#Santa Fe Film Commission

[jujuygrafico]

Jujuy Film Commission en Ventana Sur

#Jujuy #Cultura #Cine | #JujuyFilmCommission en #VentanaSur

La Jujuy Film Commission está presente en Ventana Sur, el mercado más importante de contenidos audiovisuales de América LatinaEn marco de la 14° edición de Ventana Sur, el mercado cinematográfico latinoamericano que se realiza en Buenos Aires, la Jujuy Film Commission fue invitada para conformar la mesa panel organizada por el INCAA con representantes de territorio nacional e internacional, la…

[beardedmrbean]

Alec Baldwin could be charged again in the fatal shooting of “Rust” cinematographer Halyna Hutchins after a bombshell new gun analysis concluded that the trigger was pulled — despite the actor’s repeated denials.

Experts in ballistics and forensic testing based in Arizona and New Mexico on Tuesday released a report examining the Colt .45 revolver used on set and markings it left on a spent cartridge.

The analysis found that the trigger had to have been either pulled or depressed.

“Although Alec Baldwin repeatedly denies pulling the trigger, given the tests, findings and observations reported here, the trigger had to be pulled or depressed sufficiently to release the fully cocked or retracted hammer of the evidence revolver,” reads the report led by Lucien Haag of Forensic Science Services in Arizona.

“This fatal incident was the consequence of the hammer being manually retracted to its fully rearward and cocked position followed, at some point, by the pull or rearward depression of the trigger,” the experts continued.

The analysts relied on replacement parts to reassemble the gun, pieces of which were broken during earlier testing by the FBI.

New Mexico special prosecutor Kari Morrissey handling the “Rust” case said in an email Tuesday that a formal announcement on whether to refile any charges against Baldwin is pending but did not give a timeline.

Baldwin, 65, has maintained that the revolver discharged accidentally after he followed instructions to point it toward Hutchins, who was behind the camera during rehearsal while filming the low-budget Western.

Baldwin insisted that he pulled back the hammer — but not the trigger — and the Colt fired, fatally striking Hutchins on Oct. 21, 2021, at a movie ranch on the outskirts of Santa Fe.

Special prosecutors dropped an involuntary manslaughter charge against Baldwin in April without prejudice, citing information that the revolver might have been modified before the shooting and malfunctioned.

They commissioned the new analysis of the gun, along with other weapons and ammunition from the set of “Rust,” and wrote in a June court filing that Baldwin could still face charges.

[fibula-rasa]

Watch More Movies Notebook: July ‘24

Favorite New-to-me Films of the Month

(listed in order pictured above, L to R)

READ on BELOW the JUMP!

Highlights and Shadows (1938)

[letterboxd | GEM]

Industrial film commissioned by Eastman Kodak made by James Sibley Watson Jr. It’s not especially common for people to watch industrial films for entertainment—though if you grew up in the kitsch-crazed 1990s US, you may be more open minded to how enjoyable they can sometimes be. Highlights and Shadows has no kitsch or camp factor (Shake Hands with Danger (1975) it is not) but it is beautifully constructed. That comes as no surprise, really, since the project was headed by Watson, who previously made the avant-garde classics The Fall of the House of Usher (1928) and Lot in Sodom (1933). Aside from the exquisite cinematography and optical effects, I appreciated the film’s shared focus on finely-engineered technology and its human element—at one point even including a shot of a janitor at work.

——— ——— ———

Sailor Moon SuperS: The Movie: Black Dream Hole (1995)

[letterboxd | imdb]

In the final film accompanying the 1990s Sailor Moon series, Chibiusa makes another weird friend. This time it’s Perle, a fairy working for an evil space queen who wants to steal the power of children’s dreams for her Black Dream Hole. This is my favorite of the Sailor Moon films we’ve watched because it has heavy Little Nemo vibes! 

——— ——— ———

A Day in Santa Fe (1931)

[letterboxd | imdb]

A charming entry in the discourse of the city symphony genre. I’m a big fan of city films, but hadn’t heard of this one before reading Lovers of Cinema this past month. Initially I wrote a whole page of notes about this film and how it sits in conversation with the films that inspired it, but decided that should be a bigger conversation for another time here on the blog! That said, A Day in Santa Fe is a often cheeky response to the urbanity of most of the other city films and, if you’re familiar with the genre, it’s worth checking out.

——— ——— ———

Bewitched Matches / Les Allumettes ensorcelées (1913)

[letterboxd | imdb]

Short part-animated/part-live action from Émile Cohl. Three girls invite a witch into their home hoping she will tell their fortunes. When their father comes home, he rudely kicks the witch out and she places a curse on his matches, of all things, which take on a life of their own.

