#“Experience Art with ABI Resources' Collection”

[ctbraininjurysupportservice-blog]

"Experience Art with ABI Resources' Collection"

'Bear-y Awesome Adventures'

A Grizzly Collection of Connecticut's Furry Friends.

Let these furry friends take you on a journey of laughter and joy, reminding us all that sometimes a little bit of humor and creativity brightens our mood. Art and nature are vital for our overall well-being, so take a break from the chaos and enjoy this fun-filled collection today!"

#arttherapy#naturetherapy#mentalhealth#wellbeing#Bear#bearsofinstagram#connecticut#abiresources#humorr#creativity#healing#laughter#joy#funfilled#collection#tbisurvivor#tbiawareness#braininjury#art#MFP#ABIWAIVER#CT

ABI Resources works with multiple organizations, including DSS DMHAS WWP CCC CCCI SWCAA WCAAA Allied Yale UConn Gaylord HFSC, and more to provide the best care for individuals.

ABI Resources Connecticut home-based supported living and CT community care.

[irrfahrer]

Verses & AUs

V: At Ithaka Ziv is a child at the Jedi-Temple, living in her Clan. She might be known for her workaholic | self destructive tendencies in Training and learning.

V: Nobody Ziv is a young Teenager and has been sent to the AgriCorps. She works under a Master in a Group of Adepts as a Medic in sickbays behind the Frontlines and on planets devastated by the War to avoid the outbreak of famine and diseases. and helps build up destroyed cities.

V: Lost Achaemenides A AU of V: Nobody. Instead of beeing a Teenager during the Clone Wars, Ziv is a adult and a fully educated AgriCorps Member who does her very best to stay out of the War. However, she often ends up beeing called to by the war devasted Planets to help the Population and take care of the planet. As always Ziv is in this Scenario the Warden of a Murakami Orchid. She travels with her ship “The Stutterer”,which is working as ‘smoothly’ and ‘elegant’ as the name suggests.

V: Moly Against all odds and despite her character and tendencies, Ziv is chosen as a Jedi-Masters Padawan and serves alongside them.

V: Odyssee Zivs Mainverse. After the Order 66 the former AgriCorps Member Ziv Odiz’Zee had gone into hiding and works as a Healer and occasionally Mercenary on Space-Ports and Spacestations. She tries to travel to Tynna,but usually does not have enough resources to pay enough for the full flight and then ends up on another port. At some point she joined the Rebels Cell Deep Current as a Medic. 19 BBY- 5BBY.

V: Building a Trojan Horse Fate has a strange way of leading one down their Path- Instead of becoming a Jedi Sentinel as she sure would have been supposed to be in another Timeline, Ziv becomes an Intelligence- Spy for Deep Current. Since BBY 5 (Ziv is 28 years old by now ) She uses her skills as a Healer, Botanist and trained Force-Sensitive to infiltrate Empire Bases as a Medic or collects information all over the Galaxy in Saltbites name for the Rebellion.

V: Laestrygonian “After the formation of the Galactic Empire and the Great Jedi Purge, Dark Lord of the Sith Darth Sidious rounded up all of the AgriCorps members that weren’t killed during Order 66. Transported to Byss for indoctrination in the dark side, those who fell to the Sith joined the ranks of the Dark Jedi active within the Empire. ”,From Wookiepedia on the Agricultural Corps. Like most of the AgriCorps Members Ziv is captured by the Empire and brought to Byss where she is turned into a Dark Jedi- one of the Empires Agents. Mostly Ziv works as a Medic and scientist in service for the Imperial Bioweapon Projects. As a former AgriCorps-Member and strong force-sensitive Medic she is supposed to have a special focus on the sickness and Sith-Alchemy.  19 BBY -  ?

V: Eperitos Story KOTOR- Verse. Ziv is a Agri-Corps-Member, who works for the Service-Corps to help from conflict and natural catastrophes devastated planets to regrown, researches flora and fauna on Planets on the Outer Rim and central Planets, and writes her researches and experiments down for the Jedi-Temples-Archives. She travels with her ship “The Stutterer”,which is working as ‘smoothly’ and ‘elegant’ as the name suggests. Ziv is as always the Warden of a young Murakami-Orchid Sproutling.

V: Another Story for Eumaios Star wars The High Republic Verse. Set two hundred years before the Clone Wars during the High Republic Era. Ziv is a Agri-Corps-Member, who works for the Service-Corps to help from conflict and natural catastrophes devastated planets to regrown, researches foreign flora and fauna on Planets on the Outer Rim and central Planets, and writes her researches and experiments down for the Jedi-Temples-Archives. She travels with her ship “The Stutterer”,which is working as ‘smoothly’ and ‘elegant’ as the name suggests. Ziv is as always the Warden of a young Murakami-Orchid Sproutling.

