stanush, Diego Chavez Run Time/Country: 5 min, USA Synopsis: In a remote location, a solitary researcher scours the landscape for a rare mineral. The Hereafter (2018) Director: Paul-Anthony Navarro Run Time/Country: 11 min, USA Synopsis: When a woman awakes into an afterlife of her own design, she discovers that her paradise might just be purgatory. Mise En Abyme (2018) Director: Edoardo Smerilli Run Time/Country: 11 min, Italy Synopsis: An eccentric and aristocratic gentleman devotes most of his time to a bizarre activity. Obsessed by beauty, he wanders everyday in the wood nearby the city, hunting the most rare butterflies. Once captured, he frames them and put in a massive and disturbing collection. He will soon realize to be himself part of a bigger collection. Axium Effect (2018) Director: Ari Dassa Run Time/Country: 11 min, USA Synopsis: A woman drifts through her traumatic memories after overdosing on a drug pilfered from android processors. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Block 2: Feature Presentation Time: 1:00pm - 3:00pm Volition (2018) — World Premiere Director: Tony Dean Smith Run Time/Country: 101 min, Canada Synopsis: Blending genres, this mind-bending sci-fi thriller about a man afflicted with clairvoyance who tries to change his fate when a series of events leads to a vision of his own imminent murder. But as he sets out to avoid his certain death, he comes to see that his pre-sentient condition is not quite what it seems. Starring Adrian Glynn McMorran (Arrow), Magda Apanowicz(The Green Inferno) and Aleks Paunovic (Van Helsing). Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers and cast members. Block 3: Horror and Sci-Fi Short Films Time: 3:00pm - 5:00pm I Am the Doorway (2018) Director: Simon Pearce Run Time/Country: 20 min, UK Synopsis: After a journey to investigate desolate Pluto, an astronaut returns home a shattered man. He sees eyes forcing their way through the skin of his hands, eyes that distort his friends and the landscape itself into monstrous visions. Believing himself the doorway to alien invasion and gruesome murder, he must take desperate action. Based on the short story by Stephen King. Grey Canyon (2018) Director: Zeshaan Younus Run Time/Country: 13 min, USA Synopsis: A couple encounters a presence in the wilderness that they cannot comprehend. Ulysses (2018) Director: Jorge Malpica Run Time/Country: 8 min, Mexico Synopsis: Warned by the goddess Circe, Ulysses ordered his men to tie him up to his ship's mast, thus preventing him from surrendering to the enchanting mermaid's call, which devoured the unwary men seduced by it. Based on the The Odyssey. Sereget (2018) Director: Dempsey Tillman Run Time/Country: 13 min, USA Synopsis: An emotionally detached husband (with a child on the way) gets a rude awakening when aliens invade his home and target his family. They Wait For Us (2018) Director: Lukas Schrank, George Run Time/Country: 20 min, UK Synopsis: In a near future end-of-life care facility, a reclusive hospital worker starts to believe a coma patient is attempting to communicate with him. Megan (2018) Director: Greg Strasz Run Time/Country: 8 min, USA Synopsis: The story of a woman, who along with the elite Delta Force team, investigates a mysterious attack by in present day Downtown Los Angeles. Bitten (2018) — U.S. and L.A. Premiere Director: Sarah K. Reimers Run Time/Country: 11 min, USA Synopsis: A mysterious and violent encounter sends a dog on a night of adventure and possibility. Spectres (2017) Director: Nick Phillips Run Time/Country: 11 min, USA Synopsis: After losing his family in a car accident, an introverted man interacts with the spirits of the dead who have yet to pass on. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers and cast members. Block 4: Sci-Fi Short Films Time: 5:00pm - 6:00pm A Timely Reminder for Time Parter Partners (2019) Director: Jamie Gower Run Time/Country: 1 min, USA Synopsis: Time travel is a tough job and filling out your timecard is the toughest part. Especially if you're a part-time Time Parter at Time Parter Partners. The Watchers (2018) Director: Andrew McGee Run Time/Country: 9 min, UK Synopsis: Impact in T-minus 97 minutes. 220 miles above our doomed planet, four astronauts on board the International Space Station are forced to confront their fate as the last members of the human race. Consciousness: Awakening (2018) Director: Rafhet Guerola Run Time/Country: 15 min, Mexico Synopsis: At the Universe's final moments, two men take separate paths due to ideology differences. When their environment and their lives are in danger, one of them attempts to retake their relationship. Together, they must to overcome their differences in order to survive at the imminent end of everything they know. Midnight Delivery (2018) Director: Nathan Crooker Run Time/Country: 10 min, USA Synopsis: A mysterious gift is delivered to an unsuspecting woman's door at the stroke of midnight. Her morbid fascination entices her to examine the gift, unleashing a sinister evil from within. Zoe (2018) Director: Leif Brönnle Run Time/Country: 17 min, Germany Synopsis: A young woman without identity or memory. Two scientists with great ambition. A sequence of tests that will bring them all to their psychological frontiers. Post-Film Q&A: Screenings will be followed by an in-depth discussion with filmmakers. Awards Ceremony Time: 6:00pm - 7:00pm Guests and filmmakers will be in attendance when awards are presented to the category winners as The 2019 Philip K. Dick Science Fiction Film Festival concludes.

#movies #science fiction #film festivals #Philip K Dick #PKD #Philip K Dick Science Fiction Film Festival

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