——— ——— ———

Manhandled (1924)

[letterboxd | imdb]

Swanson was such a complete movie star. Contemporary critics of Swanson’s silent film work seemed to think her appeal was entirely based on her ability to wear extravagant outfits well, but she had the skill to do a little bit of everything. It was fun to see a film where Swanson gets to mix relatability, dramatic skill, comedic chops, and, of course, a chance to wear some wild getups. 

All in all, it was an enjoyable film and Swanson has good chemistry in particular with Lilyan Tashman and Frank Morgan. However, I did find the conflict between her and her boyfriend at the climax to be a little forced (it feels like he knows her better than to jump to such rude conclusions, no?)

——— ——— ———

Rich (1983)

[letterboxd | imdb | UCLA Youtube]

A student film by UCLA alum S. Torriano Berry and restored by UCLA graduate student Gabz Norte. What a cool project to have current students restore the work of former students! While Rich is very much a student film, I found it to be thoughtful and wholesome in equal measure. (I do have a soft spot for films shot in and around Watts tho!)

——— ——— ———

The Salvation Hunters (1925)

[letterboxd | imdb]

Josef von Sternberg’s first film as a director, which I also watched because of Lovers of Cinema. Very cool how Salvation Hunters plays at social commentary with the devices of typical Hollywood storytelling and story flow almost bordering on dream logic. In some ways it felt like a presage to Fellini’s work. In short, I loved it.

——— ——— ———

The Devil’s Dance / La Danse du diable (1904) 

[letterboxd | imdb]

Very short dance film about a little green devil (who might be fart powered?) and the visions he summons. Visual interest added by Velle shooting entirely from an overhead angle.

——— ——— ———

My Brother’s Wedding (1983)

[letterboxd | imdb | Kanopy (US)]

Watched this film after logging Rich on letterboxd, as another user had brought up this My Brother’s Wedding as similar to Rich. It’s always interesting when artists working the same time/place/industry will weigh in on subjects relevant to them in their own unique ways, but convergences and divergences of perspective emerge. Anywho, the neo-realist element was really well executed and I appreciated all the bits of character-based humour both as enhancement of the realism and as variation of tone. (TBH I was hooting every time the 30-year-old Pierce started wrassling with his elderly father! Like, it’s funny, but it also communicates where Pierce is at in his life and his dynamic with his parents!)

——— ——— ———

As always, if any of these films catch your eye, but you need specific trigger/content warnings, don’t hesitate to ask for them!

——— ——— ———

Monthly Round-up

I apologize for how informal/unedited these notes are for my favorite new-to-me films this month, but I’m playing catch up since I spent the beginning of the month ill! Said illness is also why my Salomé cosplay and essay isn’t up yet! 

I spent most of the past month researching and—though it remains to be seen if it will be for better or worse—my Salomé work will probably be in two parts. The first part will likely be up in the next few days! I ended up discovering so many interesting things behind the most commonly repeated ideas about Salomé that it would be way too much for one post!

As I mentioned in the notes above, I read Lovers of Cinema this past month and it gave me quite a few ideas for posts. One of which will likely be up this month: a watchalong a la the “Film Comedy’s Eves” post from a few months back. It’s a very accessible read if you’d like to learn more about the world of avant-garde/independent/experimental cinema of the US in the first half of the 20th century! 

Now, while I spent most of my blogging time this past month falling down numerous research holes, I did manage to put some themed gif and still sets together:

Sun, Moon, and Feather (1989)

[which I talked about in last month’s round-up]

Manhandled (1924)

Losing Ground (1982)

La Danse du diable (1904)

Highlights and Shadows (1938)

Blue Blood / Sangue blu (1914)

Lot in Sodom (1933)

——— ——— ———

Well, thank you all for your patience with the Salomé cosplay getting so drawn out, and stay tuned for part one soon!

Happy viewing!

☕Appreciate my work? Buy me a coffee! ☕

[popolitiko]

Barbara May Cameron's 69th Birthday May 22, 2023

Barbara May Cameron (May 22, 1954 – February 12, 2002) was a Native American photographer, poet, writer, and human rights activist in the fields of lesbian/gay rights, women's rights, and Native American rights.

Today’s Doodle celebrates Barbara May Cameron, a Native American photographer, poet, writer, and human rights activist. The Doodle artwork is illustrated by queer Mexican and Chitimachan artist Sienna Gonzales. On this day in 1954, Barbara Cameron was born in Fort Yates, North Dakota.

Cameron was born a member of the Hunkpapa group, one of the seven council fires of the Lakota tribe, and raised on the Standing Rock Reservation by her grandparents. After graduating high school, she studied photography and film at the American Indian Art Institute in Santa Fe, New Mexico. It was here that Cameron began winning awards in theater and media arts.

