#strive to research and learn up on my history more and more to get context

[dafpork]

only Daffy and Porky interaction i've found so far in this latest comics binge... but i have no notes. A+

[sketching-shark]

I think we should start a protection squad (although they don’t need it because they can protect themselves) for Sun Wukong and Guanyin

“Begone monkie kid fandom trying to down grade these really interesting characters with interesting personality’s and backstory ( the both of them like seriously Guanyin backstory is so cool) to a villain wile trying to justify your angsty backstory (that are no where near as cool as monkey who fights gods and Person who has 1000 arms and heads to help people in need) for the actual villain”

So who wants to join

Me:*raises my hand*

Ps: sorry if I got Guanyin backstory wrong am not an expert on it.

Haha okay so some critiques on the jttw & associated media western fandom & fandom in general coming up, so please skip this upcoming text wall if you don't want to encounter my undoubtedly ~devastating~ words (i.e. don't like don't read as people love to say, & if I have to be inundated with images of my notp every time I go into the sun wukong tag then I imagine people can be chill with me expressing my opinions & giving people fair warning that I WILL be critiquing common fandom trends, but no need for you to see that if you don’t want to. Cool? Cool.)

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PFFFFFTTT oh man there are many times when I feel like signing up for such a protection squad...when it comes to the current western jttw & Sun Wukong fandom I do feel like I'm often swinging at a rapid pace between "well it's fandom & people are allowed to make the stories they want" & "I am once again begging my fellow monkie kid enthusiasts (& sometimes creators) to do more research into the og classic/show it more respect so you can avoid any potentially offensive/off-the-mark misunderstandings of the status & cultural context of the characters in their country of origin (I promise it's super interesting & I can provide you with links to free pdf copies of the entire Yu translation, i.e. the best one ever created, so feel free to ask!) & maybe also stop constantly stripping away all the nuance of Sun Wukong's character for the sake of either making him an entire asshole so your little meow meow can look completely innocent in comparison and/or making the monkey king's entire life & character revolve around said meow meow."

Like I get that fandom's supposed to be a kind of anything-goes environment, but one thing that honestly seems to be true of a lot of fandoms--and the western one for Sun Wukong & co. is certainly not immune from this--is that there often seems to be a kind of monoculturalization at work in what stories are created & what character interpretations are made popular. Across a multitude of fandoms, you frequently see basically nothing but the exact same tropes being made popular & even being insisted on for the canonical work (especially hasty redemption arcs & enemies to lovers these days), the exact same one-dimensional character types that characters from an original work keep getting shoved into, the exact same story beats, etc. And I get it to an extent, as fandom is generally a space where people just make art and fic for fun & without thinking too hard about it & without any pressure. 

This seems to, however, often unfortunately lead to the mentality that it’s your god-given right to do literally whatever you want with literally any cultural figure without even the slightest bit of thought put into their cultural, historical, and even religious context, even (and sometimes especially) when it comes to figures that are really important in a culture outside your own. For such figures--even if you first encounter them in a children’s cartoon--you should be a little more careful with what you do with them than you would with your usual Saturday morning line-up. It of course has to be acknowledged that there exists a whole pile of absolutely ridiculous & cursed pieces of media that are based on Journey to the West & that were produced in mainland China, but for your own education if nothing else I consider it good practice for those of us (myself certainly included) who aren’t part of the culture that produced JTTW to put more thought into how we might want to portray these characters so that at the very least (to pull some things I’ve seen from the jttw western fandom) we’re not turning a goddess of mercy into an evil figure for the sake of Angst(TM), or relegating other important literary figures into the positions of offensive stereotypes, or making broad claims about the source text & original characterizations of various figures that are blatantly untrue, or mocking heavenly deities because of what’s actually your misunderstanding of how immortality works according to Daoist beliefs. Yet while a lot of this is often due to people not even trying to understand the context these figures are coming from, I do want to acknowledge that the journey (lol reference) to understand even a fraction of the original cultural context can be a daunting one, especially since, as I’ve mentioned before, it can be really hard & even next to impossible to find good, accessible, & legitimate explanations in English of how, for example, the relationship between Sun Wukong and the Six-Eared Macaque is commonly interpreted in China & according to the Buddhist beliefs that define the original work. 

That is to say, I do think it’s an unfortunate, if unavoidable, part of any introduction of an original text into a culture foreign to its own for there to be sometimes a significant amount of misinterpretation, mistranslations, and false assumptions. There is, however, a big difference between learning from your honest mistakes, & doubling down on them while dismissing all criticism of your misinterpretation into that abstract category of “fandom drama.” The latter attitude is kind of shitty at best and horrifically entitled at worst. 

Plus, as I’ve discovered, there is a great deal of interest and joy to be drawn from keeping yourself open to learning aspects of these texts & figures that you weren’t aware of! I can say from my own experience that I’ve always really enjoyed & appreciated it when individuals on this site who come from a Chinese background--and who know much more about the cultural context of JTTW than me--have taken the time to explain its various aspects. It often leaves me feeling like woooooaaaahhhhhHHH!!!! as to how amazingly full of nuanced meaning JTTW is like dang no wonder it’s one of China’s Four Great Classical Novels. 

And I guess that right there is the heart of a lot of my own personal frustration and disappointment with the ways that fandoms often approach a literary work or other piece of media...like don’t get me wrong, a lot of the original works a fandom may grow around are just straight-up goofy & everyone’s aware of it & has fun with it, yet the trend of approaching what are often nuanced and multi-layered works in terms of how well they fit and/or can be shoved into pretty cliche ideas of Redemption Arc or Enemies to Lovers or Hero Actually Bad, Villain Actually Good etc...well, it just seems to cheapen and even erase even the possibility of understanding the wonderful complexity or even endearing simplicity that made these works so beloved in the first place. Again, I feel like I need to make it clear that I’m not saying fandom should be a space where people are constantly trying to one-up each other with their hot takes in literary analysis, but it would be nice and even beneficial to allow room for commentary that strives to approach these works in a multi-faceted way, analysis & interpretations that go against the popular fandom beliefs, & criticism of the work or even of fandom trends (yes it is in fact possible to legitimately love something but still be critical of its aspects) instead of immediately attacking people who try to engage in such as just being haters who don’t want anyone to have fun ever (X_X).   

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Anyway, I know I didn’t cover even half of the stuff you brought up in the first place anon, but I don’t want any interested parties to this post to suffer too long through my text wall lol. I was asked to try my hand at illustrating Guanyin, but as with you I’m nowhere near as informed as I should be about her, so I want to do more research on her history and religious importance before I attempt a portrait. I’ll try my best, and do plan to pair that illustration with my own outsider’s attempt to summarize her character. From what little I do know I am in full agreement that her backstory is so incredibly amazing...just the fact that she literally eschewed the bliss of Nirvana to help all beings reach it, and even split herself into pieces in the attempt to do so (with Buddha granting her eleven heads and a thousand arms as a result)...man, I can see why she’s such a beloved & respected deity. 

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 As for what western fandom commonly does with everyone’s favorite god-fighting primate...I can talk about this at length if there’s interest, but for this post I’ll just say that I guess one lesson from all of this is that for all the centuries that have passed since Journey to the West was first completed, literally no one drawing inspiration from the original tale in the west (lol) has come even slightly close to being able to equal or even capture half the extent of the nuance, complexity, religious, historical, and cultural aspects, and humor that define Wu Cheng'en's story of an overpowered monkey who defied even Buddha.

So thank the heavens we'll always have the original.

[dai-bendu-conlang]

Jesara! Uera'ah foh a'ain nevi sedoremak vrhu nak kewanan uu Dai Bendu. ¿A'ainah keel nev det zera? [tried] foh: Tumi eno'ah sooan, ji tumi eno'ah kai'an; tumi eno'ah imleoan, ji tumi eno'ah wanan (leoan?); tumi eno'ah (passion), ji tumi eno'ah (serenity); tumi eno'ah (chaos), ji tumi eno'ah aimato; tumi eno'ah keraian, ji tumi eno'ah Dai. [aiming for: Hello! I would like to translate the Jedi Code Mantra into Dai Bendu. How would you say this? I tried:] Qasreash!

i tried to translate some of the classic meditation mantra into dai bendu (the one everyone calls the code). there were some limitations in vocab, so i just went with the last part. i ended up translating it as "xai eno'ah imkerai'anak mellu, eno'ah dai", my attempt at "where (because of the force) there is no death, is the force." i didn't quite know where to put "mellu" though tbh

Have you done the Jedi mantra in Dai Bendu? Specifically the version which goes "Emotion, yet peace/Ignorance, yet knowledge" etc?

Hello! Sorry for the late reply, Tevya, we already discussed this on the server, but here for the public:

There is no emotion, there is peace. There is no ignorance, there is knowledge. There is no passion, there is serenity. There is no chaos, there is harmony. There is no death, there is the Force.

Im tumi tamah soo’yth, ji xai enoah kai’an. Im tumi tamah delahm, ji xai enoah leo’yth. Im tumi tamah bexlyth, ji xai enoah maijah. Im tumi tamah chiiuth, ji xai enoah aimato. Im tumi tamah kerai’yth, ji xai enoah Dai.

Emotion, yet peace. Ignorance, yet knowledge. Passion, yet serenity. Chaos, yet harmony. Death, yet the Force.

Soo’yth, kyii kai’an. Delahm, kyii leo’yth. Bexlyth, kyii maijah. Chiiuth, kyii aimato. Kerai’yth, kyii Dai.

Life would be easier if we could just leave the code here, but unfortunately this is something the fandom fights and dissects over and over again. Therefore, we will elaborate a little on our word choices here and our interpretation of the code. First things first, we say this openly: This is, of course, yet another interpretation of the code. This is colored by our view on the Jedi and what we assume this code is supposed to mean and serve as. We don’t claim this is The Meaning Of The Code, but the way we understand it in English and then attempt to give it nuance in Dai Bendu. You are, of course, welcome to disregard this or make your own translation of it!

That being said, let’s get started with the purpose of the code. First, something about i’s history. Research done by the wonderful @ilummoss in this post.

What is now commonly called the “Jedi Code” originates from a 1987 roleplaying rulebook (Star Wars: The Roleplaying Game)

The second “yet” version shows up in Kanan: First Blood

This “code” is a mantra and not a code of conduct/law

Now let’s turn to the purpose of the Code/Mantra! The Jedi Code is one of the first things the younglings learn in the temple, which we assume means that you kind of learn it at the age you also end up learning nursery rhymes. You can see them chant it, repeat it. The purpose of mantras is to help focus/calm your mind. So, what conclusion can we draw from this? This Code is likely supposed to help the children focus on their connection to the Force so it must be an instrument to teach them how to interact with it.

From this, we draw our first conclusion: The second half of each line (peace, knowledge, serenity, harmony) is about the Force. The Force is all of these attributed.

Our second conclusion, derived from this, is that the first half of each line (emotion, ignorance, passion, chaos, death) are the things you bring with you into the Force. In moderation, all of these things are good. Being happy, knowing which knowledge is good for you, being passionate about something you love, knowing life can be a bit chaotic, and death, which is a part of life.

However, when you don’t keep those in check, they overwhelm you, twist and become negative. Contrasting Obi-Wan, who does feel emotion, deeply, and yet doesn’t get overwhelmed, while Anakin does and it ruins him, shows this very neatly. So these aspects can all be wonderful, but you have to be careful not to drag them with you into the Force or use them to access the Force in such a way.

Now, let’s get started on our translation. Let’s start easy with the nouns and do it line by line:

There is no emotion, there is peace. - Im tumi tamah soo’yth, ji xai enoah kai’an

soo’yth, nominalization of the verb soo, which means “to feel” in an emotional sense. kai’an, meaning “inner peace” As in being at peace with yourself e.g. basically the state required for Force Ghosting.

This line is pretty similar to its English equivalent. We wanted to emphasize that peace is not a state of being that’s everywhere or political, but it’s something inside you. The quiet in the eye of the storm.

There is no ignorance, there is knowledge. - Im tumi tamah delahm, ji xai enoah leo’yth

delahm is an interesting noun as it refers to “ignorance” as well as “the inability to help”. We wondered what kind of background a term such as ignorance has especially in the context of the Jedi valuing knowledge and learning a lot. As such we defined that “ignorance” would correspond more closely to the inability to help. As long as you know something, or aware of where you stand, you are not helpless. leo’yth is the nominalization of the verb leo meaning “to know” and so “knowledge”.

With this line, we really wanted to dig into this idea of knowledge is not just factual knowledge, but also wisdom. And if you act without wisdom, ignorant, perhaps even purposefully so, this is not something to favor. Of course nobody is expected to know everything, but you are supposed to remember, to know, that you can always ask others for help.