V: Aithons Story The events of Order 66 never happned and instead the Order 65 had been conducted. In the following years the few survivors of the Jedi-Order are of course still sideeyed by the galactic population because of the radical three years of smear-campaign against them through the war caused by Palpatine. So in the years after the Clone Wars the Jedi Order has to focus on getting on good footing with the population by focusing on the Service-Corpses “Charity Work” in educational/agriculture/healing and of course exploring, to “clear their name” after the war in the eyes of the galactic population. This leads to a massive expansion of exploring past the Outer Rim led by the Jedi-Order to not only find new planets but prepare them for the following settlers. The Explorer-Corpse find those planets,  Agri-Corps make those planets viable for settlers to grow food on (plus mildly terraforming),  Educational-Corpse teach those settlers about the new worlds and of course the Jedi-Knights of the Order make sure people are not eaten by new-discovered wildlife.

Which means that Ziv is by now a fully trained AgriCorps-Specialist and is regulary send to new discovered planets to set up viable Domes to grow crops in and prepare those Domes for coming settlers so those can start terraforming the planet in a safe enviorment and with enough recourses. Obviously she is send with other Jedi, even Jedi-Knights to make sure she does not just die on those planets, which  Ziv-  with all her not worked through grudge- is obviously ROYALLY PISSED about as she sees herself more than capable to do her work alone.

V: On Telemachus Trace Sequel Verse- Shortly after Ziv had joined Deep Current and had her two cubs, the original owner of her Cortosis-Vambrace finally caught up to her. Obviously unable to pay them for the Vambrace as this was the reason she had left the Criminal behind in the first place, Ziv is forced to “pay” her debt by being frozen into Carbonite and sold as an Art-Object. Decades later around  33 ABY, it's discovered that the Art-Piece is actually a person and Ziv is thawed out of the Carbonite. Brutally hit by Hibernation-Sickness marked by exhaustion, weakness, dehydration, dizziness, memory loss, and temporary blindness, Ziv had lost more than a year of her Life before she had been captured. There is only the faint idea of having forgotten something very important, and she searched for this “something” panicky.  Only for her to realize over years slowly that it had been her cubs she had forgotten and who had grown up without her.  The now adult women who had been adopted by a Member of Deep Current after Ziv had disappeared and probably joined the Resistance as Members of Deep Fathom, yet it's nothing that Ziv might find out.

V: Hailing Port Sequel Verse II- After the destruction of the second Deathstar, Ziv takes a maternal Leave from Deep Current to settle down on a Forest Planet on the Outer Rim and raise her cubs. When she had settled down she soon made herself a name as a Healer and became very fast a trusted member of the Village she had moved to. Years pass by, the War eventually ends and Zivs Daughters leave to find their own Path in the Galaxy. Eventually Ziv is noone special but a Herbal Healer who happens to hide a Lightsaber with a Blackwing-Crystal in her home and carries a Murakami-Orchid in a Pendant around her Neck. While for Ziv Jedi-Matters had not been her Matters since she had been thirteen years old, The Murakami still reaches out in the Force even past the Planet Ziv had settled down on.

V: Past Kythera towards the open Sea A General Fantasy Verse. As a trained Botanist Ziv is send to research on the Flora of “Wild” and “Underdeveloped” Planets. As she is still an alien with alien looks she keeps away from the planets cities as far as possible while she does her research, but occasionally stumbles into the local Fauna.

[nyfacurrent]

Business of Art | Five Ways to Stake Your Claim in the Arts Ecosystem

Takeaways from the inaugural Art World Conference that can help you focus your creative energies to develop a more purposeful practice.

Art World Conference is a new business and financial literacy conference that includes panel discussions, conversations, and in-depth workshops addressing many of the opportunities and challenges faced by artists and arts professionals. The inaugural conference was held on April 25-27 in Manhattan, and brought 300 people together in dialogue around such topics as storytelling, marketing, investing, and growing and sustaining community. Fiscally Sponsored by The New York Foundation for the Arts (NYFA), the conference featured an esteemed line-up of speakers, moderators, and panelists including NYFA Board Member Tiana Webb Evans, Caroline Woolard (ABI ‘17), and Doctor’s Hours Consultants Larry Ossei-Mensah and Steven Sergiovanni. Here are five takeaways from the conference that you can apply to your practice today.

Tell Your Story

You know your work inside and out, and how you talk and write about it matters. Don’t rely on art world jargon to tell your story for you, it often distracts and can unintentionally distance people from your work. Says Writer and Critic Antwaun Sargent: “Sometimes language hides what you’re really after, and what you’re trying to say. Jargon can hinder the fullest expression of your work." He recommends that even artists who are uncomfortable writing write about their work. “It’s a good exercise, and it doesn’t need to be structured in a traditional way. Some of the best artists that I’ve come across have some sort of documentation of their work that is written [by them]. It allows for another expression” of their ideas. Curator Sara Raza frames it as a way of articulating the experience of the studio visit through writing: “Think about a set of words that aren’t overly theoretical but show key concerns of practice that articulate where you’re going and what you’re doing."