After coming out as a lesbian, Cameron moved to San Francisco in 1973 and advocated for LGBTQIA+ acceptance in the Native American community and addressed racism in queer spaces. In 1975, she co-founded Gay American Indians — the first ever dedicated Native American LGBTQIA+ group — with her friend and fellow activist Randy Burns. 

Cameron took part in various programs to promote human welfare. From 1980 through 1985, she organized the Lesbian Gay Freedom Day Parade and Celebration. She also co-led a lawsuit against the Immigration & Naturalization Service which had a policy of turning away gay people. The case went before the Supreme Court and ruled in favor of Barbara and her co-plaintiffs who made persuasive arguments for change. 

A few years later, she became an executive director at Community United Against Violence, where she supported people affected by hate crimes and domestic violence. The San Francisco Mayor appointed Cameron to both the Citizens Committee on Community Development and the San Francisco Human Rights Commission in 1988, and the next mayor appointed her to the United Nations Commission on the Status of Women.

HIV/AIDS disproportionately impacted Native people in the early 1990s, so Cameron stepped up to lead the charge. She was active within the San Francisco AIDS Foundation, the American Indian AIDS Institute, and served as a consultant to the U.S. Department of Health and Human Services and the Centers for Disease Control, helping with AIDS and childhood immunization programs.

Cameron is remembered for her passionate writing and speeches, many of which are housed at the San Francisco Public Library. Her words live on through her essay, No Apologies: A Lakota Lesbian Perspective which is featured in Our Right To Love: A Lesbian Resource Book.

Happy birthday Barbara May Cameron, thank you for working tirelessly to improve human rights and for giving queer Indigenous people a place to feel safe and belong.

Native American Standing Rock Sioux Tribe

Barbara May Cameron was a Hunkpapa Lakota from the Fort Yates band of the Standing Rock Sioux Tribe in Fort Yates, North Dakota. She grew up on the Standing Rock Indian Reservation, North Dakota, raised by her grandparents. Completing her early education and high schooling on the reservation, she went on to further her education in photography and film at the Institute of American Indian Arts in Santa Fe, New Mexico. In 1973 Cameron moved to San Francisco to attend the San Francisco Art Institute.

[2022-mmac]

Sundays at 2pm at MMAC Center

Three Sunday concerts of original music composed and performed by local musicians

Events made possible by funding from the New Mexico Music Commission https://www.newmexicomusic.org/

November 5: James Yeager

James Albert Yeager moved to New Mexico in 2009. He has performed regularly as conductor, organist, harpsichordist, and choral accompanist. He retired as Professor of Sacred Music at the Josephinum College in Columbus, Ohio (1984-2009). James has done numerous compositions and arrangements, including music for two short films. His orchestral works have been performed in Albuquerque and Santa Fe. At present, his primary musical interest remains as a composer

Program: The program will center on James’ three recent compositions: Passacaglia for Organ & Orchestra (2022), Fugue for Piano and Chamber Orchestra ”Mystical Desert”(2023), and Sonata for Piano Quintet (2023). Since the Passacaglia and the Fugue require large ensembles, they will be performed using recordings from Ravel Virtual Studios (NYC) . The Sonata will be played by New Mexico musicians - Flutist Ms. Hyorim Kim, a string quartet of Eric Sewell, Grant Hanner and Lisa Donald, and pianist Natalia Tikhovidova. - as a premiere performance. James will also play short pieces from his film scores. The program will last one hour and is free to the public.

November 12: Michael Hays

Mike Hays is a retired English teacher who has been playing music, especially on bass, since he was a young teen. In the last ten years, he has taken his interest in songwriting more seriously and has been creating jazz-based both vocal and instrumental compositions for the group he is working with. The current group (to whom Mike is deeply grateful) is more classically based, and the audience of the November Concert Series will notice his current compositions reflect this.

Program: Basement Dancing is a group that performs music written by Michael Hays. The group comprises Luis Delgado on clarinet and flute, Juli Palidino on viola and violin, Katie Harlow on cello, mandolin and accordion, Joseph Sabella on drums, and Michael Hays on bass and vocals. . Vocal songs at this concert will include musical portraits of the lonely soul waiting for his lost love in the Plaza de los Arboles Muertos, of the longing that hapless Señor Sapo feels as he watches a lovely circus acrobat, and of the nocturnal activities of Groany Bones, a skeleton who leads a danse macabre.

November 17: Kathleen Ryan + Exhibit Opening of "Masks & Metal"

Composer/pianist Kathleen Ryan is a Whisperings Solo Piano artist. She was the Professional Music Teachers of New Mexico commissioned composer in 2008, for which she composed a set of 24 piano left-hand-alone preludes titled Verbs. Several of her piano solo pieces were featured in the Emmy Award-winning Iowa Public TV special, The Seasons. Ryan lives near Mountainair with her husband and two quirky but inspiring cats.