There is no passion, there is serenity. - Im tumi tamah bexlyth, ji xai enoah maijah

bexlyth is the nominalization of the verb bexl, which refers to covet/attached love and as the noun leans more into the concept of “passion” and “obsession”. maijah, on the other hand, translates as “serenity, calm, tranquillity”.

Our intention here was to elaborate on the huge dimension behind passion. Passion in and of itself is nothing bad, but it can be if it is done out of obsession. When considering that this mantra is used to interact with the Force, it might also demand that you leave every other thought behind and focus only on the Force.

There is no chaos, there is harmony. - Im tumi tamah chiiuth, ji xai enoah aimato

chiiuth means “chaos, destruction, unrest” where aimato is “harmony” and “cosmic balance”. Cosmic balance is here the state which we assume the Jedi want to achieve in the entire galaxy. When canon speaks of “there needs to be balance”, this is it.

Here we have chaos as everything that disrupts the harmony. Of course there is something such as good chaos, it would be quite boring if every day were the same, stagnant, but in this case we decide that chaos and destruction does not exist negatively in the Force. There are plants that require forest fires before they can sprout - the natural circle of life includes chaos and destruction, but only ever in a way that plays in harmony with its other parts, rebirth and healing.

There is no death, there is the Force - Im tumi tamah kerai’yth, ji xai enoah Dai

kerai’yth is the nominalization of the verb kerai, which means “to die”. This line is pretty much the same as the original version.

Now that we’ve got all the vocabulary done, let’s talk a bit about grammar. We’ll start with the first part of each sentence Im tumi tamah.

tamah is the present tense form of the temporary form of “to be”. We chose to use this instead of “enoah” to show that these states of being are temporary and not, like the Force and its attributes, eternal.

A little opposed to this is our choice of the consequential marker tumi. tumi marks a state of somethat that is currently happening and will continue to happen in the future. This is used mostly for statements of being. As you can see, this is in contrast to our choice of tamah, but the reason for that is hidden in our negation particle im.

Im, in this case, negates the whole expression. tumi tamah gives the speaker the understanding that something temporary is the current state of being, when negating this entire sentence, we get the translation that this temporary experience is not your new and eternal state of being.

Which brings us to the differences in syntax and overall translation. In the structure of the original Basic sentence, the negation only has scope over the noun. In There is no chaos, the “no” negates only “chaos”. The literal translation of the Dai Bendu version would be more along the lines of “Not is there any state of chaos”, which, of course, is a lot more wordy.

Now, on the flip side, we have there is. In Dai Bendu, we have ji xai enoah. ji means “but”. We inserted this preposition here to highlight the contrast and negation. The first half of each statement says what there is not, but that doesn’t mean you are lost because in the Force, you will find the other.

enoah is our eternal/permanent form of “to be”. The Force is eternal, it will forever be all these attributes the Jedi give to it. xai is our Force-influenced marker. It represents that an action took place because the Force destined it to be, it is “Force-willed” if you want. This makes the entire sentence a bit self-referential and implies that this state is eternal because the Force is and because the Force wants it to be. The Jedi believe singularly in the Light side of the Force and see the Dark as a corruption and poisoning of it. Therefore, the Force strives for peace, knowledge, serenity, harmony as much as it embodies it.

Now that we have discussed both statements, we can put together a full literal translation:

There is no emotion, there is peace turns into Not is there a state of emotion, but the Force wills there to be peace within itself. 

And that is, all in all, a pretty sweet mantra to hold onto.

Now! For some explanation on the shortened version. We know that both versions existed during the prequels at the same time, which suggests two things: either they were both passed on independently/complementary, or they are identical in meaning.

Emotion, yet peace - Soo’yth, kyii kai’an

The word “yet” is very interesting because its meaning is inherently “despite that/but/even though”, which means that this shortened form of the mantra can actually be read identically to the long one. By striking the negation out of the sentence, you need a preposition with that inherent negative meaning, which is something “yet” is capable of!

So in our reading of this shortened mantra, it’s identical to the long one, but given how many syllables the long one has, it’s no wonder they have the Initiates recite the short one. So there is no secret “oh no, the Jedi don’t acknowledge emotions so we need this updated better version of the code!” hidden away here.

[mllemouse]

If I might ask, how did you get into art? Was it a childhood love or did you stumble upon it during a high school field trip? And do you enjoy doing any forms of art yourself? -j.

whooooooops, sorry this got long

bonjour anon,

i got into curating and writing about art because i was so angry that i had completed an undergrad degree in visual art in a program that focused on grooming us into practising artists yet made me feel like modern and contemporary art was totally disconnected from a broader culture and served no real purpose outside of itself. i have always loved to draw, and through my childhood and teen years, was absolutely obsessed with drawing. i also particularly loved landscape painting from the nineteenth and early twentieth centuries when i went to museums as a kid. context: my mum also studied art in the same undergrad program (she is now a dressmaker!) and she encouraged my interests as i grew up, chauffeuring me to libraries and museums because i was a special needs kid who needed a lot of brain stimulation outside of school. 

i enrolled in a landscape architecture program after high school solely because it required drawing, but was a ~real job~ (also i had mad amounts of climate anxiety, and this was a creative outlet to assuage that). i ended up transferring into an art program, but was never satisfied with it and didn't want to be an artist when i finished. i felt super useless and regretted not pursuing science for SO LONG because i thought those fields i was interested in were way more 'useful' for society than making art was.

i also became very obsessed with photography by grade 12 and thought i wanted to pursue photojournalism after my undergrad degree. however, after floating aimlessly for a year or so without any leads on positions in that field or knowledge of how to successfully freelance, i was encouraged to pursue museum studies by an old prof who i consulted in an existential crisis. 

in my master's program, i quickly learned that curatorial and collections work was definitely a career path i wanted to pursue, partly because they involve so much writing and research. now i know a lot about art, how it is actually valuable to society, and how to better interpret it for the public. 

the thing i love about the museum is that it's a public-facing structure where knowledge can be produced from outside the 'ivory tower' of academia, so i strive to make the museums i work in places that make art accessible to new audiences and to make new connections between what is in the galleries. 

i ended up becoming a curator in a small history museum with a surprisingly large art collection, and i love it because i can contextualise the pieces i write about with other little bits of material and visual culture from the time to better explain what's going on in the work. it’s also a place where i can (i hope!) prompt people to think about what art really is and how we value ‘high’ art and ‘low’ art by asking these questions and treating objects with the same amount of respect in exhibition displays and text. 

i still love making photos, even though i have been too busy to show anything for a while, but now part of my job is to document art and historical objects, which is really a creative endeavour in its own right--especially when, for instance, i’m tasked with photographing a public, multi-borough, time-based media installation and given total freedom over how i think the photos should look.

[harlananagel]

Between Points | Forgoing the Shadows #4

Lots of work this last month for me.  I started studying data visualization and working hard on my own visual designs. I'm settling in a bit with a new life in Montreal, finally working in the game industry and getting plenty of hours at Keywords Studios; and I'm finding stronger ways to professionally develop on my own time.

After my last blog entry, I was in limbo, project-wise, at Keywords. Apparently, I graded above expectations during evaluations, and I was assigned to an exciting, upcoming project; however, in the last year, the company had switched to a new, more automated scheduling system, one to which they still seem to be adjusting. From my understanding, I was in a grey zone within this system for the first few weeks, as I was primarily assigned to the aforementioned upcoming project -- a project that, as being 'Upcoming,' had no hours yet. In the meantime, I was secondarily assigned to another project where, as an auxiliary member, I was given hours only after the primary members.

I was getting 3, sometimes 4, shifts per week, which allowed me to dedicate more time to the Forgoing the Shadows project. I began designs of a control scheme that mimicked Resident Evil 6's -- this included a visual-design layout meant to display, for all viewers, broadly the scope of what actions are possible for the player character and how to input such acts; and, for designers, specifically what contexts these actions were possible and what to code. Basically, I was creating something that could be informative to both the consumers and the developers of the project, doing so as an exercise. Then, a friend of mine -- an incredibly-competent programmer -- asked for help with the visual aspects of a game he’s working on. I said “Yes!” but soon after, as if triggered, Keywords started giving me plenty of hours: 10 shifts in a row, in fact.

It seemed the project I was assigned to upon the conclusion of my training fell through, and I was primarily assigned to something else, and a complete full-time schedule came soon after. I was forced to find time for my side projects during in-transit moments and weekends.

(“In-transit” might become a common phrase on this blog, by the way. If I use it, I am referring to times like riding the bus, walking to destinations, breaking between work periods, or grocery shopping.)

Anyway, I have experimented, researched, and reflected on a few modes of action in the next few months, and after a few weekends of either overtime FQA testing, food poisoning, or personal progress assessment, I am at this point...

For roughly the next 30 days, I will be experimenting with Assassin's Creed Odyssey's new Story Creator Mode.

My love for video games has always been story-based. Many of my most meaningful experiences with games involved undergoing an emotional journey held up by well-designed narratives. As I strive to be a better game developer, I can’t help but feel like I also strive to be a better storyteller. So, this Story Creator tool is hard to pass up -- at least during its height of popularity -- as it looks to be a great opportunity to develop key skills and draw helpful feedback. Below outlines more reasons why this is something for me to jump on:

- Associated with Assassin’s Creed: I have played through every major Assassin's Creed title (still working on Odyssey at the time of this writing, though), and although I wish they did some things differently, I adore the series as a whole -- I am eager to contribute

- Revolves around dialogue and quest design: the former of which is a focus of mine at the moment.

- New: In accordance with Price's Law, the first creations of a toolkit are likely to get the most attention and, thus, the most feedback.

- Quick Iteration Cycle: The tool appears simple. I already created my first rough draft Story, and it only took an hour.

With all the above in consideration, this will likely be an informative, timely detour of which to take advantage.

Plus, experimenting with this Story Creator tool is a great excuse to learn something into which I’ve always wanted to dive deeply: ancient Greece studies. I plan to study ancient Greek history, mythology, and philosophy while in-transit, and at home, I will be either finishing AC Odyssey's DLC or working with Story Creator Mode.

A lot has happened, so I wanted to write a blog entry to update current my progress. Thanks for reading despite my not having something more concrete to share. I could show something like the aforementioned WIP control scheme, but I have a personal guideline that I only show work that I feel is near complete, and the work this last month related to this blog has been too experimental for me to feel like any of it deserves sharing quite yet.

Next blog, I will write about my adventures in creating stories in AC Odyssey.

[factoronto]

MEET THE 2019 FAC RESIDENCY ARTISTS: JESSA LAFRAMBOISE

As an activist and historian, what are the most prominent themes and concerns involving contemporary feminist issues and how do you translate that into your work as an artist?

In my studio practice, I strive to be aware of my socio-political surroundings and approach feminism with empathy and passion. Furthermore, as an artist I aim to position my work as a form of activism. Intersectionality, a concept which was absent from much of 20th century feminism, has since become a major aspect within contemporary feminism and undeniably remains a prominent priority which I work to emulate in all aspects of my practice. However, I believe that the most prominent concerns involving contemporary feminist issues vary greatly depending on the artist. And that’s what makes contemporary feminist art so intriguing and unique; the dialogue of a feminist is just as diverse as the people who make up the feminist community. In the past I have explored issues surrounding body image, identity, gender roles and the sexualization and objectification of women’s bodies through a satirical, creative outlet. Always aligning with current social and political conversation, these themes that I have explored were most pertinent depending on where I was in my own life. This is because these concepts are inspired from my own life experiences which I work to make relevant for a broad and inclusive audience.

However, as an art historian, I am not as invested in exploring contemporary issues. Rather, as an art historian I task myself with developing an in depth understanding of historical issues, topics, conversations and values within feminist art. It is important to recognize that feminism and feminist art did not always successfully align with 21st century values and aesthetics. With the development of 2nd wave feminism, emerged several issues that present day artists and historians seek to address and critique. I strongly believe that the history of feminism and feminist art says a lot about where we are within a contemporary context. Some of the most prominent themes and concerns involving contemporary feminist issues have thus emerged out of the trials and tribulations and the progress and successes of feminists before us. And that is where I situate my work as an art historian.

I just recently participated in a conference at Queen’s University and when I finished presenting my paper, I received a question I was in no way prepared for. They wanted to know how my research into feminist art history influenced my practice as a feminist artist. This was something I had never really considered in much detail; I had always tried to separate these two worlds that I exist in because I didn’t want to recreate or retell what has already been done as an artist. However, I came to recognize that I had a unique opportunity here. Currently it is my pursuit to merge my work as an art historian with my work as an artist and cultivate a dialogue which speaks to themes and concerns involving contemporary feminist issues through an art historical lens. By juxtaposing the contemporary with the historical, my two worlds will collide, and I hope to not only educate the public on the complicated history of feminist art but also address prominent socio-political topics that are relevant and recognizable for viewers to connect with today.   