Learn by Failing

As an artist, you’re constantly experimenting and problem-solving to achieve new heights in your career. The same mindset can be applied to other critical components of your career. “Insanity is defined as doing the same thing over and over again expecting different results,” said Mark Rosen, Associate Director of Marketing, Artsy. “It may be a blow to the ego, but you need to recognize what you’re doing and let it evolve,” he added. Rosen spoke specifically to how artists can find success on Instagram, a question that is on the mind of many creatives. One way to determine whether your posts and stories are resonating? First, use a free app like Planoly to plan out your posts in advance. This is an especially great benefit to artists with limited resources, as they can dedicate a block of time each week to schedule content in bulk. Timing is one of several factors that can help make your posts more or less successful, so test out times in two week increments and see what works best for your feed.

With social media and other components of your practice, re-evaluate regularly, as what may have worked for you in the past is no longer working in the present. “Social is changing every 15 seconds, it will change now and it will change again,” advises Rosen. In another panel discussion, Deborah Obaili, President and Executive Director, Association of Independent Colleges of Art & Design, cited the words of a colleague who encouraged artists to recognize that “what you need from a personal/creative practice standpoint is very different from the kinds of needs you’ll have in 20, 30, 40 years from now. There’s a continual learning curve.”

Resources: Emergent Strategy: Shaping Change, Changing Worlds (AK Press, 2017) and Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones (Avery, 2018)

Embrace Community

Community matters and can often open the door to new opportunities. Take the example of Prerana Reddy, Director of Programs, A Blade of Grass. She and a group of her peers formed the South Asian Women’s Artist Collective in 1997 to create a space for support and community and means of facilitating and presenting work. One of the members joined the staff of Queens Museum, brought Reddy into the fold, and helped to usher in a new era at the museum where it was more inclusive of its diverse local community. “Being accountable to the local community is not often something that a contemporary art museum does, but over time it became something that the Queens Museum did” and does through today.

Community also extends far beyond the walls of your studio, home, or office. “You’re part of a much larger ecosystem. Part of being in a creative practice is that you have a solid foundation from which to leap from,” said Esther Robinson, Co Executive Director, ArtBuilt, while moderating a discussion on real estate for visual artists. The panel stressed the importance of artists getting involved in their communities and holding state and local government accountable in the fight for affordable live and work space. Said Robinson: Developers “want us to give up. Make sure you know what your own values are and how to move forward.”

Wherever you make connections and foster community, do so authentically. Online, “Genuinely engage with content to help develop relationships. The more love you show, the more love you’ll get,” says Mark Rosen.

Resources: NYC Loft Tenants; Spaceworks; ArtBuilt; Never Eat Alone, Expanded and Updated: And Other Secrets to Success, One Relationship at a Time (Penguin Random House, 2014)

Practice Self-Care

Those in the arts community have a lot to juggle, from keeping up with the day-to-day to the larger pressures of defining success in a challenging industry. Lisa Kim, Director, The Ford Foundation Gallery, got to the heart of it by asking the question, “How can you manage your time and emotional resources wisely?” Alex Paik, Artist and Director, Tiger Strikes Asteroid, takes a refreshing approach: “Once you give up the idea that you can balance everything—just do what you are doing as well as you can while you’re doing it...Being present in the tasks that you’re doing makes them feel a bit more manageable.” Another piece of advice that can be applied widely comes from Prerana Reddy: “Find your time to be alone and whatever it is that’s meditative. You need to be bored to be creative. You need to pass boredom to get to creativity. It’s harder to get there because we don’t give ourselves time to be alone. Find that thing that allows you to be bored enough to rest yourself.”

Protect Your Work

“There’s no art market without the artists,” said Artist Mickalene Thomas in an afternoon panel discussion on Protecting Artists’ Rights that reviewed topics including contracts, copyright, and Fair Use. As artists, you have the power to control your narrative and legacy and you don’t have to do it alone. Artists’ Rights Society (ARS) represents the intellectual property rights of more than 80,000 artists and estates worldwide, including Thomas; it’s free and any artist can join. Pro-tip from Thomas: “When you have one blanket contract, it becomes easier to negotiate the others. Just have a clear understanding of what you want from the project, and write those down. If you do have a lawyer, try to go through it yourself first. When it comes time for the lawyer, it’s more for approval.” Said Attorney Anibal A. Luque: “A template is a great way to start protecting and enforcing your rights. Docracy.com is a great resource for usually artist-friendly templates. Another resource is UpConsel. Most contracts are governed state by state, so if you are getting a template make sure it is state specific.”