Program: Composer/pianist Kathleen Ryan's piano solo performance will illustrate aspects of her composer’s life: being inspired, becoming ambitious, recovering from writer’s block, making money, and recycling teenage angst songs into piano solos. She will finish with some premieres, including music that’s not quite composed just yet! The full range of her 21st century impressionist style will be heard, from silly to soothing, from complex to simply serene.

[denimbex1986]

'Cillian Murphy is earning some of the best reviews of his career for leading Christopher Nolan’s “Oppenheimer, but no praise might be higher than this rave from co-star Robert Downey Jr.: “I have never witnessed a greater sacrifice by a lead actor in my career,” the “Iron Man” star told People magazine about Murphy’s performance as J. Robert Oppenheimer.

“He knew it was going to be a behemoth ask when Chris called him,” Downey Jr. added. “But I think he also had the humility that is required to survive playing a role like this. We’d be like, ‘Hey, we got a three-day weekend. Maybe we’ll go antiquing in Santa Fe. What are you going to do?’ ‘Oh, I have to learn 30,000 words of Dutch. Have a nice time.’ But that’s the nature of the ask.”

“Oppenheimer” shot for 57 days, one of Nolan’s quickest film shoots, and Murphy is front and center in nearly every scene. The cast and crew lived together in the same hotel during the film’s production, but Murphy never joined his fellow ensemble for dinner due to the intensity of playing the lead role.

“Of course he didn’t want to come and have dinner with us,” Matt Damon previously told People magazine. “He couldn’t. His brain was just too full.”

Emily Blunt reasoned that Murphy did not attend cast dinners because “the sheer volume of what he had to take on and shoulder is so monumental.”

For Murphy, “Oppenheimer” marks the biggest leading role of his film career thus far. That kind of pressure isolated the actor. “You know that when you have those big roles, that responsibility, you feel it’s kind of overwhelming,” he told People.

Murphy also lost weight for the role, although he has not disclosed how much. The actor stars in the film as theoretical physicist J. Robert Oppenheimer, who was tasked with leading the Manhattan Project in Los Alamos, New Mexico in the effort to create the atomic bomb. Downey Jr. stars as Lewis Strauss, chairman of the Atomic Energy Commission who later persecuted Oppenheimer for being a Soviet spy.

“Chris had one of the most incredible leads in Cillian,” Florence Pugh added to People. “He is an actor that I have been watching for quite some time and have been desperate to work with for ages. You’d have to be mad to say no. It was truly one of the best experiences that I’ve had.”

“Working with him was hugely impressive,” she added. “Every single day he shows up knowing every single possible way, intonation, inflection of how to bring this character to life. That was hugely impressive to me. There’s a reason why he is one of the greats.”'

[sfacgalleries]

Artist Talk: Miguel Arzabe and Daniela Rivera from San Francisco Arts Commission on Vimeo.

Wednesday, June 26, 2024 | 6:30pm SFAC Main Gallery

Join exhibiting artists Miguel Arzabe and Daniela Rivera for a conversation about their work and process. Moderated by Matthew Villar Miranda, curatorial associate at Berkeley Art Museum.

This program is planned in conjunction with the exhibition Praxis of Local Knowledge on view at the SFAC Main Gallery through August 17, 2024.

About the Panelists Miguel Arzabe is a visual artist who lives and works in Oakland. He had recent solo shows at Shulamit Nazarian Gallery (Los Angeles, CA) and Johansson Projects (Oakland, CA). Arzabe’s work has been featured in such festivals as Hors Pistes (Centre Pompidou, Paris), Festival du Nouveau Cinéma (Montreal), and the Geumgang Nature Art Biennale (Gongju, South Korea); and in museums and galleries including MAC Lyon (France), MARS Milan (Italy), RM Projects (Auckland), FIFI Projects (Mexico City), Marylhurst University (Oregon), the Contemporary Jewish Museum, Berkeley Art Museum, the CCA Wattis Institute, and the San Francisco Museum of Modern Art. Arzabe’s work is held in public collections such as the Harn Museum in Gainesville, Florida, Albuquerque Museum of Art, Oakland Museum of California, the de Young Museum, San Francisco Arts Commission, the State of California, as well as numerous private collections. He has attended many residencies including Facebook AIR, Headlands Center for the Arts, Montalvo Arts Center, Millay Arts, and Santa Fe Art Institute. He holds a BS from Carnegie Mellon University, an MS from Arizona State University, and an MFA from UC Berkeley. In 2022 Arzabe was awarded the San Francisco Bay Area Artadia Award. In 2023 he was awarded a Pollock-Krasner Foundation Grant and and a Golden Foundation Residency. In 2024 he was a SECA award finalist.