“Laundry Day”, Jessa Laframboise

Textiles have been re-emerging in the light of a new discourse, one that you are involved in. What has your experience been in utilizing a medium and techniques with such a highly socio-political history and feminist roots?

It wasn’t until my third year of university that I really took to art history. And more specifically, it wasn’t until my professor dedicated an entire class to solely discussing the role of women in art history that I became truly invested. Quite honestly, this was the first time I had the ability to fully immerse myself into women’s role in art history. We spent the 3-hour class looking at women artists from the 19th century and discussing decorative arts within the western canon of art history. I came to learn the troubling history associated with decorative arts – or “women’s work” as it has been referred to – and it fueled a fire inside of me that has yet to be extinguished. I was not about to accept the negative perceptions that had been historically connected with craft associated art and women artists. And so, in my third year of my BFA at Nipissing University I taught myself how to sew. This was a personal pursuit of mine, but its socio-political relevance was equally present in my mind as a I began my journey with textile art. I was taking a Bachelor of Fine Arts degree and I was determined to make a prominent critique about “women’s work”, agitating the prevalent hierarchy of fine arts which I was taking part in by incorporating decorative arts into the realm which had historically maintained its explicit absence. And isn’t that what feminist art is all about…making explicit absences present and visible? My first textile project was a tapestry I entitled, Sew High Art and I simultaneously wrote a paper for my art history class called Breaking the Canon: An Examination of Textile Art, and from that moment on I was hooked on textiles and the history of women in art. I started out with absolutely no skill and many of my first sewing projects have since fallen apart. Yet I continued to persist; I continued to sew and learn new skills because I loved the process… I loved how calming yet stimulating it could be, how frustrating yet rewarding it could be.

I remember finding such solace and excitement in fabric stores; rooting through bolts of cloth became my favorite activity. I once went to the fabric store with my mom in the early days of my textile practice and I was complaining about how raw my fingers were. I had been up until 3 in the morning a few nights before sewing a pillow for a class assignment and my fingers were in so much pain that they had even bled; parts of my project is still stained with blood, adding a whole other element that I have come to appreciate rather than try to cover up. My mom suggested I buy a thimble. “A thimble?” I replied extremely confused at what this thing was that she had just mentioned. She proceeded to explain to me the purpose of this illusive thimble. I recall being completely dumbfounded in the middle of the fabric store – and a little embarrassed that I had no clue what it was – and needless to say the thimble changed the sewing game for me. This is because I don’t use a sewing machine. So many people ask me why I chose to hand sew all my projects when a sewing machine would be so much faster. I have tried a sewing machine a few times, but it didn’t give me the same satisfaction and stimulation that hand sewing provided for me. There is nothing better then curling up with a needle and thread and sewing the night away: getting lost in the repetitive movement and feeling truly accomplished every time you pull that thread through the fabric creating a new and unique stitch.

“Confessions of a pocketed pussy”, Jessa Laframboise

How do you celebrate femininity? What are the artistic aesthetics from the 20th feminist movement that inspires you?

My research as a historian is primarily focused on art from the 1960s and 70s and ultimately that is where I get a lot of my inspiration from in my studio practice. I recognize the many theoretical issues that arose out of feminist art during this period, however, aesthetically speaking this was a period in feminist art history filled with vibrancy, colour, satire, kitsch and bold moves. Similarly, textile art began to re-emerge through feminism in an empowering light. Satire and parody specifically within feminist art have their roots in 20th century, 2nd wave feminism as artists used these devices to reveal and critique social constructs in society. I work with satire and parody in a similar, yet contemporary manner. Thus, as an artist, I work to prioritize 4th wave feminist values and themes while maintaining these 2nd wave feminist aesthetics. Its so intriguing how these artists used expressive colour and kitsch as a method of exploring serious and often difficult topics. I similarly want people to be shocked and amused by my approach to feminist art, but then be able to progress through my work, critically and sincerely reflecting on the ideas about society that I have presented.

           Aside from my inspiration from feminist art history, one of the first artists I was ever really drawn to was pop artist, Andy Warhol. Pop art became one of my favorite periods of art and Warhol’s silk screen prints became my obsession. Of course, much of the values and themes that I uphold as a feminist was not reflected in the pop art that I was inspired by. However, I was determined to combine these two conflicting movements and find similarities within them. I have since strived to create a body of work that echo’s pop art aesthetics through a feminist lens that is both subversive and empowering. Utilizing prominent elements of pop art including silk screen printing, colour, text, recognizable objects and commercialization seemed like a great starting point. In mixing pop art aesthetics with 20th century feminist art aesthetics I discuss, critique and portray themes and concerns of contemporary feminism. It should be mentioned that while the themes explored in pop art were often anchored in sexism and misogyny, silk screen print has had a complicated relationship within the western canon of art and has historically been associated with mass production, advertisement and commercial art. Similar to textile art in this sense, printmaking has been an underappreciated form of art that has not always existed within the realm of “fine arts”. This has further perpetuated pop art as a major inspiration for my work and has allowed me to uncover and build connections between pop and feminist art.

           Utilizing these two very different artistic movements and developing a series of work that pulls various aesthetic from pop art and feminist art, I aim to always celebrate femininity as I perceive it to be; femininity is going to be different for everyone, its going to be expressed differently, portrayed differently and understood differently. But for me, the best way to explore and celebrate it is to create work that exists in the intersections between feminine and hyper-feminine. My practice then becomes a sliding scale that I vacillate back and forth on depending on the day, depending on the project. I do not shy away from playing with stereotypes in a subversive way because it allows me to approach femininity as I see it and simultaneously critique the ways femininity has been negatively or stereotypically perceived.  

“Dress up with Miss. Ogny”, Jessa Laframboise

Follow Jessa: @Jessa Laframboise on FB @jesssalaframboise on IG

[melakas-finalproject]

BA (Hons) Photographic Arts Major Project 1 Research Report

This should be a summary of and a critical reflection on your research process so far. You should try to give the reader a sense of the process you have been through - your journey, your thoughts and decisions along the way and what has informed the choices you’ve made. Try to be as honest and as critically reflective as you can.

Please extend boxes as required (length 1000-2000 wds)

Name

Emily Kopaskie (Mela Kas)

Major Project Title

(Or working title - how and why did this title develop?)

They Are Me and I Am Them (working title)

No Costumes but All Mask (Working title)

Research Methods

(What methods have you used during this phase of the project and how have they helped you develop your ideas and inform your major project proposal?)

As my dissertation topic goes along with my initial project idea, that research has been apart of my thought process when photographing. Currently I’m writing about about the comparison of two female tropes (Femme Fatale and Manic Pixie dream girls) from completely different time periods but were both formed out of the males perspective and anxiety towards the changing times.  Femme Fatale and MPDG were both tropes that I would see in movies as a kid but never knew what to call them until recently. I have looked into why the men wrote these types of role, what iconography goes with it and how the fact that cinematic language can be more impactful than dialogue.  Part of this research will also include how these tropes had evolved by pop culture or the public redefining their roles and adding visual check lists to spot other examples of these tropes. This also set off a number of blogs and journal entries online by women who declare themselves the real life versions of these tropes, so I was interested in why so many people felt like they were a one dimensional character in real life.

With this in mind, I will be researching the pschyological impact of the cinema language of these tropes.  As Laura Mullvey discusses in her essay Visua Pleasures and Narrative Cinema, movies invite audiences to drop their ego and have it be replaced by the ones on the screen. As this is the process subconisouly I believe some of those images stay with us and persuade our own idea on how we should act and look. As for many years the film industry specifically hollywood was written from the males point of view, these tropes were written with a preconceived idea on how their leading ladies should act in the world.

This topic comes from a subjective place as I have realised I Identify with femme fatale and Manic Pixie dream girl greatly. As a kid I looked up to these characters for being different, independent, interesting and saw how desirable they were. I feel subconcisouly I have learned how to act and cultivated my own identity with them in mind.

Specifically this aspect of my disseratatiing will influence my photographing process as I personally identify with her argument. The easiest way for myself to escape was to loose myself in movies and tv shows. When the fact i didn’t understand my emotions was too much I would try to forget myself by loosing myself into movies and tv shows.

This research helps me be more  thoughtful in examining of my impulse decisions i make while producing self portraits that are inspired by the cinema.

Pilot Project

(What have you achieved through the development of your pilot project/s? What have you learned from the process? Identify the main concepts that might direct or drive your major project.)

I have achieved a decent amount of photos to ether choose from or that are usable  as a inspiration board when continuing.  I have also achieved a bit more of a appreciation of my impulse issues as it helps me be more passionate about photography.

I have learned to pay more attention to my settings on the camera as its important for these photos to be crisp  as I plan on displaying them on a lightbox. I will continue to watch more films for my research and engage with my emotions when watching characters that inspire me.

Audience and Context

(Has a consideration of Context and Audience made you think about your project in a particular way? Have you been aware of the histories, conventions and audience expectations of particular contexts? Have you considered different contexts and how have you responded to them?)

I’m aware that my project is in the same realm as Cindy Sherman, Nadia Lee Cohen and Anja niemi. All of these artists who identify as female work in self portraiture that are inspired by ether common cinema narratives or classic vintage Hollywood fashion of dress. While some are an obvious critique on roles that are available for female and on hyper femininity, I would mention that my project isn’t about critique the misgony towards women in film. It is a clafiricay or a statement that I am them and have been greatly internally influenced by the females I have seen on film. This project is admitting that my authentic self is not as authentic as one would believe. These tropes were a medium that I felt the most comfortable with when picturing what was desirable to men  I have been striving to cultivate the ideal version of my self with the help of these tropes and other female narratives.

Production and Presentation

(Discuss the production methods you have been exploring through your pilot project. What effects do these different approaches/ visual strategies have on the work?  What choices have you made in the refinement of your visual approach and why? Is the approach you have chosen effective in communicating your ideas to the identified audience?)

As this project is about my natural impulses, I am choosing to shoot in digital as this is where I am the most comfortable since I’m shooting self portraits. I have also downloaded a canon capture app on my phone which connects to my camera so I have more freedom with framing and focusing on my own. As I primarily work alone this is very helpful.

The things I found difficult is that I rely on all natural lighting I choose not to plan and set up my shoots to bring outdoor lighting as I feel it goes against the spontaneity of the project. That being sad that means during the low lighting moments are not the best quality as I had to use a high ISO often.

Also there has been times when shooting on my own has gotten difficult as the connection from my phone to the camera didn’t not work within places with very little service. As I will be planning on shooting up north preferably in the moors I am thinking of bringing an assistant as I’m limited to a 10 second timer to get into the desired position.

The fact that I choose to take photos of myself acting out these different scenarios  in my own clothing that i wear to a day to day basis I believe does begin to clue in on the meaning of the project. Going forward I am considering on research the places I visit more clearly to better plan out the images and really think about using lower ISO’s to improve the quality of the photos.

Visual References / Bibliography

(List the key visual and critical references you have explored during the research process. Discuss how useful these references were for the project and what you learned from them).

Francessca Woodman

She is a self portraiture photographer who primarily works in black and white analogue film. She is the one who said that she shoots herself out of connivence and photographs how her body interacts with environments. The movements made are very expressive and often comes out blurred. The locations chosen are often abandoned old looking houses or gothic style nature.

While her work doesn’t use a kind of cinematic language that I am striving for, the quickness and spontaneity of her process speaks to me as well.

Wuther Heights, Jane Eyre, 2011 Movie

The cinematography of the landscape in proportion to the subject had always intrigued me. The lone subject

The moors, which describes the land and kind of terrain that was the backdrop to Bronte sisters novels. As these novels were often about isolation and loneliness in the movies, the moors symbolised these feelings. The shots of the lone subjects with the vast flat foggy moors and brown but yet cool coloured terrain was beautiful shown through feelings of melancholy.

Cindy Sherman Unitled Film Stills

She was the first fine art photographer that was I was introduced who really spoke to me. Beforehand I felt lost as none of the photographers talked about in my lecture inspired me. She has influenced me greatly and allowed me to admit to myself how much I do not know myself but rather the image of who I want to be.

[two-browngirls]

Not Today's Yesterday - Seeta Patel 

Seeta Patel is a force to be reckoned with. Her strong will, magnetic presence and passionate ideas come across equally as powerful on and off stage. But the life of a dance artist isn’t as glamorous as it may seem. Seeta is extremely busy with multiple projects on the go at once but I manage to catch her during a brief lunch break while rehearsing with a group of rising Bharatanatyam dancers in Birmingham as part of #TheNatyaProject, to chat about her exciting new tour. 