Additional Resources: Copyright Alliance, copyright.gov, Volunteer Lawyers for the Arts, A Fair(y) Use Tale, Legal Guide for the Visual Artist (Allworth Press, 2010), and nyfa.org.

Telling your story, learning by failing, embracing community, practicing self-care, and protecting your work are just a few of the ways that you can take a more active role in your arts career to initiate positive change and momentum. “There is no prescribed path, and even if there was it wouldn’t hold everyone in this room” said Deana Haggag, President/CEO, United States Artists during her keynote address at the Art World Conference. “Learning together and showing up for one another as needed is the only way to empower our field,” she added.

- Amy Aronoff, Senior Communications Officer

You can find more articles on arts career topics by visiting the Business of Art section of NYFA’s website. Sign up for NYFA News and receive artist resources and upcoming events straight to your inbox.

Have an arts career question? You can contact NYFA staff directly via the NYFA Source Hotline at (800) 232-2789, from Monday - Friday, 3:00 PM - 5:00 PM EST or email source@nyfa.org.

Are you an artist or a new organization interested in expanding your fundraising capacity through NYFA Fiscal Sponsorship? We accept out-of-cycle reviews year-round. No-fee applications are accepted on a quarterly basis, and our next deadline is June 30. Click here to learn more about the program and to apply.

Images: Antwaun Sargent, JiaJia Fei, Sara Raza, and Tiana Webb Evans during the “Defining Your Business: Storytelling” panel discussion and Prerana Reddy, Paddy Johnson, Caroline Woolard, and Alex Paik during the “You As Gatekeeper: Defining Goals and Initiating Opportunities” panel discussion, both at Art World Conference, Image Credit: Art World Conference and Alexa Hoyer.

[creativityworks-sx]

Brainstorming the No Signal story - A blog post by Steph Santos

After a very informative and super helpful Zoom masterclass on “The Art of Storytelling” with Vivien Morgan, we were assigned the task of telling a story of our choice, through videojournalism.

Here’s how I incorporated Vivien’s tips to help create my story.

For me personally, I think the most useful piece of advice was to make a list of all the elements (or video “ingredients” as Vivien called them) before making the video. This way, I knew what I wanted to include and made it a priority to collect these elements ASAP.

I did find that the creative direction changed as I started to put the video together. For example, the tweeting shot wasn’t in the original list.

This is where the second most useful tip (again for me personally) came into play.

Know your resources. Do you have time, access and budget? This will save you a lot of headache and teach you to either think outside the box (quickly), or to move on from an idea even if it is amazing - at least you can keep it in mind for next time when you DO have the resources.

Given the script and the way the edit was coming together, it made sense to me to film it quickly and add it in. I did have 10 seconds spare, another camera and tweeting is free. Although it did take closer to a minute to get right. iPhone auto correct was born in 2005 and it shows - it didn’t know an “N-dubz”.

(Yes, I did google that piece of info just now. To add to that fun fact- autocorrect is the tech baby of a guy called Ken Kocienda.)

The mathematical component of 3 words per second helped me when writing lines for my script. I now knew roughly how long each segment would be and avoided accidental monologues that are a pain in the a** to cut down in the editing process.

Vivien showed us a beautifully organised word document table as an example of a work-in-progress video being mapped out, however my brain seems to prefer a different approach.

I have been doing all my note taking and brainstorming in this style since starting Creativity Works and it works wonders for bouncing ideas off eachother - but when it comes to the execution, I find myself making final decisions as the project comes to life. I find it easier to gauge what will look/sound right as I build.

I feel that as I gain more experience creating and editing videos, and build upon the understanding of what makes stories and videos not just good but great, I’ll hone this intuitive side and be able to “see” projects start to finish in my head.

I also now understand the need to thoroughly brief anyone contributing their words to your story. Rob and Abi had amazing 3-4 minute clips with in depth answers and analysis. I am thinking to repurpose those in an extended version, more geared towards marketing & music heads.

The 48 hour turn around means I spent alot of consecutive hours working on it, but I did really enjoy this challenge :)

Thank you to Vivien, and as always, much love for the MediaTrust team!