Born in Santiago, Chile, Daniela Rivera received her BFA from Pontifcia Universidad Católica de Chile in 1996 and her MFA from the School of the Museum of Fine Arts at Tufts, Boston in 2006. She is currently Professor of Studio Art at Wellesley College. She has exhibited widely in Latin American cities including Santiago, Chile, as well as in the United States. She has been awarded residencies at Loghaven, Headland Center for the Arts, Surf Point, Proyecto ACE in Buenos Aires, Vermont Studio Arts Center, and the Skowhegan School of Paintings and Sculpture. And she has been the recipient of notable fellowships and grants including from The Chiaro Award, The Rappaport Prize, Now + There, the Massachusetts Cultural Council Award, VSC, the National Association of Latino Arts and Culture, the Berkshire Taconic Foundation, The FONDART in Chile, and the Saint Botolph Club foundation Distinguish Artist Award. Recent or upcoming exhibitions include: New Worlds, NMWA, Washington DC, 2024, Donde el Cielo Toca la Tierra, Matucana 100, Santiago Chile, 2024, Praxis of Local Knowledge, San Francisco Art Commission, San Francisco, Labored Landscapes; Where The Sky Touches the Earth, Fitchburg Art Museum, Fragmentos para una Historia del Olvido/ Fragments for a History of Displacement, The Davis Museum, Wellesley College, Wellesley, MA (2018–2019); En Busca de los Andes, solo exhibition with Proyecto ACE, Buenos Aires, Argentina (June 2019); Sobremesa (Karaoke Politics), a public art project developed as her Now + There Accelerator Fellowship.

Matthew Villar Miranda (he/they/siya) is Curatorial Associate at the Berkeley Art Museum and Pacific Film Archive. In their former position as Visual Arts Curatorial Fellow at the Walker Art Center, they worked on exhibitions by Julie Mehretu, Pao Houa Her, Paul Chan, and Pacita Abad. They serve on the Board of Stakeholders Museums Moving Forward (MMF), a Ford and Mellon Foundation-funded initiative of an intergenerational, cross-institutional coalition of art museum professionals committed to advancing equity across the museum field. In 2021, they co-curated the Art for Justice Fund-supported exhibition Undoing Time: Art and Histories of Incarceration at the Arizona State University Art Museum (ASUAM). They received their BA in History of Art from UC Berkeley (2013) and graduated among the inaugural class of ASU-Los Angeles County Museum of Art Master's Fellowship in Art History (2021).

[influencermagazineuk]

Remembering Barbara May Cameron: A Native American Activist and Trailblazer

Barbara May Cameron, born on May 22, 1954, was a Hunkpapa Lakota from the Fort Yates band of the Standing Rock Sioux Tribe. She was a multi-talented individual, known for her work as a photographer, poet, writer, and human rights activist. Throughout her life, Cameron left an indelible mark on the world through her passionate writing and impactful speeches, advocating for human rights and social justice. After completing her elementary and secondary education, Barbara pursued her passion for photography and film at the Institute of American Indian Arts in Santa Fe, New Mexico. Her artistic talents and dedication to her craft earned her recognition and respect within the artistic community. Cameron's journey as an activist began when she came out as a lesbian and relocated to San Francisco in 1973. In the city, she became an advocate for LGBTQIA+ inclusion in the Native American community, addressing issues of racism in queer spaces. Her commitment to human well-being led her to actively participate in various programs and organizations. One of her significant roles was serving as the executive director of Community United Against Violence, where she provided assistance and support to victims of hate crimes and domestic abuse. In 1988, the mayor of San Francisco appointed Cameron to the Citizens Committee on Community Development and the San Francisco Human Rights Commission. Later, the United Nations Commission on the Status of Women welcomed her as a member. Barbara's dedication to fighting AIDS and promoting childhood immunization was evident in her work with the San Francisco AIDS Foundation and the American Indian AIDS Institute. She collaborated with the US Department of Health and Human Services and the Centers for Disease Control, contributing to AIDS education and awareness programs. As a pioneer in the intersection of LGBTQIA+ and Native American rights, Cameron co-founded the first gay American Indian liberation organization, Gay American Indians. She also played a key role in leading the Lesbian Gay Freedom Day Parade and Celebration for five years between 1980 and 1985. Throughout her life, Barbara May Cameron received numerous accolades and awards for her outstanding contributions to the community. In 1992, she was honored with the Harvey Milk Award for Community Service, recognizing her exceptional work. She was also the first recipient of the Bay Area Career Women Community Service Award. Additionally, Cameron actively engaged with the International Indigenous AIDS Network to promote AIDS education on Indian reservations across the United States. Her passion for empowering Native American women writers led to the establishment of the Institute on Native American Health and Wellness, with a focus on publishing their works. Sadly, Barbara May Cameron passed away on February 12, 2002, at the age of 47 due to natural causes. Her legacy lives on through her groundbreaking activism and dedication to social justice. Though she may no longer be with us, her impact on the world continues to inspire and ignite positive change. As we remember and celebrate her life and contributions, we honor the remarkable legacy of Barbara May Cameron, a true trailblazer and advocate for a more inclusive and compassionate society. Credit: Wikipedia of Barbara May Cameron Read the full article

[gra-sonas]

Quick question, do you think that Malex will talk in S3 about the Air Force? I think they have plenty of things to hash out and figure out. Especially communication in general, as it seems that is something they are both terrible when it comes to the other, but I was just curious what your take on it was. I know the Air Force and military in general is something that bothers and hurts Michael. What do you think?