Not Today’s Yesterday is an international collaboration between UK award-winning Bharatanatyam artist Seeta Patel and Australian choreographer Lina Limosani. This work blends classical Indian dance (Bharatanatyam) & contemporary dance in a striking, intelligent and engaging evisceration of ‘pretty’ and ‘suitable’ historical stories. It is a one-woman show which subversively co-opts whitewashing against itself.

“The inspiration stems from our concerns that revisionist and airbrushed histories have become a central issue of tension throughout the world, in particular in Western democracies.”

I first asked Seeta how the idea of the work came about as I was aware that it had been a number of years in progress. 

“It started with my feeling that the history of Bharatnatyam has been white-washed. Having read Unfinished Gestures by Davesh Soneji, it really blew my mind that many of us going through the system are not often taught about the social and political history of the art form in its entirety. There’s more niceness rather than the grit of it. This is basically how history is white-washed in order to make it more palatable.”

I’d seen the work in progress around a year ago and it was haunting, hypnotic and extremely clever in its execution. Through the medium of a fairy-tale story, it draws people in with eerie familiarity, but as with any fairy-tale there are always dark undertones. Parts are grotesque and exaggerated with caricatures of colonial supremacy but other parts are gentle and vulnerable as Seeta gazes wide-eyed into the depths of what was. 

The collaboration between Seeta and choreographer, Lina Limosani was first funded by the Arts Council’s Artist International Development Fund 2016 where Seeta travelled to Australia where Lina is based, to research and develop the work. 

“Britain and Australia, amongst others, have sordid histories and relationships with indigenous and migrant communities. Skewed histories fuel a distorted sense of nationalism. This work aims to open up conversation through a clever appropriation of whitewashed histories.”

The following year, Seeta was able to gain further funding to develop the work in Poland, as another one of the collaborators was based there and perform previews of ‘Not Today’s Yesterday’ around the UK. Being based in a foreign country during this process really fuelled the creative ideas and themes, which fed into the piece. 

Earlier this year they were able to sharpen the work to a fine point and received funding to perform ‘Not Today’s Yesterday’ at Adelaide Fringe Festival. During that period, they were successful in gaining a UK touring grant for this Autumn, so it has been through several stages and Seeta envisions it to live on in many different contexts, as the work deals with some of the most pressing issues of our time. 

“This piece is a part of my wider work. Along with my classical work, whatever I do is political on a certain level. I can’t wake up in the morning and change the colour of my skin or the country that I’m born and live in, I am political. It’s not something I can choose to remove. I’m not of that privilege. Not in this country.”

As Seeta’s career rises and expands, I’m interested to learn about what advice she has to offer the next generation who look up to her as a role model and as an example of someone with a successful career as an Indian classical dancer or dancer from a South Asian background in this country. She’s brutally honest and explains that this career is by no means conventional, in any sense of the word. Her path has forced her to challenge the accepted ‘norms’ that we are socialised into as first and second generation South Asian immigrants who constantly strive to over-achieve. So to have to find temporary or casual work through the ebbs and flows is perfectly acceptable as it means that you can earn money, which doesn’t have to eat into the time that you want to work on dance. 

“Certain professions require just as much energy as dance does, so I don’t personally believe that you can do both and give each job the commitment that it deserves.” says Seeta. “You have to understand what you really want and sometimes take scary steps to get there that you’re not confident or comfortable with.”

The interactive element of the work is the carefully curated post-show talks, as Seeta hopes that the audience becomes lured into a dark fantasy and taken on an experiential journey during the performance then the discussion afterwards is a chance for reflection and transformation. 

Each performance has specifically relevant researchers, academics and powerful personalities who will help to uncover the themes behind the performance and welcome the audience to share their thoughts and ideas too. 

So don’t miss out on a very special chance to experience a dance theatre work by such a phenomenal BROWNGIRL and book your tickets to a performance near you.

TOUR DATES

Seeta is on a UK Tour of her one woman dance theatre work Not Today's Yesterday this Autumn 2018. A collaboration with Limosani Projects. Tour details as follow:

- 2nd Oct - The Place - 3rd Oct - The Place

booking info

boxoffice@theplace.org.uk

+44 (0)20 7121 1100

SPEAKERS

2nd October  Gurminder K Bhambra is Professor of Postcolonial and Decolonial Studies in the School of Global Studies, University of Sussex.

Alice A. Procter is an art historian and museum educator. She runs Uncomfortable Art Tours, unofficial guided tours exploring how the UK’s major art institutions came into being against a backdrop of imperialism.

Tanika Gupta​ - Over the past 20 years Tanika has written over 20 stage plays that have been produced in major theatres across the UK. She has written 30 radio plays for the BBC and several original television dramas, as well as scripts for EastEnders, Grange Hill and The Bill.

3rd October Kenneth Tharp - Kenneth Tharp is the former Chief Executive of The Place, the UK’s premier centre for contemporary dance.

Inua Elams - Born in Nigeria, Inua Ellams is a cross art form practitioner, a poet, playwright & performer, graphic artist & designer and founder of the Midnight Run — an international, arts-filled, night-time, playful, urban, walking experience.

Tobi Kyeremateng - Tobi Kyeremateng is a theatre, festival and live performance producer. She is currently Producer at Apples and Snakes, Executive Producer (Up Next) at Bush Theatre, and Programme Coordinator at Brainchild Festival.

- 5th Oct - Amata Theatre Falmouth University

booking info

Phone: 01326 259349

Email:

boxoffice@falmouth.ac.uk

SPEAKERS - TBC

- 12th Oct - Watermans Arts Centre

booking info

Box Office: 020 8232 1010

SPEAKERS

Bidisha Mamata: Bidisha is a British writer, film-maker and broadcaster/presenter for BBC TV and radio, Channel 4 news and Sky News and is a trustee of the Booker Prize Foundation, looking after the UK's most prestigious prizes for literature in English and in translation.

- 13th Oct - Kala Sangam, Bradford

booking info

SPEAKERS

Pauline Mayers Associate Artist with the West Yorkshire Playhouse Pauline produces her own shows as The Mayers Ensemble themed around participation, intimacy and identity.

Suhaiymah Manzoor-Khan is a writer, speaker, playwright, award-winning spoken-word activist and founder of the political blog www.thebrownhijabi.com

- 23rd Oct - Patrick Centre, Birmingham

booking info

Box Office: 0844 338 5000

SPEAKERS

Dr Kehinde Andrews: is Associate Professor of Sociology, and has been leading the development of the Black Studies Degree at Birmingham City University.

Abeera Kamran: is a visual designer and a web-developer based in Birmingham and Karachi, Pakistan. Her creative practice is research-based and lies at the intersections of design, archiving practices and the internet.

“Once upon a time... in a faraway land... it happened... did not happen... could have happened.”

Supported by Chats Palace, Arts Council England, Country Arts SA, Arts SA, The Place London, Adelaide Fringe Artists Fund, LWD Dance Hub, British Council, The Bench UK and NA POMORSKIEJ Artist residency.

[aimeesuzara]

Questions from Maiana Minahal’s Students in English 272, “Filipino Women Writers”...My Responses

Dear students and readers,

I’m honored that you’ve read my work and are interested in these facets of my life and craft as an artist. I love the challenge of being given questions to write about. So, here goes!

1. What is the best thing that writing, performing, creating, etc. provides you? It seems you have many talents, how do each contribute to the person that you are? What do you love about each?  

I’ve combined a couple of similar questions here.  First, thanks to whomever has said that I have many talents; I’m flattered.  I do believe I was blessed with a variety of areas of interest and natural “talent” that I got to explore and develop in different phases of my life.  I even felt split about whether to respond to the questions in writing and using my voice and image (because I love storytelling and the voice).

First, what do I love about writing?  And perhaps writing, as opposed to performing or creating other kinds of multidisciplinary art (plays, collaborations with dance, music, etc)?  

Writing is most private; it’s also a place for confession because in many ways, it’s hidden, is behind a mask.  Writing can be on one hand too analytical, but when it’s the most powerful it can also be magic-making, enabling a metaphor to be developed and breathe, an image to vibrate and have scent and color; a scene and characters to come alive with dialogue, backstory, and motivation.  It’s a place of invention, slower invention that has no immediate impact except itself on the page - as opposed to live performance which is more of an improvisation and collaboration together with an audience.

Performance, then, is that other thing; I believe performance happens on the page, in that invention, as well, but if we’re talking about performing on the stage or at a microphone, it’s a collaboration among many elements: space (architecture, weather), time, other people / audience, circumstance.  It’s also very natural, an ancient throwback to the griots and oral historians and singers and spiritual leaders making incantations...it predates writing.  The body is a vessel with so many faculties, and this is the most exciting set of possibilities.  Should this line or this word be whispered?  Yelled?  Projected on the body?  Who is my audience when I perform?  Are you my audience?  Is my audience in the past, present or the future?  Am I in the past, present or future?  What am I able to bring to life right now, and even co-create with you a new circumstance within the present moment?  In theater and in poetry, even if it’s the same exact play or the same poem, each rendering is unique.  Did someone laugh at a different part?  Did someone cry?  Am I feeling the spirit of my grandmother that day?  Or my future child? Also, the voice is vibrational.  There’s a way in which, when we perform, we are contacting others through the voice, through the heat of our bodies; we share a space and time that never occurs again.

Creating multidisciplinary work - I’ll differentiate as projects that are collaborative, that may involve production elements such as video-poems, dance theater, or collaboration with musicians and filmmakers: this takes the Performance and the Writing to another level.  Now, let’s add other people who are experts in their own fields: choreographers, dancers, composers, emcees, filmmakers.  I have had the opportunity to work with a variety of these, in making projects such as a “Tiny Fires” poem collaboration (click for excerpt) with San Francisco State University’s Dance Theater, in which my poem was translated into choreography and the dancers learned all of the lines; a recent collaboration with Alayo Dance Theater called “Manos de Mujeres” in which I researched, interviewed and wrote about the lives of Cuban Women and the dance company danced and choreographed to my words; a recent project called “Water and Walls” (click to watch) in which we all wrote verses to music about a shared theme and a filmmaker worked with us to produce a video. These are all exciting ways for the writing to live and breathe and thrive in different ways, through different mediums.  When it comes to plays, I do not even perform in the work, but get to see talented actors bring the stories to life, with directors at the helm and production crew helping execute a vision.  It’s like giving birth...and seeing someone grow up beyond you, doing things you could not do...

2. What are some influences on your poetry/work? (I reworded this one somewhat; I hope it is still fine!)

I think I’ve answered some of this in the above, in a way.  I am influenced by many art forms, and can’t see it any other way. I’ve never sat well with only poetry or only words, which can be limiting, and often, as referenced earlier, can become too cerebral.  Words are meant to be released, like songs are meant to be sung.  I am influenced by my early exposure to playing piano and dancing ballet, and later playing percussion and dancing West African and Afro-Cuban and Salsa and a slight bit of Filipino movement.  I am influenced by the work I love to watch - other theater-makers, poets, dancers.  Music influences me deeply, and often I hear poems come to me like strains of music, with melodies and rhythms.  The natural world influences me.  And history. As you have seen in my book, I can get nearly obsessed with history.  The way it was written, the way it omits, the glimpses it gives us into the minds of people.  Who is heard and who is not; who is rendered silent in the writing; who needs to be heard, if even in imagination.  History excites me and leads me to get possessed.  Lastly, change-makers and activists, because I came out of that.  I first wrote most fiercely and performed my first spoken word poems because I wanted to tell the story of a little girl, Crizel Valencia, who died at age 6 of leukemia after growing up on a toxic wasteland left by the United States military.  I lived in her community and in her home and we drew together.  When she died, after making dozens of drawings of herself envisioning her community and her own survival, I felt possessed to write, and speak. So, spirits influence me too.

3. About the book, SOUVENIR: What was the inspiration behind the layout and style of your poems? For example, the use of different fonts and inclusion of outside texts like in your poem "Manifest Destiny 1980."  I really liked how you wrote and organized your book by using exhibits (like in the museum, there's a story for each object or subject) I find it very creative. What gave you this idea or how did you think of it?

Each poem definitely has its own inspiration, but I can focus on the one you mentioned, first.  In “Manifest Destiny 1980″ I was basically writing parallel realities - one in 1980 (my own personal story of migration across the country) and the one in 1803 of the Lewis and Clark Expedition - both which moved from East to West.  In mapping out my own family’s road trip from New Jersey to the small Tri-Cities (Pasco, Kennewick, Richland) towns of the Pacific Northwest, where I remembered growing up with stories about Lewis and Clark and Sacajawea, I found that we followed similar route as Lewis and Clark. But, while our trip and our experience was about immigrants and their daughter adjusting and assimilating to White America, Lewis and Clark went to study and exploit the knowledge and resources, and the environment, of Native people.  We were subjected to being analyzed and studied and ostracized; they were, as well, but in the end were in the position of power linked to the destruction and removal of local people.  The parallel in the layout was meant to enable the two readings (top to bottom) and also one interrupting the other.