[ewill015proposal]

Rituals of Protest

I began my ‘journey’ with the hope of exploring activism and social change; initially focusing on how art form can be used to communicate social issues within society. As part of this exploration, I began documenting protests through photography and became intrigued in how they offer a specific ‘representation’ of protesters and the atmosphere protests create. One image I captured was of a woman holding a banner; I took the image from behind and through the lighting of candles surrounding her, the banner became illuminated and transparent revealing the text ‘Black lives matter’ (see Tumblr page). This image was taken at a vigil held in memory, a year after Michael Brown’s death, for the countless young black men and women who were killed at the hands of police brutality. Not only did this image present the sombre atmosphere of the vigil itself; but was taken from an ‘insider’ perspective, as oppose to one being taken by a journalist. Thus, making the photograph perhaps ethnographic, as it gives the viewer a sense of what it was like to be amongst hundreds of people who were holding candles and grieving together in the dark. Although I was attending protests to take photographs, it is important to express that I was first and foremost attending as a protester myself. I felt that my connection to and enthusiasm for the social issues the protests were about really verbalised the ‘insider’ perspective I was trying to create.                I have referred on subcultural theory as a main source of influence to my work, specifically the sociological notion of the ‘Outsider’ (Becker, 1963), something which I feel protesters are depicted as. The Miner strikes of the 1980’s saw the harsh reality that the anger and frustration surrounding the collapse of the mining industry in Britain had on the working-class communities which were built around it (see Jeremy Deller’s archive installation ‘The Battle of Orgreave’, 2001). Protests offer an insight and reflection of the current political and social issues within society, but also provide historical insight too. Reflection on the miners strikes and the protests that evolved as a result, is often met with notions of ‘deviancy’ and chaos that was caused by the miners; but this perception in fact ignores and undermines the importance of community and spirit behind the strikes; violent and non. I felt that if I was to truly try and ‘represent’ the experience of attending a protest, this was something I would have to draw on and develop. I found that whilst protests are covered extensively within mainstream media, the narrative offered of the protest/er, didn’t truly represent what was happening on the streets of the protests I was attending. The discourse of deviancy within coverage of protest presents protesters ‘Outsiders’ who deviate and resist dominant culture and ideologies. As Becker discusses in his book ‘Outsiders’ (1968) deviancy in “the simplest form is essentially statistical, defining deviant as anything that varies too widely from the average”, this is problematic, for several reasons. Within the context of my research I focus on how this narrative of deviancy ignores the collective and ritualistic elements of protest. From this view point, I began to look at that ways in which my photography can challenge the hegemonic narrative of protest/ers presented within mainstream media. Illuminating the ‘rituals of protest’ through my photography was crucial in communicating to viewers the kind of atmosphere the protests gave off; by this I mean the way in which protests give participants a sense of belonging, collectiveness and empowerment.  As Duncombe (2002) suggests, protests and the activists that start them, can be seen as “free spaces” which “experiment with new ways of seeing and being” and how the rituals of protest are a way to “develop tools and resources for resistance” (5). Protests from this perspective can be understood as a form of “critical pedagogy”, not only in the ways they can teach those who witness them about social and cultural issues and the resistance to the structures that create them but offer ways in which society can implement social change at a grassroots level, as well as a hegemonic one.   From collecting photos from various marches; such as the Black Lives Matter movement, Women’s March, Emergency demo against Trump’s ban on certain Muslim countries and Anonymous movement; I began to draw out themes that were emerging.         Music and dancing at protests is the most obvious ‘ritualistic’ trait people identify with and are a big part of creating the ‘collective’ atmosphere at protests. These themes were translated through the images of people with musical instruments and the ‘Rave Man’ really capture the moments where people get lost ‘in the moment’. I feel that even in these moments they may not be shouting about a social cause (or maybe they are) but it is still the foundational reason as to why they are all their; celebrating the culture of activism.    The more protests I attended the more I noticed an increase in families attending; grandparents, parents, young children and babies were out on the streets amongst thousands of other people. I think this theme more than the others really challenged the hegemonic discourses presented in dominant media narratives of who and what a protester looked like.    Another theme I have drawn on is ‘The child protester’; young children attending protests and their sense of agency in resisting social injustice could be seen through their homemade banners and involvement in chants (see images of boy with megaphone).                These themes were what then influenced how I chose my final photos which are featured within this audio-visual exhibition. My actual presentation of my exhibition draws inspiration from Jeremy Deller and the way in which his artwork is an archive of a particular moment in history; his 2001 conceptual audio, film and photography installation ‘The Battle of Orgeave’ really presented a realistic and rich depiction of what it was like to be part of the ‘battle’ between the miners and the police during this strikes in Northern England in the 80’s.  Although my picture really do speak for themselves in terms of offering the ritualistic aspect of protests; I felt that the discourse of ‘voice’ within protests could be further embraced by using the actual voices of protesters, and non-protesters and their views on how protest and the identity of the protester are represented within society. After various discussions, with people I met on protests and close family and friends I found three individuals who were happy to answer the questions and contribute to my work. All my participants were answered the same 6 questions and were given the freedom to answer them, however they wanted. We did all the interviews in one take so that the answers were as raw and natural as possible.   Questions 1. What do you think of when you hear the word protest? 2. Have you ever attended a protest? 2a. If so, which was most memorable and why? 2b. If not, why not? 3. If you could start your own protest what would it be about and why?   4. Through my research so far, I’ve been interested in this notion of ‘ritual and how protests have their own ‘rituals’ e.g. music, dancing and singing and chanting, people making art collectively -Do you think there is ‘rituals of protest’?     5. Do you think the mainstream media truly represents what happens at protesters and the multiple identities  of ‘The Protester’.      Drawing from feminist Hanisch (1969) theory of the ‘Personal is political’ Abi, one of my interviewee’s talk about how protests could be seen to offer a space in which people can celebrate the culture of activism and feel a sense of belonging and generate debate and discussion around how personal problems should be seen as political ones; and if shared publicly, within spaces such as protests then this could be a way of offering solutions and tools to resolve the Duncombe (2002.  Protests are more than just spaces where people go to shout about their problems, they are places which contain rituals where people come together to offer solutions and support, reflecting a sense of community that arguably has been lost during the transition in to a more meritocratic and individualistic society.