Okay, I’m donning my SPECULATION HAT for this one.

I think Alex might no longer be in the Air Force in S3. I’m basing my assumption on Tyler’s longer hair (even longer than it was in S2, where it was already not even remotely “regulation cut”), and his visible facial hair (hint of stubble) which Alex seems to be sporting in S3 (in bts pics or pics of him in Santa Fe at the time they were filming).

I talked about some scenarios of why or how Alex could be leaving the Air Force in S3 in this post. I don’t like the idea that his abduction could’ve resulted in a dishonorable discharge, so I hope that won’t be the case. I’d be fine with some generous handwaving in regards to the real US Air Force’s re-enlistment periods and rules tho, where Alex gets his honorable discharge either during the time jump or early on in S3.

But really, Alex leaving the Air Force is something I consider to be a viable option, there are no spoilers or hints that indicate it’s going to happen.

If he continues to be in the Air Force (just completely disregarding US Air Force regulation haircut and clean shave requirements :P), that’s fine, too, of course.

Whatever is going to happen, I really hope that Alex and Michael will have a conversation about why and how Alex joined the Air Force as a teenager. Was it Jesse who forced him to enlist? Did Jesse threaten to do further harm to Michael and Alex signed up himself out of fear (to protect Michael)? I’d really like to hear more about that. I’d also like to hear more about Alex’s time in the military (especially the accident that resulted in the loss of his leg).

It may not have been the career path he dreamt of as a teenager, but in order to become a commissioned officer in the US Air Force before your 30th birthday, you have to be really good at your job, which means Alex worked hard to get where he is. Michael not being a fan of the military for various reasons (fear of being found out on the one hand, on the other hand, the military is synonymous with Jesse as a reason why Alex was taken from him) is more than understandable, but I would assume that Alex takes some pride in his job, and I’d like for Michael to understand (and respect) that.

Anyway, I hope for Alex and Michael to talk about the Air Force in some capacity in S3, after all, it’s been an important part of Alex’s life for over a decade, it would be strange if it was never brought up between them.

[okapitravel]

OKAPI-TRAVEL.COM vous informe que

Disney’s Hotel Santa Fe® Paris réouvre ; le 3 août 2020 !

Nos visiteurs pourront vivre un séjour proche de la magie en faisant une halte ensoleillée et profiter de la douceur de vivre à Disney’s Hotel Santa Fe et de ses chambres colorées sur le thème du film Cars, très apprécié des enfants !

Des commissions attractives…Sécurité maximum….

Réservez sur https://www.okapi-travel.com

Voir la vidéo !!! Bonnes Vacances !!!

[pointlesswalks]

Corporate Accountability

At the end of the military dictatorship that ruled Argentina from 1976 to 1983 – which had the cynically prosaic name of the National Reorganization Process – President Raúl Alfonsín instigated a truth and justice commission, the National Commission on the Disappearance of Persons. One of the latest additions to the truth and justice process was a 2015 report titled, “Corporate responsibility in crimes against humanity. Repression of workers during State terrorism.” Its aim was to reveal and catalogue instances in which the owners, managers and executives of 25 companies actively participated in violating the human rights of works during the dictatorship.

The “Corporate Responsibility…” report is the basis for Jonathan Perel’s, 2020 documentary "Corporate Accountability," which is nothing less than an attempt to bring attention to the report by presenting it cinematically. His aim, according to a conversation he had with Michael Pattison for Alchemy Film & Arts in April 2020, was to “make the book visible, and to create an image for it. An image that will connect the past with the present.” Perel structures his film in a deceptively simple way: each sequence opens with an image of a company logo followed by a hand-held shot of the factory as it exists today taken from the inside of his car. Perel then reads excerpts of the report all the while holding his camera as still as possible. On the face of it, a cinematic adaptation of this sort shouldn’t work: after all, the document (available here in Spanish) runs close to over 600 pages.