As for the exhibits: as you probably know, the 1904 St. Louis World’s Fair (Louisiana Purchase Exposition) celebrated the 100-year anniversary of the Louisiana Purchase, which followed the Lewis and Clark Expedition.  In the 1904 Fair, Filipinos were displayed in living exhibits, forced to re-enact rituals (at far too many intervals, unnaturally, for show and even competition), eat, sit, and interact in the public eye, as the living conquests of the US Imperialists.  I realized that so much of our lives was and is performance as well - my parents needing to demonstrate their ability to work and function within the American context; my striving to fit in, disappear, or perform as the rare Filipino girl in often non-diverse environments.  Without being too literal, I was interested in how we can see our lives on display, and what is lost or gained in that performance.  And objects - what are the objects that are collected as treasures of war - including our own bodies?

4. In the poem, "My Mother's Watch,” did that situation really happen to you? If you do go back to the motherland regularly, does the profiling still happen to you today?

Yes; that poem is actually pretty true to life.  I wouldn’t have called it “profiling” in that I think that term carries meanings of power within a racist context such as the United States.  In the Philippines, it was more of curiosity, more of realizing that you could never really “go back” in a way that is simply nostalgic or “authentic” -- that once the departure from the homeland, and the living within the United States context occurs, we may appear similar in skin and features, we may be 100% the same as our relatives in some ways, but we are not because we have lost our native tongues, or cultural norms, or gestures.  And also - that I felt so much bigger and taller than other Filipinos speaks to the fact that many of our own relatives or people just like us back “home” had access to fewer resources and nutrition, whereas we were able to grow up on milk and in my case, packaged and microwaved foods.  Even in our bodies, we are altered forever.  There was an article/ interview about this poem here that may be of interest: http://www.lanternreview.com/blog/2011/05/31/process-profile-aimee-suzara-discusses-my-mothers-watch/

5. What was the hardest part of the book to write?

The whole thing was hard to write, but it was actually harder to write the “colonizer”/white man/government/military and scientific voices because they were so emotionless at times, so declaratory, and in many cases, so condescending, if not overtly racist.  To dwell in the language in which Filipinos were called “niggers” and “rabbits” and that torture of Filipinos seemed to be so much fun; or that Native and Filipino and Black people’s skulls and genetics were inferior (according to the scientific racism of the time); and also that so much of it seemed to ring true to today.  It’s much easier to write personal narrative, lyrical narrative.

6.  What do you hope for readers to remember the most?

I hope that readers can see themselves reflected in the glass of the museum exhibits.  That regardless of their background, they see how Filipino-American History is American History and not some niche piece of history, but actually demonstrated some of the most egregious cases of scientific racism and exploitation, the epitome at the end of the 19th century, of colonialism and imperialism.  I hope readers check out more of the history, and also reflect on themselves and where they come from.

7.  What is the most nerve wrecking thing about becoming a mother for the first time? (Congratulations by the way!)

I put this at the end because it feels, in a way, like a bonus question, but also something very relevant to our lives as artists.  Becoming a first-time mother involves putting everything aside - my writing, my teaching, my projects - in service of my health and the health and protection of the child I am going to birth.  I have birthed many other things: projects, plays and poems, but a human being -- this requires the most sacrifice and faith I’ve ever had to summon.  At the same time, I think it’s very important for you, readers, to know that as artists, our lives are our art, just as art is our life.  We never stop being one or another (people, mothers, playwrights, performers).  If I believed I would stop being an artist, I could despair, but if I were to stop being an artist, what kind of mother would my son have?  He deserves my full self.  So, while our time becomes more limited and we have to focus on the child, we do not lose ourselves; we simply change.

Thank you for your interest and I hope you’ve enjoyed my answers!

[northamptoncouplestherapy]

Things to Consider When Choosing a Marriage Counseling Retreat

Whether you’re experiencing marital distress or just temporary gridlock, it can be difficult to know where to turn for help. With online therapy and a wealth of marriage retreat options available across the nation, separating the wheat from the chaff can feel like an overwhelming  task. Moreover, New York Times articles like “Does Couples Therapy Work?” highlight the importance of choosing your couples therapist wisely.

As Weil points out in the article above, being an effective marriage or couples therapist is a lot different from being an effective individual therapist. Also, most couples and spouses reach a point of crisis before they turn to a third party for help.

However, study after study indicates that evidence-based marriage and couples therapy provide immense benefits for both parties involved. In fact, Psychology Today outlined five basic principles that effective marriage and couples therapists use to bring about change.

We thought we would go one step further to identify the seven key elements that will help you find the most effective marriage counseling retreat for you and your spouse.

With a properly trained and focused staff, a private marriage counseling retreat will provide you with the equivalent of 12 weeks of marriage therapy in 2-3 days. The intensive format is also proven to be more neurologically effective than weekly therapy sessions alone.

Just be sure to consider the following points before signing the dotted line.

1. Look for Marriage Retreats with Therapists who Avoid a “Neutral” Stance

The most effective marriage therapist is not a “neutral” party. Instead, they avoid taking sides altogether and align themselves with a third party called the “We.” A trained clinician will always seek out the good of your marriage over the perceived good of you or your spouse. They will view every interaction through the lens of what is best for your relationship and the strength of your bond.

While a “neutral” therapist might think to themselves, “What about this person’s side?” or “What about that person’s point of view?” the effective marriage therapist would ask themselves, “How good is this particular line of dialogue for the relationship on the whole?”

Taking a relationship-focused stance could mean the therapist challenges you or your spouse more than another at any given time. However, it does not mean the therapist is aligning themselves with the other person. Instead, they are choosing to intervene and communicate things they believe will serve you best as a couple — both now and in the future.

It is a perspective adopted by the most seasoned clinicians who understand that aligning with “We” is necessary to change the larger dynamic between both individuals. The end goal is to benefit the couple, the partnership.

2. Seek Out a Practice that Avoids Glamorizing “Hot-Button” Issues

There is a tendency in our culture to label certain relationship behaviors as “bad” or “worse” than others; this is especially true when it comes to affairs or issues related to money or finance.

While a shocking number of spouses have affairs, with emotional affairs occurring at even higher rates, there are countless ways spouses betray one another on a daily basis — some of which can be as or more harmful than a physical affair or even financial secrets. For example, failing to be physically or emotionally responsive to your partner in their time of need can be just as detrimental to your bond.

The concept of betrayal extends far beyond the zone of extramarital connection.

Sure, daily betrayals and emotional dismissals might not attract the same notice as something like infidelity. But through the lens of a trained clinician, they are just as damaging. It’s death by a thousand cuts versus a big blow to the head.

Seek out a marriage retreat or marriage therapists who understand the intricacies of daily betrayals and who treat these roadblocks with the same amount of care and concern.

3.  Find a Practice that Understands the Power of Time Intensity

Originally started by John Gottman, the first private marriage or couples retreat intensives were called “Marathon Couples Therapy.” They were developed based on research that shows that couples therapy is more effective when it’s done in intensive doses. Sessions that are conducted in close time proximity to one another, then faded out over time, will net much better and longer-lasting results for your marriage.

This concept applies whether you are in crisis or are experiencing temporary gridlock with a singular issue, such as “Do we relocate for a job promotion?” or “Do we want to have a third child?” No matter what issues you and your spouse are facing, the intensive format will help you reach a resolution more rapidly and will help you sustain your connection for a longer period of time.

Neuroscience shows people are more likely to absorb new behaviors and translate them into change if they learn those behaviors in the context of an immersive experience. It’s a concept called rapid succession learning, in which a person is exposed to something repeatedly over a short window of time. Research demonstrates this is how human beings learn and change best.

Our marriage retreats are structured entirely around this principle. They are designed to provide you with numerous reparative, healing experiences that foster the acquisition of new skills in a condensed framework of 2-day or 3-day intensives. Therefore, whether you are navigating everyday issues, such as “Should we move my our mother-in-law into the guest suite?” or overcoming years of relationship tension, studies show the intensive format to be more effective.

Will you still get results from weekly therapy sessions? Absolutely. However, with the intensive format, you will get results much sooner, and they are likely to be longer-lasting.

4.  Choose a Marriage Retreat that is Respectful of Personal Boundaries

An experienced clinician knows how to walk the fine line between vulnerability and personal comfort. Always seek out a therapist or marriage retreat that understands this delicate balance. The nature of the work we do is to stretch each partner outside of their comfort zone. We strive to help people act, behave and communicate in new ways that may make them feel more vulnerable.

However, we are always careful to do so in a way that still respects  personal boundaries. It is a lot like going to the gym. On the one hand, you don’t want a workout that feels too easy. You want to know it’s having an impact. However, you don’t want to push yourselves to the point of injury.

We apply that same philosophy to our retreats. We are very respectful of each partner’s  boundaries and continually check in with each person to make sure they are okay with the work we are doing. Our therapists also come from diverse backgrounds and bring a wealth of experience and training to the table. Using the most advanced modalities of couples therapy, we utilize nonverbal cues as well as physiological tools, such as heart rate monitors, to gauge exactly where you or your spouse’s stress level stands at any time.

There are also strategically scheduled breaks throughout the day, which will allow your mind and body to rest and digest the new information coming your way. Always seek out a marriage retreat or marriage intensive that respects your comfort level and paces the progression of their retreats thoughtfully.

5. Find a Marriage Retreat that Will Honor Your Goals for the Relationship

The vision of your relationship is a decision unique to you. If you want the most from your marriage retreat, look for therapists who will avoid imposing their  values or opinions about how long you should continue to work on your relationship. Instead, find a practice that will encourage you to invest in the process and leave no stone unturned in your personal development.

One of the primary tenets we subscribe to is that any marital problems you are running into are problems you will face in any future relationship as well. So, we focus on creating change on an individual and relational level.

Our retreats include a very well thought-out protocol, which includes meeting with you and your spouse together to assess the history of your relationship and observing  interactions, as well as working with each person individually. We find it equally important to understand you and your spouse’s personal histories, childhoods, and prior relationships. That way, we can discern what individual changes you need to make for personal growth.

This is revolutionary for most couples.

Suddenly, it becomes less about changing your partner and more about changing yourself and setting yourself up for future success — no matter which relationship you are in. Once you subscribe to this perspective, there is the potential for healing more deeply. The question becomes, “What is my responsibility in this relationship? What is my 100% to own? And how do I change those patterns so that I can thrive in the future?”

Once you look at your romantic life in this way, it becomes a win-win, with the focus being placed squarely on cultivating health, skill building, and healing. Anything that is a byproduct of your work at your retreat will benefit you and those you love for years to come.

6.  Look for a Practice that Utilizes Research-Based Methods for Change

Most likely, by the time you decide to invest in a marriage retreat or marriage intensive, you are in need of real, expert intervention. Instead of a band-aid, you might even need a relationship emergency room. This is where research-based methodologies, such as the Gottman Method and Emotionally-Focused Therapy shine.

Look for a couples therapy practice or retreat center that utilizes leading research-based methodologies for couples therapy. Also, seek out a team of therapists who are focused solely on couples and who have the years of experience to prove it.

At NCCT, our therapists have over 150 years of combined experience in couples therapy. We are also the only center in the Northeast — and most likely the country — that is entirely dedicated to serving couples and expanding our knowledge and expertise of couples therapy on a daily basis.

Our therapists all engage in weekly “think tank” sessions to understand and apply new advances in couples therapy research. Moreover, every week, each therapist meets with couples between  15-40 hours a week.

Nowhere else will you find a team of therapists collectively working under the same roof supporting couples and families to this degree. NCCT is truly a one-of-a-kind center and has earned its reputation as the go-to place for couples in crisis.

7.  Choose a Practice That Provides Real Follow-Up Care

True success from a couples therapy intensive is just as much about what you do after the retreat as it is about what you do during. Look for a practice that has a real plan for follow-up care, whether in the form of online sessions, mini-intensives, homework or weekly couples therapy.

At NCCT, we treat couples from all over the United States, so our follow-up plans are just as varied as the clients we serve. Nothing ever ends with the retreat. You will go home with books to read, worksheets, concrete tools and skills and the option of continuing with your licensed therapist via phone calls, regular sessions or shorter versions of our intensive retreats. In fact, 80% of the couples who attend our retreats come back for mini-intensives.

No matter what you do, find a way to revisit the tools and strategies you learned on a regular basis, especially if you are in crisis. Marriage and couples retreats are effective, but they are not a magic bullet. If you want to retain the gains you’ve made, you must invest the time. Thankfully, our clients get the support they need to make that a reality.