[kathisabo6522-blog]

Effects Of Modern Technology And High.

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Despite the success of the paywall, though, it's a really, really steep uphill struggle to just sell people on the suggestion of purchasing one more newspaper article," Kinsey Wilson, the Times' executive vice head of state for item as well as technology, admitted at a seminar in 2014. Individuals aren't just utilizing products and services, however feeding details as well as accessibility back to them. Theoretically, this must reproduce real-life phone use, where users will certainly be quickly switching between different applications throughout the day, including websites, social media networks, as well as a lot more resource intensive apps. On finding out the 'pattern of life' of the company, Darktrace observed uncommon habits referring to one particular device on the network - the video clip conferencing system in the firm conference room. Currently it should do without claiming that the legislations bordering cell phone tapping software application will vary from location to area. If you already have a mobile phone with advanced attributes, this mobile tool is outstanding. In spite of rumors, or much better state 'misinterpretations', regarding the supposed 'application boom' coming to the verge of closure, the fact of the day stays the like it had been over the last year, year-and-a-half, or so: mobile apps are striking gold, the application boom is not mosting likely to end anytime quickly. It can prevent individuals from switching, specifically when paired with secured tools. The OD cpu is anticipated to be available to industry consumers at the end of this month, while the ML processor style will be readily available at some time in the center of the year. Compatible with both iphone and also Android phones, providing comparable set of functions and user experience to both running systems, ZeTime is your excellent buddy despite your phone preference. To stop your Net search background from falling under the incorrect hands, you can either delete it by utilizing the integrated clearance tool of Mozilla Firefox internet browser or make use of a third party software application that will permanently delete all information about your Web tasks and also search documents. Google Translate already has a conversation function, and also its iphone and also Android apps allowed 2 users talk as it immediately determines exactly what languages they're utilizing then converts them.

[recentanimenews]

My Week in Manga: March 27-April 2, 2017

My News and Reviews

As regular readers of Experiments in Manga know, on the last Wednesday of every month I host a giveaway of some sort (usually manga-related) for which participants have a week to submit their entries. This time around the monthly giveaway is for the first volume of Coolkyousinnjya’s surprisingly delightful Miss Kobayashi’s Dragon Maid. The winner will be announced this coming Wednesday, so you can still enter for a chance to win if you haven’t already. Also later this week, look for another guest review by my friend and fellow yuri manga fan Jocilyn. Elsewhere in the Manga Bookshelf sphere of blogs, The Manga Critic has started a monthly manga review index. There have been similar features in the past, perhaps most notably at MangaBlog, and I’ve always found them incredibly useful and valuable, so I’m glad to see Kate Dacey taking it on. Also in general, I highly recommend the content at The Manga Critic–Kate’s actually one of my major inspirations when it comes to manga blogging.

As for other interesting things I’ve come across recently: Chic Pixel’s Anne Lee has posted a really fantastic list of bibliographic resources for those curious about the academic study of boys’ love. (I’ve read quite a few books and articles myself, and even reviewed Jeffery Angles’ Writing the Love of Boys: Origins of Bishōnen Culture in Modernist Japanese Literature at Experiments in Manga a few years ago.) And if that’s not enough of BL studies for you, J. R. Brown has posted the slides from her Anime Boston panel “Boys’ Love, Otome Culture, and Gender” which covers everything from the origin of shoujo manga to gay comics and more. On their own the slides are fairly informative, but I’m looking forward to seeing the annotated version, too.