As the film progresses, however, something remarkable begins to happen. The barrage of information that Perel delivers begins to accrue new significance, not because the specifics become easier to digest or assimilate, but because certain patterns and recurrences begin to arise that help makes sense of what was going on in more generalised terms, such that we begin to see the forest despite the trees. First, Perel’s narration is delivered flatly and rather incessantly. As the viewer is subjected to an onslaught of names, dates, locations, etc., all delivered dispassionately, the details begin to blur into one another, but what remains is a sense of the overwhelming magnitude of the affair. This is compounded by the visuals. Each shot of a factory is accompanied by its location. References to the provinces Jujuy, Salta, Santa Fe, Buenos Aires, Tucumán, etc., although all located roughly in the north of Argentina, are still so far flung enough such that the magnitude of the crimes take on an abstract spatial dimension.

Second, it becomes increasingly apparent that the practice of disappearing, torturing and murdering factory workers was aimed principally against those directly involved in the union movement. We hear again and again that the effect of this attack on union organisers is that wages were successfully pushed downwards which led to increased profit margins for the individual company owners. This revelation prompts the question of whether the company directors who colluded with the army and the security forces, who provided lists (often written on company letterheads), who provided company cars for the transport of detainees and who even provided space on company ground for torture to take place were driven by ideological imperatives or by personal greed. Gradually, the National Reorganization Process starts to seem less about directing the nation back towards lost Western and Christian values and more about guaranteeing the wealth of already powerful oligarchs.

Meaning also arises from Perel’s cinematographic choices. The shots of the factory are all taken from Perel’s car as he sits parked across the road from the factory entrance. This is obviously in part because the factory owners clearly would not have appreciated such a documentary being filmed on company ground. However, shooting from his car gives the suggestion that Perel is participating in something clandestine, and that, therefore, there is still interest in occulting what happened here during the Process. Furthermore, whether Perel had access to company grounds or not, the fact that he only shoots from outside the factory underscores the unprecedented access that, thanks to the owners of the factories, the army and security forces did have when they perpetrated their crimes.

It should also be noted that what we watch as Perel narrates is not a still shot, but a long-held static one. Although some of the factories are clearly abandoned, the majority are still operating: this is evident from the cars entering and exiting the premises and from the smoke billowing from chimneys. As Perel points out on more than a few occasions, after the junta disintegrated, many of the factories he filmed had their private debts transferred over to the new democratic state – part of the “memory, truth and justice process,” one imagines. The transfer of debt presumably allowed these companies to survive and possibly thrive. As the factories roar to life in the morning we realise that what we are seeing isn’t a snapshot of the past, but a living image of the present.

The most affecting shots are those that contain ordinary people not connected to the factories at all – people walking, getting some exercise, hopping on busses – not because they are testament to the fact that life can go on even after an upheaval as catastrophic as the National Reorganization Process but the degree to which such events can be successfully repressed. In one of the sequences a motorcyclist digs around in a rubbish skip outside the Petroquimica Sudamericana factory in Olmo, La Plata. Considered alongside the fact that so much debt belonging to private stakeholders was taken on by the state, and that democratic governments continued with the neo-liberalising program that was a key feature of the National Reorganization Process, the image of a man digging around in a bin, possibly looking for something to eat or for something to sell, inverts Perel’s stated aim and provides us with an image that directly connects the present to the past.

[jujuygrafico]

Jujuy Film Commission participó de la edición del BAFICI

#Cultura #Cine #Jujuy | #JujuyFilmCommission participó de la edición del #BAFICI

La 23º Edición del Festival Internacional de Cine Independiente de Buenos Aires, uno de los festivales más reconocidos de América Latina dio apertura días atrás con una serie de actividades presenciales y virtuales además de proyecciones de películas destacadas nacional e internacionalmente.Una de las propuestas académicas que tuvo la presencia de Jujuy en esta nueva edición, fue la participación…

[robbifirestone]

Lean On Me Mindset Tips, Creativity Exercises & Inspiration from Robbi Firestone on Vimeo.

Artist Robbi Firestone's work has been featured in the New York Times, Worth, Parade, Los Angeles Travel, Boston Herald, Seattle Times, Huffington Post, etc.

A landscape and portrait artist, Firestone has represented her own work for 20 years.

After creating an art installation focused on IVF and infertility, Hollywood Producer Betsy Chasse filmed a documentary "TheEmptyWomb.com" about Firestone's healing art. This installation premiered at the United Nations (sponsored by the Global Women's Empowerment Network). Due this work, in 2017, "Women's Economic Forum" in New Delhi, India, conferred Firestone with their prestigious award, "Iconic Leaders Bettering the Wold for All."

Founder of Santa Fe Art Classes, Firestone received TripAdvisor's "Best of the Best" art workshop in Santa Fe, NM. With daily YouTube free tips, online and studio classes, retreats and coaching, Firestones entrepreneurial venturers extend from from fine art to fashion to commissioned Portraits and beyond.

Firestone attended Parsons School of Design, Fashion Institute of Technology, and Pasadena Art Center.