Also, for our out-of-state clients, we go the extra mile to help them find qualified therapists in their community. However, most decide to come right back to us as needed.

At NCCT, our marriage and couples therapists are true experts in the field. They have been published and syndicated across the web, from the Huffington Post to the Good Men Project, and are among the leading experts in subspecialties like stepfamilies, domestic violence, and family therapy.

Want to learn more about how a 2-day or 3-day retreat can transform your marriage?

Contact us, and our Retreat Coordinator, Martha Reeves, will help you create a customized plan unique to your relationship needs. She’ll even give you tips on fantastic places to stay and great places to dine while in the Pioneer Valley.

Best of all, once booked we’ll give you access to The Gottman Institute’s online Gottman Relationship Checkup, so you can begin your journey towards healing before you arrive. If you are having trouble coping with marriage challenges, reaching out to a licensed couples therapist might be the way to go. We apply science-based methodologies to every couples retreat, relationship retreat and couples therapy weekend we offer. We also offer weekly sessions for those who can find time to break away during the week.

Take the first step towards saving your relationship and schedule your free initial phone consultation now. We promise to be in touch within one business day.

[lacquafmpblog]

Question 2

Please contextually reference your subject matter. What art, design, cultural, historic references can you look at to gain insight? 

I looked at perfectionism in the context of the study of science such as psychology and biology. Psychologists study it in the sense of maladaptive behaviour it has been linked to lots of mental health disorders like eating disorders, anxiety, depression. Studies show that people with higher levels of perfectionist thinking were more likely to make suicidal attempts. Other studies have show that perfectionist thinking is linked to inflexible thinking. This means that some perfectionists may find it difficult to change their way of thinking to solve their problematic thinking of their life which has negative effects in the world. Psychologists and researchers study perfectionism so they can help people overcome it through different types of therapies such as Cognitive Behavioural Therapy.

Another dimension that I am interested in is the evolutionary reason why human brains might strive for perfection. One theory that is widely studied is the need for humans to be accepted in a group. When humans first started to form groups if you were expelled from the group or did not fit in, it would mean literal death. This is a basic drive in humans to survive and this has been prominent throughout human history in different forms. In today’s world it is prominent through social media- We are suffering emotionally when we define our self-worth by how many followers we have or how many likes we get or we are hesitant to post for worry the quality of our posts won’t live up to the perfect images we have in our minds or the to the perceived standards set by our peer group in this social media bubble. Some teenagers use the amount of followers they have as a quantifiable measure of their popularity which can be seen as part of their animal instinct for fear of being kicked out of the group and left to starve and/or die! This group of people also use these standards to exclude others to solidify their own placement within a group. But the question is does this measuring and comparing actually serve the purpose of making them feel more secure in themselves? One of my favourite episodes of Black Mirror by Charlie Brooker is called Nosedive and it explores how the need to get social media ‘likes’ (which are represented by a star rating system) leads ultimately to a character being pushed out of society but ultimately gaining some other kind of freedom. The dystopian world (represented by beautiful perfect colours and ultimate cleanliness) in which she lives is a message to us now that we can be heading towards this. Documentaries such as The Social Dilemma by Davis Coombe tells us about how computer systems are reinforcing the human perfectionist tendances and creating divisions but the human programmers that originally made social media platforms did not do this intentionally.  

Many films, TV and media explore the interesting phenomenon of the pursuit of perfectionism and when perfection does come true it backfires. The children’s novel and film Coraline by Neil Gaiman has a young girl in the central role who is dissatisfied with her life and then is given a perfect version of it this of course ends in the common trope of this turning out to be a hellish trap. And the lesson to be learned is we should be satisfied with an imperfect world because within that is beauty and genuine love.  

Every art movement that ever existed in any culture has a consensus view of what they believe a perfect ideal vision of the human form, landscape and objects should look like. This makes it difficult to pick out what specific art movement discusses perfectionism.

[webmarket01]

6 Resilience Tips to Keep Your Weight Loss on Track | Weight Loss | MyFitnessPal

New Post has been published on https://weightlosshtiw.com/6-resilience-tips-to-keep-your-weight-loss-on-track-weight-loss-myfitnesspal/

6 Resilience Tips to Keep Your Weight Loss on Track | Weight Loss | MyFitnessPal

Failure has so many negative connotations — especially in the context of weight loss. If your goal is to shed pounds, any result that doesn’t involve a lower number on the scale can feel like a major setback.

The truth is, a lack of success when it comes to diet and exercise is not the exception; it’s the rule, explains Paul Davidson, PhD, director of behavioral health at the Center for Metabolic and Bariatric Surgery at Brigham and Women’s Hospital in Boston, Massachusetts. “After 2 million years, our brains have become designed to store fat effectively to enhance survival. Throughout history, weight was great, as it allowed us to survive the droughts, famines and times when the hunt was unsuccessful.”

Biologically, weight loss isn’t easy, and setbacks are inevitable. There are many reasons we fail when trying to slim down, but the key is to learn from — and not feel derailed by — detours. The road to your goal may be windy, but you can still arrive at your desired destination by using any setback to your advantage.

REASONS YOU’RE NOT LOSING WEIGHT

There are plenty of reasons your weight-loss journey might seem nearly impossible, but often, struggles start with simple, incorrect assumptions, explains Katie Rickel, PhD, a clinical psychologist and weight-loss specialist. “People usually think weight loss is a simple product of ‘calories in, calories out.’ Thus, when someone is ‘doing everything right’ in terms of eating less and moving more, it can be incredibly frustrating when you don’t see results.”

But other factors like stress and anxiety, for example, play a big role in weight loss. “Carrying body fat, from an evolutionary perspective, played a protective role for our ancestors,” says Rickel. So if you’re “doing everything right” but your stress levels are sky-high, your body might think it’s in danger and cling to extra fat. A lack of gut microbe diversity, inflammation from processed foods and too little sleep can also be roadblocks to weight loss.

Additionally, people often follow restrictive fad diets, which can backfire big time. For one: “When we restrict too much or overexercise, we actually can end up hurting our metabolism,” explains Lindsay Brancato, PsyD, a licensed clinical psychologist. You can also wind up resenting the way you’re eating and feel guilty for eating something deemed ‘bad.’ In turn, this “can set up a vicious cycle of restricting and bingeing, leading you to feel even more like a failure,” says Brancato.

This yo-yo dieting cycle can also make you think a lack of willpower is the issue (and make you feel badly about yourself) — when that’s rarely the case, she says.

What’s more, everyone is different. “We can get easily caught up in thinking that if something works for others, it should work for us, and if it doesn’t, we are somehow failing,” says Brancato. Since we all have different genetics, lifestyles and vary in age and gender, “there’s no one diet that could possibly work for everyone, and we need to figure out what works for each of us individually,” she says.

WAYS TO SET YOURSELF UP FOR SUCCESS

Fortunately, failures are opportunities to learn about your body, preferences, triggers and patterns and use them to fuel your weight-loss journey. Here are six ways to do that:

If you often feel like you’ve failed, an important first step is to reframe the way you’re thinking, suggests Jaime Coffino, PhD, MPH, a postdoctoral research fellow at the NYU Grossman School of Medicine. For example, try telling yourself something like, “I didn’t lose weight this week, but I can still make decisions that are in line with my weight-loss goals.” Showing yourself compassion goes a long way toward reaching and sustaining your goals, she says.

In order for your body to feel safe (and for you to lose weight), it needs to know there will be periods of sufficient nourishment, rest, sleep and recovery, explains Rickel. Take a look at your stress levels, remembering stress can be emotional (work deadlines, toxic relationships) and physical (being in a caloric deficit for too long, exercising intensely without rest, or not getting good sleep). Sometimes, it’s even necessary to have a period of taking in more food and working out less (with a focus on sleep and recovery) to prime your body for weight loss, she says. “This can seem counterintuitive and frustrating, but remember that your body’s resistance to weight loss could be its attempt to keep you alive.”

Drastically slashing calories and jumping on fad diets isn’t sustainable. “Yo-yo dieting is dangerous, as rapid, short-term weight loss is typically followed by weight regain and additional pounds — the brain’s way of building in a safety net, as weight loss is often seen as dangerous, a sign of an inhospitable environment,” says Davidson. Learn from this by making your commitment more long term. Moderate changes in both your eating and exercise habits aren’t overly stressful to your physiology — and are more certain to lead to long-lasting changes, says Rickel.

The number on the scale might be your goal, but bigger reasons — including health concerns, the wish to be more capable of engaging in activities, wanting to be around for your children, or feeling less pain in your joints — tend to motivate long-term change better, says Davidson. “Motivation is key, and to internalize it, it’s important to have a vision of what you are striving toward.”

Instead of ruminating over the bad, reward the good. “Our brain will encourage us to do things for which we are rewarded,” says Davidson. Find ways to reinforce the healthy changes you’re making, whether that’s getting new workout gear, pampering yourself with a hot bath, or planning a fun weekend outing. Small rewards along the way make things more enjoyable and also encourage you to keep going.

Nothing should be off-limits when it comes to a healthy, well-balanced diet that promotes weight loss. Even dessert can be a secret weight-loss tool. That said, it’s important to focus on hydration, getting high-quality protein (to help rebuild your cells, muscle and organs) and healthy, complex carbohydrates (to provide for your energy needs), says Davidson. In particular, plant-based diets like the Mediterranean diet could be especially helpful for weight loss. “The Mediterranean diet has consistently shown positive results as it’s not about deprivation. Instead, it focuses on more nutrient-dense choices with higher quantities of vegetables, fruits, healthy fats like olive oil, and limited amounts of meat and dairy fats.” If you’re having trouble finding a diet that works for you, don’t be afraid to reach out to a doctor or registered dietitian who can help tailor a plan for your individual needs and lifestyle.

Unlock an experience that’s like having a dietitian, trainer and coach — right at your fingertips. Go Premium for expert guidance and exclusive tools that will help you reach your personal health goals.

This content was originally published here.

[angeltriestoblog]

I took an online course!

Hello, and welcome to my first proper post under the #quarantingz tag: a little series where I chronicle all of my virtual endeavors and adventures in the time of COVID-19. Through this, I hope to achieve the following (research paper ka, gh0rl?):

Share what I’m doing with all of you guys, since it’s much easier than messaging and video calling you all one by one to confirm that yes, I am alive despite my inactivity on Messenger;

Hold myself accountable so I strive to find ways to keep myself occupied instead of sinking back into stagnancy;

Inspire you to pick up a hobby or try something out while we’re all cooped up indoors! I’ve seen a lot of my friends post that they’ve been getting so bored that even sleeping seems like a chore to them, but the four walls of your room present more opportunities than you think. Let’s try them out together!

And before anything else, it’s worth mentioning that this pandemic is not a productivity contest and we should not feel pressured into making or being the Next Big Thing. But, I believe there’s nothing wrong in seeking structure for one’s self-improvement if your mental health is up for it!

Ok. [START]

During the early weeks of the pandemic, online classes were still ongoing for students at my university, and needless to say, I was not having it. I was already worried enough about the possibility of contracting a life-threatening virus, and on top of that, I had to decipher lessons I could barely understand in a face-to-face set-up, and submit a paper on it that was worth half my grade. But thankfully my university opted to exercise cura personalis—“care for the entire person”, individualized attention to their needs—towards those who lacked the resources needed to keep up with the demands of e-learning. So, they cancelled the rest of the semester! I was filled with relief because as necessary as it might have been to stay on track, it was not an effective way to facilitate learning and retaining of information.

Which is why it’s kind of ironic that one of the first things I did once I realized I had so much free time on my hands was sign up for an online class. *cricket noises*

A friend had sent me a viral listicle of 500 free Ivy League courses. I guess a lot of people had looked at the indefinite quarantine period available at their disposal as an opportunity to learn something new! And well, I couldn’t help but join along, especially since Harvard was my dream school growing up, and they were offering hundreds of programs for me to choose from. (Sorry, Ateneo. I did say otherwise on my application essay.)

Growing up, I had wanted to be an author-doctor-scientist-rockstar-supermodel. I consistently proclaimed this to anyone with ears, whether they liked it or not, with all the conviction my four-year-old body held inside. I hadn't the faintest idea which degrees I needed to get to make a livelihood out of these childhood fantasies, but I figured that if I was going to be a legendary multi-hyphenate, I’d have to come from the best university in the world. I also remember negotiating with my family members from the States that I would have to live with them while I was finishing my college education, not knowing how far their humble home in Orange Country, California was from Cambridge, Massachusetts. Reality inevitably took over—more like, held the reins on my ambitions—and I had to accept that there were several constraints in place that would keep me from studying there despite my desire to.