Also at Anime Boston, Viz Media made quite a few licensing announcements. Some were digital-only while others were digital-first or print-only. Here’s a quick list of the books that will eventually make their way into print: Kenta Shinohara’s Astra Lost in Space, Abi Umeda’s Children of Whales (I’m particularly curious about this series), an omnibus edition of Tsugumi Ohba and Takeshi Obata’s Death Note collecting the entire series and a bonus epilogue in a single volume, Nisioisin’s Hikaru Nakamura’s novel Juni Taisen: Zodiac Warriors (I’m not familiar with the novel, but the creators involved have certainly caught my attention), Kenji Taira’s Naruto: Chibi Sasuke’s Sharingan Legend, Kaiu Shirai and Posuka Demizu’s The Promised Neverland (which is supposed to be fantastic), a collection of nine Junji Ito stories and accompanying material selected by Ito himself called Shiver (always glad to see more Ito being released in English), Maki Enjoji’s SP Baby, and Sui Ishida’s artbook Tokyo Ghoul Illustrations.

A couple of Kickstarter projects recently launched which may be of interest as well: All the Anime/Anime Limited is joining forces with Studio 4°C to create a home video release of Masaaki Yuasa’s directorial debut Mind Game. Digital Manga has entered the fray again with a campaign to release more of Osamu Tezuka’s manga in print: Ambassador Magma, Dust 8, The Euphrates Tree, Metamorphose, Say Hello to Bookila, The Thief Inoue Akikazu, Wonder 3, and Yakeppachi’s Maria. It looks as though the print runs will be very limited and Kickstarter may be the only way to get a hold of some of the titles. (I have to admit, I certainly have my qualms about Digital Manga’s business practices in general and over-reliance on crowdfunding specifically. The quality of Digital Manga’s releases has really gone downhill over the last few years, too. Honestly, I’ve lost most of my confidence in the company as a publisher, but it’s managed not to completely go under yet.)

Quick Takes

Dawn of the Arcana, Volumes 1-6 by Rei Toma. I generally enjoy epic fantasy of the shoujo variety, so I’m not entirely sure why it’s taken me so long to finally get around to reading Dawn of the Arcana. So far, I’m enjoying the manga tremendously. Nakaba is a princess who has been married off to a prince of the neighboring kingdom despite her questionable ancestry in a half-hearted attempt to secure peace between the two countries. But instead, gifted with the ability to see both into the past and into the future, Nakaba may find herself in the unlikely position of leading a revolution. Dawn of the Arcana does come across as a rather typical example of high fantasy–all the way down to the heroine’s fiery red hair–but even though it hasn’t really made itself stand out yet, the manga is a solid series. I greatly enjoyed the manga’s mix of court and political intrigue, action, and complicated interpersonal relationships. Much like the story, the artwork tends to be somewhat standard although attractive. Toma’s backgrounds are generally fairly sparse, but the details put into things like the characters’ clothing is lovely. I definitely look forward to reading more of Dawn of the Arcana in the very near future.

Hana & Hina After School, Volume 1 by Milk Morinaga. I believe that Morinaga is currently the most well-represented yuri manga creator available in English. So far, five of Morinaga’s manga have been translated, the most recent being Hana & Hina After School. Interestingly, in Japan the manga was serialized in a magazine aimed at a general audience rather than one specifically catering to yuri fans. The titular Hana and Hina are two young women working part time at a store specializing in cute character goods even though their high school forbids its students from holding jobs. The story follows their relationship as they become friends and slowly realize that their feelings may evolve into something else. Like most of Morinaga’s other manga that I’ve read, Hana & Hina After School tends to be rather cute and sweet. The series is enjoyable and pleasant even if it is at times a little silly and somewhat unbelievable. However, the end of the first volume does introduce some sobering concerns when Hina is confronted by a few of her classmates homophobia, an unfortunate reality that many yuri manga tend to gloss over or ignore entirely in favor of pure fantasy. (Granted, that fantasy is important to have, too.)

Scum’s Wish, Volumes 1-2 by Mengo Yokoyari. I wasn’t initially planning to pick up Scum’s Wish, but after reading a few positive reviews of the series I decided to give it a try after all. The cover art of the first volume is deliberately provocative, but the manga isn’t nearly as salacious as it might imply. In fact, the series can actually be surprisingly contemplative. Scum’s Wish is a manga about unrequited love. Almost every character in the series is pining for someone with whom an involved romance would seem to be impossible or at least inadvisable, resulting in a complex web of personal relationships fraught with loneliness and anguish. (There is one heck of a love polygon going on in Scum’s Wish and nearly everyone who is introduced is connected to it somehow.) Hanabi is in love with Narumi, her childhood friend who now also happens to be her homeroom teacher. Mugi is in love with Akane, a music instructor who used to be his tutor. Recognizing that they are suffering under very similar circumstances and hoping to ease some of the pain, Hanabi and Mugi agree to find comfort in a relationship together. Neither one of them is in love with the other, but they are both aware of and take advantage of that fact.