Well, that was until I chose to take up a course on rhetoric, the art of persuasive writing and public speaking under HarvardX! I picked this out of the several options because I believe learning to separate logic from emotional appeal helps me analyze an argument better and craft more well-informed decisions—definitely a skill we must have in our toolbox given today’s media landscape that is constantly inundated with fake news.

I was to learn about how arguments are structured and how rhetorical techniques are usually employed by dissecting a number of influential and prominent speeches in American history. I then had to apply these learnings in two major written requirements: an opinion editorial and speech, both on any topic of my choice.  

Every morning for a week and a half, I would wake up as early as 9:00AM—just when some people on my timeline are getting ready to go to sleep—and dive straight into my lessons. I decided to take on a module a day since each was pretty packed with information in the form of readings and videos. More often than not, the flow looked like this:

The transcript of an address by a prominent American figure: examples of which are Former Presidents John F. Kennedy and Ronald Reagan, as well as Martin Luther King, Jr. I would annotate this with my first impressions, opinions on any lines and ideas that struck me.

The background of the speaker and the context of the speech: This honestly contributed a lot to my understanding and appreciation of the material. Although I’ve heard of most of them through almanacs I’d read as a kid, I never knew the story behind them.

The key concepts of the module: These consisted of terms and examples, as well as how to make use of them properly and to my advantage. Examples of the topics covered were modes of appeal, kinds of reasoning, and logical fallacies (my favorite).

The transcript, again: For the second round, I would have to spot the concepts that were previously taught to me, in action. When I was fully drained of my brain juice, I had the option to view and respond to the comments of my peers, as well as the lecture notes of my virtual professors. I admit I didn’t get to interact with any of my fellow students: majority of them were from different timezones. I would occasionally creep on the forums, look at the replies my peers would leave, and see I was in the presence of people from Brazil, Mexico, the United Kingdom, and Australia.

Videos of actual lectures regarding the reading, held by the professor: This course is an online version of an existing in-person Harvard class called "The Elements of Rhetoric". Probably the best part of the daily lessons, because it felt like I was also sitting in, watching his students recite from the other side of the room.A quiz on the topics discussed: Very easy, and you get two attempts before you submit your final answer so it’s almost always a sure pass.

As I mentioned a while ago, there are two major outputs to be submitted and they involve a lot of writing and preliminary research. (I personally wouldn’t recommend this to you if you don’t derive pleasure from activities of that sort.) In an attempt to shed a light on a timely issue, I wrote my op-ed on the steps the Philippine government must take to rehabilitate our healthcare sector, and my speech on the use of social media as an effective political tool amid a crisis such as this. The last one was a requirement I had done for my Comm subject, which I tweaked for the sake of formality.

The op-ed was subject to self-evaluation: I had to answer questions on whether my submission met the set criteria or not and give proof as to why I thought so. The speech, on the other hand, was graded by two anonymous peers, who gave encouraging remarks and cited points for improvement. Although I knew I gave my best, my final grade was very much dependent on what they thought of my work so I was a bit nervous. Thankfully, everything went well: I got a perfect score on almost every component and secured a certificate of completion (which I had to pay for, but looks great on my Linkedin, if I do say so myself).

Overall, I enjoyed a lot and found the learnings I picked up to be useful. The ideas might seem abstract but the building blocks of rhetoric pepper even the minutiae of our daily conversations, whether we're aware of it or not. All of us engage in discourse and form our stances on issues using emotion, authority, or hard facts. We elaborate on them by stating the general premise then delving into specific examples, or the other way around. Our last resort tends to be a form of character assassination, faulty generalization, or leading question. The list goes on! I don't think I can speak or listen without policing someone in my head!My response towards this experience is a far cry from how I felt towards my required online classes for school, it's true. But, there are several factors that differentiated both of them.

I was able to choose what I wanted to study. No Quantitative Methods or Computer Science being forced down my throat (although I am revisiting my lessons in those respective subjects after I’m done with everything else I want to do, because I remember my parents paid for those). I am free to invest in areas outside the scope of my degree and gain key insight from the most reputable institutions around the world. I have the luxury to study to test something out, to see if it’s simply a hobby or a potential minor/double degree/career trajectory. If I find out after a few sessions that it’s not my cup of tea, I can easily unenroll and move on. Trying to do that in college would lead to disastrous consequences.

Another thing I liked was the freedom I had to go through everything at my own pace, mull over what I wanted to write for as long as I needed to, rewind and go back to parts in the videos that I liked. Additionally, if I wasn’t in the mood to do anything productive on a certain day (it happens to everyone), I could easily do so without the fear of missing out on anything. I know that a handful of courses do require you to stick to a schedule but everything is still within a reasonable time frame.

Now, I understand that several things are chipping away at our (deteriorating) focus right now. It’s hard enough when school demands so much of our energy—I remember my Quant prof had offered to teach us once via Zoom and though if we were only preoccupied with Netflix and trashtalkan groups back then, we collectively decided to ditch him. But, if you’re determined and committed to learning for leisure purposes, here are some tips that helped me hold myself accountable!

Tidy up, both physically and mentally.

Find a workspace that is conducive to learning. In the absence of a desk in a bedroom, the living room couch or the dining table when no one's eating meals are suitable alternatives. As long as there is a constant source of light, little to no noise, and a simple set-up that minimizes the chances of you leaving your work, it should be perfect!

And while we’re on that note, eliminate distractions. I only had my notebook, pen, and correction tape on the table along with my laptop: I made use of the Forest app regularly as well and now I have a nice collection of various shrubs and trees. I even put my phone on top of the cabinet, God knows my sedentary lifestyle keeps me from exerting the effort needed to stand up and reach for it.

If you aren’t sure that you can devote your full attention to the task at hand, get someone you trust to help you! I update my mom that I’ve been studying and fill her in on my progress not only because I am naturally predisposed to telling her everything going on my life, but also so she can help keep me on the right track and ensure I do my work.

Take it seriously.

Allot a specific time of the day for it. That way, it’s easier to integrate it into your routine and stop you from bailing halfway. For me, it's not advisable to go at it early in the morning, because your mind won't be ready to process anything of that scale. But, it has to be one of the first tasks of the day so you can avoid putting it off in favor of whatever your subconscious feels is more interesting.

Take notes when needed, complete the assigned activities seriously without consulting other sources, and participate in the forums as a substitute for recitation! Be the star student you wanted to be, but were probably too shy to turn into for the fear of being smart-shamed by your peers!

Try to see the purpose in what you’re doing.

In my case, it gave me the motivation to finish it so I could apply it in real-life situations and make the necessary changes in my behavior and habits.

This definitely isn’t the last online course I’m taking: as a matter of fact, I have a couple lined up! I’m currently working my way through something on strategic planning by this website called Culture and Creativity. Although the material has been tailor-fit to address the social and economic development of countries in Eastern Europe, the concepts can easily be utilized in local contexts. Here’s a list of other programs that caught my eye while I was browsing the different catalogs across other platforms.

Investor Pitching Course for Creative Businesses | Culture and Creativity

Applied Psychology: Introduction to Consumer Behavior | Alison Courses

Marketing Analytics | edX

Transformational Leadership | Alison Courses

Global Trends for Business and Society | Class Central

Wishing you all the love and light the world can offer at a time that can be as apathetic and dark as this one. Wash your hands, pray for our frontliners, and check your privilege!

[awardspecificaward2]

                                        Grassroots Development

I would like to start off this post to discuss how I am getting on generally, the adjustments of the course and working from home. I have found it over the past few days much more of a struggle to continue to be motivated for this module the lack of interaction and collaborations has been more difficult than I first anticipated however, I remain positive and optimistic in my practice and strive to keep learning and growing as a creative. 

Other struggles have been the research aspect for this module and the conflict in interests when reflecting back on the requirements and the learning outcomes. Whilst I appreciate that historical context is important and paths the way in which we work and approach our own practices and the boundaries (as Robert Smithson quotes “New art changes how we look at old art. You are not in a vacuum.....I don’t go for that idea that art is personal. The personal talent might be there, but the trading, range, extends the past.....People don’t know where their heads are now, they don’t know where continuance is. It’s a moral problem more so than aesthetic.”) I try my best to always keep my research as relevant and most importantly for me contemporary. 

There seems to be, for me individually anyway, a unnecessary amount of historical context that is required for this and my other module SNU. As a young (just about) photographer for me what is most important is that I keep myself updated with current themes, trends that are circling my field and research what other photographers are also creating and producing at this moment in time. History will always have some relevance to my work and to understand the themes of my work such as ; community, love, nostalgia and memoir it is important to look back in history and see how others across various disciplines portray this through their work. 

Looking back at potential archival material from Hackney Marshes as well would have been a wonderful opportunity to understand how it once looked without having to rely on the images i find on various websites. Hackney Marshes and the league itself have a member of the committee that deals directly with the historical and archive material and I am trying my best to pursue this lead and see if I can find a way of obtaining some of this material. Of course however, with current restrictions I do not know how feasible that will be now. 

Coming back to my work now and where I find myself. I have discussed the successful publications that I had worked on prior to starting this new term and these modules and current my pursuit of getting a publication with Dazed and Confused as well. There have been many other experiences I have had during my studies in this term including a variety of takeovers on social media platforms including; Vogue Italia, Photograd, Ffotogallery Platform as well. There have also been a number of unsuccessful submissions with Towner Eastbourne, WRPD Magazine (with my new body of work) and Zealous Stories 2020. The restrictions and lockdown have also thrown up new opportunities with takeover opportunities with Francesca Maffeo Gallery in Southend and Brick Lane Gallery calling for artists across all disciplines to sell their art work via their online system. These are just two of many opportunities. Their are also several artist pledge supports that have surrounded social media as well. 

The image attached to this post is one of my latest images coming out of my visits to Hackney Marshes. I would like to be able to say I have some philosophical or conceptual context behind this but I am beginning to struggle speaking and writing about my work as that is all I seem to be doing over the past 2-3 weeks. The image aesthetically looks like a painting and brings to mind emotions and notions of nostalgia and memoir. There is an ease when viewing this image and satisfaction also with the parallel lines of the buggy that collects the equipment and doing the groundsmen work. The horizon line, the colours breaking through from the sunrise, the continuity of pairs with the two players walking into shot, the two players warming up together mid way into shot, the two lines created by there buggy; maybe that is just me but there is something so mesmerising about this image a feeling I have never really had about another image of mine before. 

It was at this point however, when the bad weather (storms) crashed in between the UK and weeks on end of match postponements was then followed by this pandemic and crisis we find ourselves in now. So, this image was one of the latest that I have taken from Hackney Marshes and most likely the last image I will take with the season inevitably coming to a end because of the virus. The league itself was forced to stop with 2-3 players contracting the virus and then referees showing symptoms of the virus also, so before the lockdown took place in the UK the league had suspended its activities. 

[davidduckworth]

2019 in Books

2019 was another fairly slow reading year. No excuses really. I just didn't manage to get into a proper rhythm and the desire for doing other things trumped that of reading.

1. Mythos: The Greek Myths Retold (3/5)

By Stephen Fry

My Take: Myths are just so…. wierd! I enjoyed the retelling of some of these timeless stories which just, for the most part, make no sense. It’s interesting how Gods have come to represent ‘beyond human’ and perfection, but the Greeks myths infuse Gods with both virtue and vice — vengeance, passion, cruelty, avarice. Gods are more extreme version of humans. I find it interesting how some of these stories have survived and continue to inspire creatives all over.

2. A Brief History of Time: From the Big Bang to Black Holes (4/5)

By Stephen Hawking

My Take: Much needed refresher of descriptions and explanations of foundational physics, much of which I had forgotten. I enjoyed the historical elements of the basic premise that every theory is provisional, just a hypothesis no matter how much facts seem to agree with it. I love that our foundational understanding of the universe and it’s physical laws come from two theories that are largely at odds with each other: general relativity and quantum mechanics. The discussions around space, time, the expanding universe, elementary particles, and black holes are enjoyable-though I must say I’m already in need of another refresher.

3. Deep Work: Rules for Focused Success in a Distracted World (1/5)

By Cal Newport

My Take: I was really hoping to like this book. The truth is that I struggle to focus on just one thing at a time and my mind tends to wander on to the next thing. But, I didn't really learn much of anything new and a lot of the book felt like fillers and obvious advice — focus on what's important, avoid social media, do the hard tasks early in the morning, email and the internet are attention hogs, add routines and habits that force you into the behaviours you want, etc…

4. Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration (4/5)

By Ed Catmull

My Take: As you would expect from experts in story telling, the book weaved in the narrative of Pixar with business lessons. Creativity flurishes in enviroments with flat structures, candor, truth-seeking, trust, prototyping, iteration, mentorship. Specifically, found the braintrust (a group of trusted colleagues with their own circle of competence who will be honest with each other in pursuit of better outcomes) to be an interesting management tool to instantiate some of these concepts. Another interesting concept was thinking about how you can reduce the consequence of failure by keeping a project in a development phase for longer, where the costs of exploration and iteration is low. Once you commit to a path, it's much harder to change direction.