Deep Red by Hisashi Nozawa. Although perhaps best known as a screenwriter, Nozawa was also recognized as an accomplished novelist. Deep Red, which earned Nozawa an Eiji Yoshikawa Prize in 2001, is his first novel to be released in English. Kanako is the only survivor of the mass murder of her family, simply because she happened to be away on a school trip when her parents and two younger brothers were killed. Understandably, their deaths have left a great wound, but Kanako isn’t the only one left troubled and hurt–the life of Miho, the daughter of the murderer, has also been irrevocably changed. At times, Deep Red is uncomfortably voyeuristic and there’s a peculiar fixation on Kanako’s body and sex life with her boyfriend. I was never entirely convinced by Kanako as a character, either. However, Deep Red does provide an interesting psychological exploration of hate, anger, and misplaced revenge. The novel is instantly engaging. However, the middle portion of the narrative is repetitive and does drag a fair bit; I admittedly started to lose my interest and patience with the story. But once Kanako becomes obsessed with and decides to pursue Miho, Deep Red picks up speed again and the novel’s ending is very satisfying.

By: Ash Brown

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Meet ABI Business Blck Prism

Part of NYFA’s latest Arts Business Incubator (ABI) cohort, Blck Prism helps Black Millennials discover and invest in Black art.

Blck Prism is a re-imagined gallery space focused on empowering Black art through digital means. Founders Andre and Tanayia Woolery curate art from Black artists that represent a connection to Black culture and identity. Through engaging digital content and an accessible e-commerce platform, they help Millennials discover and invest in the art. We caught up with Andre and Tanayia to learn more about Blck Prism and their experience in NYFA’s Art Business Incubator Program.

NYFA: What opportunities are you seeing in the art market specific to Black millennials? 

Blck Prism: We see an opportunity to shape a new generation of art collectors. Millennials are extreme consumers of visual content, but that isn't necessarily translating into art consumption. Currently the art world is inaccessible to the average consumer, and if we can present an experience where they feel comfortable becoming patrons then we have a major market opportunity. We're basing our business model on that of Def Jam Recordings in the 90's where consumption was at an all time high, fostered by the accessibility of CDs and marketing support from the televised content of MTV.

NYFA: How are millennials buying art in 2017, and how might their relationship to the market change as they get older?

BP: We see collecting as a progression. The initial engagement is actually in the mind, we first have to feel a connection to a piece. The next step is a digital collection within our social network feeds. When many of us are just starting our careers, we might be ready to incorporate art into our lives from a lifestyle perspective. This includes artful products at accessible price points, like a throw pillow or a phone case. At that time we're looking for ways to express our identity but we don't have as much disposable income. As we settle down with our families into more permanent residences we want to start collecting pieces. Finally, as our incomes rise and we're ready to start investing into original pieces and limited editions. Hopefully at that point, they would have invested time with Blck Prism to be aware of the artists or artwork they have fallen in love with over time. NYFA: What are the three sides to the prism in Blck Prism? Tell us more about Blck Prism's mechanisms for art discovery and experience.

BP: The three sides of the prism include art, content, and commerce. These three aspects are interconnected and fuel our entire ecosystem. At their core, Black art can be an expression of identity and a critical means for creating impact; content provides context so that we can create connection; and commerce enables the work to continue.   NYFA: What's your curatorial process like for the site? 

BP: We look for artists who want to take a non-traditional path. We want artists who are looking to connect to the community, not just the art world. We gravitate to visual creators who are storytellers. Blackness is a spectrum and it's critical that the full spectrum be represented. Initially we're looking for a well-rounded ensemble of characters not unlike hip-hop's Wu-Tang Clan. We want everyone to have a different style and persona that different people can connect to.   NYFA: What drew you to ABI? What's your experience been like so far in the program?

BP: We've been slowly building the concept of Blck Prism for over two years. We were drawn to ABI because we wanted a jumpstart that an incubator provides. Our experience to date has been incredible. ABI has provided us with the time, space, and resources that we needed to kick off the business. We've also found great inspiration and collaboration in our cohorts. We can't thank [program coordinators] Peter Cobb and Natasha Zeta enough for the time, organization, and guidance they have given us. NYFA: What's next for Blck Prism?

BP: Next is a soft launch. We have an e-commerce platform built where we'll be selling a handful of products. We're currently building out the digital gallery space and actively recruiting Black artists. We want to start lean and optimize as we grow. We also acknowledge that we can't do this by ourselves, so we're looking for content creators, artists, and overall talented people to connect and build with us. To be notified of our launch, go to blckprism.com and enter your email!

Please visit our website to learn more about NYFA’s Arts Business Incubator program. Stay tuned for future posts featuring the latest ABI cohort.

- Interview conducted by Amy Aronoff, Communications Officer

Image: Courtesy Blck Prism