5. Why We Sleep (2/5)

By Matthew Walker

My Take: I've always been fond of sleep — but for some reason it's not one of those things that I prioritise over say a good night out with family/friends, Netflix (apparently Netflix's biggest competitor is sleep according to Reid Hasting), or a large dosage of link-hopping on the interwebs. I've always felt that sleep is largely a waste of time, and that if I can reduce the amount of time sleeping I'll gain more time in deliberate consciousness. This book is a good reminder of our body's physical limitations and how critical of a process sleep is for learning, memory, decision-making, creativity, happines, working, longevity (get the point here?). While the benefits are clear (if somewhat hyperbolic), trying to implement the advice is where the rubber hits the road. I'm working on scheduling sleep consistency, no screens in bed, no caffiene in the afternoon, ideal sleep setup. Unfortunately, I have a feeling a newborn baby won't help for this resolution in 2020.

6. Kitchen Confidential: Adventures in the Culinary Underbelly (4/5)

By Anthony Bourdain

My Take: I've been following Anthony Bourdain since his break away shows No Reservations from 2005ish onwards, but never managed to read the book that started his popular ascent. His untimely death in 2018 for some reason really spoke to me though I hadn't seen any of his shows for some time. Kitchen Confidential really brought it all back for me with his irreverant, 'bad-boy' take on food, travel, kitchens, and culture. It's a wonderful read both for it's narrative and kitchen tips. Owning and working in a restaurant is one of those things that sounds idyllic in theory, but the realities are grueling and Bourdain really brings that to life.

7. The Design of Everyday Things (4/5)

By Donald A. Norman

My Takeaways: Good design is harder to notice than bad design because good design makes itself invisbile. Defining what to design (i.e. finding the right problem) is one of the most difficult parts of the process, so avoid specifying the problem for as long as possible. There is no such thing as an average person — so don't design for one. One of the main contributing factors to bad design is the incremental addition of complexity of devices, due to continuously added features. User-centered design involves simplifying the structure of tasks, making things visible, getting the mapping right, exploiting the powers of constraint, providing feedback, designing for error, and explaining affordances using signifiers.

8. How Not To Die: Discover the foods scientifically proven to prevent and reverse disease (3/5)

By Michael Greger

My Takeaways: I picked up this book in an effort to learn more about nutrition, partially because I wanted to lose weight and partially because I wanted to see whether eating healthier would lead to feeling more energized and to better outcomes. I'm not sure eating better helped, but definitely won't hurt. The main premise is to just eat more plants along with the same nutritional advice you'd expect: minimize processed foods, sugar, alochol, eat more raw veggies, tumeric, flaxseeds, nuts, fruits, wholegrains. A dispointing part of the book is that it felt Greger cherry-picked research as most nutrition gurus do. In any case, for the past year the book has inspired me to be more plant-based and it's something I expect to continue without being extreme about it — there's just no downside really

9. Andrew Carnegie (3/5)

By Joseph Frazier Wall

My Takeaways: This was my big biography for 2019. And by big I mean 1200 pages big. I didn't dedicate much time to the backend of Carnegie's life which had more to do with his perspectives on philanthropy and giving away his wealth — not a problem I have today. A true rags to riches story (I mean from nothing to literally the richest man in the world), the book does a good job of setting the historical context and providing a good narative of Carnegie's life, beliefs, and businesses. True wealth derives from owning things that appreciate in value exponentially, not from a high salary. Carnegie was lucky to be in the right place (Pennsylvania) in a booming industry (railroads) at the right time (American industrialisation) with access to the right people as mentors and supporters (J Edgar Thomson). These relationships and connections proved essential for Carnegie to build his steel empire and wealth. His relationships with his businesses managers (Frick, Schwab), attention to detail, ruthless pursuit for cost-cutting and innovation, and approach to competitive threats stood out to me.

10. The Book You Wish Your Parents Had Read (and Your Children Will Be Glad That You Did) (4/5)

By Philippa Perry

My Takeaways: I was graced with the news that we were expecting a baby boy earlier in the year and my wife gifted me this wonderful little book on how to approach child rearing. One's default's behaviour towards one's children are often determined by what your parents did, but that's often not the best approach. What stood out to me is the obvious really — that one should treat one's child like an independent person and strive to build a geniune, loving relationship with him/her. Don't manipulate, distract, lie, train… but teach, explain, support, listen, comfort, understand, be truthful. All behaviour is communication.

11. Principles: Life and Work (4/5)

By Ray Dalio

My Takeaways: Part platitudes and banal advice, part unconfounding clarity and an approach to life and work that is hard to argue with. Regardless of what one's philosophy is to life, Dalio's argument is it's important to have one and know what it is. That it's important to be thoughtful about how we spend our time on this earth. Think for oneself. Embrace reality, especially when it's painful. Be radically open-minded, but assertive and confident at the same time. Learn how to make effective decisions. Despite the self-helpy nature of the book, I enjoyed it.

[zipgrowth]

How One Master Educator Uses Visuals and Tech to Make Dracula a Must-Take Course

When Stanley Stepanic was growing up in Latrobe, Pennsylvania, he lived in a house built in 1823. “Back then,” he says, “it was always cool to say, ‘I live in a haunted house. There’s a ghost here, and she committed suicide during the Civil War.’”

“I was obsessed with ghosts and skeletons,” he says, “and Halloween was always my favorite holiday.”

When he was five or six years old, Stepanic told his mother he wanted a Halloween-themed birthday party. “I had a cake with a skeleton,” he says, “and I dressed as Dracula.”

It was destiny.

You have to envision yourself as basically an entertainer.

Decades later, Stepanic teaches a standing-room-only class at the University of Virginia entitled—cue up the spooky organ music—Dracula. The course is one of the school’s most popular, with a waitlist that once swelled to 1600; it was included in a roundup of “Top 10 Must Take Classes at UVA.”

An associate professor in UVA’s Department of Slavic Languages and Literatures, Stepanic earned the Graduate School of Arts and Sciences Teacher of the Year Award in 2012. He has also been selected as a Master Educator by the education technology company Course Hero, which produced a ten-minute film that features Stepanic and his crowd-pleasing class.

With Halloween upon us, we chatted with Stepanic about what his course addresses, how it became so popular, and why Bram Stoker’s Dracula is not a required read.

EdSurge: Can you give us a little background on the history of the Dracula course?

Stanley Stepanic: When I first came to UVA in 2005 to study for my master’s and my PhD, I was a teaching assistant to the course and was mentored by Professor Jan Perkowski. He had originally taught the class under the title of Vampires of the Slavs. He later changed the name of the course to Dracula. When I came here in 2005, the course had been taught for at least two decades.

When Perkowski retired, the department wanted to keep the course because it was their biggest in terms of enrollment. Since I was the last person who had taught it and knew anything about the subject at all, they asked if I wanted to do the course myself.

So I said, “Sure, but I’m going to do it entirely different. I am going to rework the course from the ground up. It’s going to be nothing like how it originally was, other than that title. I’ll keep the title.”

Master Educator Stanley Stepanic discusses his course, Dracula; video source: Course Hero

Professor Stanley Stepanic

What do you cover in your course?

The title, Dracula, is actually just symbolic. Basically, I track the development of human experience and human history, using the vampire as the frame to make it fun. We talk about anthropology. We talk about diseases, issues of racial identity, homosexuality—things you wouldn’t expect. Students usually are amazed when they take it.

We talk about the prehistory, the Slavs, Eastern Europe, then we go all the way to the modern day. Then we see what is a vampire, in the original folklore what does it mean, and then from there we see how that thing was adapted and assimilated and appropriated by Western culture and gets into literature. And then we go from literature to theater and then films and then pop culture in general.

The big takeaway is that the vampire is an expression of the human species itself. It has over time become a mirror for what we are, or for things we strive to be and haven’t achieved.

How do you teach a class called Dracula and not require students to read Stoker?

I used to have Dracula as one of the core texts. But students didn’t like it; they hated the book. Typical complaints are that it’s too confusing at some points; there are plot holes in it; and the characters are fake, I can’t connect with them. I don’t like the book personally. So I just took it out.

It’s really interesting to me that most people actually have not read the book. But they know that name and they think it’s the most famous work in horror literature ever written.

. . . you just can’t keep teaching the same notes with coffee stains from the 1950s on them.

How do you keep your students engaged?

This is one of the big changes I implemented. If you’re not entertaining students enough, they’re not going to pay attention to you. Professors will often ask me, “Why are you so good? What do you do that’s different?” I always say the same thing: You have to envision yourself as basically an entertainer.

Even though you’re teaching them, you have to entertain them at the same time. Otherwise 1) they’re not going to pay attention, and 2) they’re not going to learn. If you entertain them while they learn, they’re going to learn a lot more. I’ve always loved public speaking, so that was easy. But I realized early on, students are more and more visually oriented. So, if I’m talking about a film, I’ll show some of the original film posters or perhaps a clip or a trailer. It gives you a visual perspective of that time period.

How do you leverage technology in your course?

I’ve automated the grading for my essay test, which I was finally able to do with the help of a friend who programmed me a special little system this past year that I call Alucarda. [Editor’s note: What is alucarda spelled backward?] That’s made grading a lot faster and easier. I can do 30 exams in 15 minutes, which used to take me three days.

There’s one other thing I should mention about why the class has become so popular. I’ve always tried to keep up-to-date with the way the technology is advancing. So now I’ll use Google maps, archive.org, YouTube, the Internet and other sources students use.

Resources to Inspire Your Course Design

Professor Stanley Stepanic’s Dracula course file, with links to notes, quizzes, and study guides

Bram Stoker’s Dracula comprehensive study guide, featuring character maps, plot summaries, helpful context, and more

Bram Stoker’s Dracula infographic, highlighting characters, themes, symbols, and biographical information about the author

“Why do we associate vampires with sex?” — Course Hero Master Class by Professor Stanley Stepanic

“How did Dracula become the world's most famous vampire?” — TEDEd Lesson by Professor Stanley Stepanic

How do you pump new blood into your course?

Every semester I’m like, “I don’t like this slide. I need a clearer picture of this. I don’t like the way the text appears.” Every once in awhile, I’ll come across something new like a video. “Ooh, I could use this for this lecture.” I download them to save for later. So there are always things that I’m changing. Every semester it’s going to be a different course. The other thing we’ve got going is, of course, the vampire’s not going anywhere. It’s going to be in the media probably until the human race is extinct. Because the vampire represents problems we have yet to solve, and until we solve those problems, it will be one of the methods we use to symbolize them in order to cope with our lack of understanding.

As a friend of mine once said, as a professor these days, you just can’t keep teaching the same notes with coffee stains from the 1950s on them. You’ve got to be updating. You’ve got to be looking at what students are doing. So who knows how lectures will be taught 20 years from now. Whatever it is, I’ll be teaching that way. Maybe we’ll have some new social media app and we’ll be plugged into computers in our brains and you can experience Dracula through your eyeballs.

Whatever is going to happen, I’m going to have to adapt to it. You have to make yourself as relevant as possible every single year.

The Good Words

Here are six of Professor Stepanic’s go-to books for research on vampires:

1. The New Annotated Dracula, by Bram Stoker and Leslie S. Klinger

2. Bram Stoker: A Biography of the Author of Dracula, by Barbara Belford

3. Vampires, Burial, and Death: Folklore and Reality, by Paul Barber

4. The Vampire Film: From Nosferatu to True Blood (Fourth Edition), by Alain Silver and James Ursini

5. Bram Stoker's Notes for Dracula, by Robert Eighteen-Bisang and Elizabeth Miller

6. Dracula (Norton Critical Edition), by Bram Stoker, edited by Nina Auerbach

Vamping for the Camera

The vampire has been a cinematic stock-in-trade since the French short "Le Manoir Du Diable" was released in 1896, a year before Stoker’s Dracula was published. Here are five vampire films and one anime series recommended by Professor Stepanic:

1. "Hellsing Ultimate" (2006–2008, 2012, 2014; created by Kohta Hirano)

2. "Blade" (1998; directed by Stephen Norrington)

3. "Bram Stoker's Dracula" (1992; directed by Francis Ford Coppola)

4. "Dead of Night" [aka, Deathdream] (1974; directed by Bob Clark)

5. "Dracula’s Daughter" (1936; directed by Lambert Hillyer)

6. "Interview with the Vampire: The Vampire Chronicles" (1994; directed by Neil Jordan)

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