Firestone lives, works, skis and hikes in Santa Fe. Inspired daily by New Mexico's stellar sunsets, cultural community, artistic freedoms and unparalleled landscape, Robbi hosts "Spirited Artist" and "Palette + Palette" retreats.

Visit FirestoneArt.com for more....

#NFT #NFTs #NFTartist #NFTart #DigitalArt #CryptoArt #BlockChain #PortraitArt #FineArt #BlockChainArt #RareDigitalArt #Nifty #Ethereum #CryptoArtist #DigitalArtwork #PortraitCommission #PortraitArtist #FamousWomanArtist #womenartists #famouswomenartists, #womeninthearts, #vogueartist #wmagartist #nytimesartist #ArtistsOnInstagram #VisualArt #DigitalArtist #artinfluencer #creativecoach #onlineartclass #yaymaker #paintingclass, #paintandsip #domestika, #paintnight #paintnite, #learntopaint #howtopaint #santafeartist #creativitycoach #bobross #wineandpaint #homeschoolart, #michaealsstores #hobbylobby #uncorkedcanvas #howtobecreative

[2022-mmac]

Sundays at 2pm at MMAC Center

Three Sunday concerts of original music composed and performed by local musicians.

November 5: James Yeager

James Albert Yeager moved to New Mexico in 2009. He has performed regularly as conductor, organist, harpsichordist, and choral accompanist. He retired as Professor of Sacred Music at the Josephinum College in Columbus, Ohio (1984-2009). James has done numerous compositions and arrangements, including music for two short films. His orchestral works have been performed in Albuquerque and Santa Fe. At present, his primary musical interest remains as a composer

Program: The program will center on James’ three recent compositions: Passacaglia for Organ & Orchestra (2022), Fugue for Piano and Chamber Orchestra ”Mystical Desert”(2023), and Sonata for Piano Quintet (2023). Since the Passacaglia and the Fugue require large ensembles, they will be performed using recordings from Ravel Virtual Studios (NYC) . The Sonata will be played by New Mexico musicians - Flutist Ms. Hyorim Kim, a string quartet of Eric Sewell, Grant Hanner and Lisa Donald, and pianist Natalia Tikhovidova. - as a premiere performance. James will also play short pieces from his film scores. The program will last one hour and is free to the public.

November 12: Michael Hays

Mike Hays is a retired English teacher who has been playing music, especially on bass, since he was a young teen. In the last ten years, he has taken his interest in songwriting more seriously and has been creating jazz-based both vocal and instrumental compositions for the group he is working with. The current group (to whom Mike is deeply grateful) is more classically based, and the audience of the November Concert Series will notice his current compositions reflect this.

Program: Basement Dancing is a group that performs music written by Michael Hays. The group comprises Luis Delgado on clarinet and flute, Juli Palidino on viola and violin, Katie Harlow on cello, mandolin and accordion, Joseph Sabella on drums, and Michael Hays on bass and vocals. . Vocal songs at this concert will include musical portraits of the lonely soul waiting for his lost love in the Plaza de los Arboles Muertos, of the longing that hapless Señor Sapo feels as he watches a lovely circus acrobat, and of the nocturnal activities of Groany Bones, a skeleton who leads a danse macabre.

November 17: Kathleen Ryan + Exhibit Opening of "Masks & Metal"

Composer/pianist Kathleen Ryan is a Whisperings Solo Piano artist. She was the Professional Music Teachers of New Mexico commissioned composer in 2008, for which she composed a set of 24 piano left-hand-alone preludes titled Verbs. Several of her piano solo pieces were featured in the Emmy Award-winning Iowa Public TV special, The Seasons. Ryan lives near Mountainair with her husband and two quirky but inspiring cats.

Program: Composer/pianist Kathleen Ryan's piano solo performance will illustrate aspects of her composer’s life: being inspired, becoming ambitious, recovering from writer’s block, making money, and recycling teenage angst songs into piano solos. She will finish with some premieres, including music that’s not quite composed just yet! The full range of her 21st century impressionist style will be heard, from silly to soothing, from complex to simply serene.

[denimbex1986]

'The animosity between Strauss and Oppenheimer had probably several different dimensions.

In 1945 physicist J. Robert Oppenheimer was a national hero, hailed as the “father of the atomic bomb” and the man who ended World War II.

Less than a decade later, he was a pariah, after the United States Atomic Energy Commission revoked his security clearance following allegations about his left-leaning politics at the height of the anti-communist McCarthy era.

Christopher Nolan’s biopic, “Oppenheimer,” which opens in theaters on July 21, will star Irish actor Cillian Murphy as the famous scientist. But it will also feature Robert Downey Jr. as a lesser known real-life character, Lewis Strauss (pronounced “Straws”), the chairman of the AEC and one of Oppenheimer’s chief inquisitors.

The clash over the nuclear bomb The clash between the scientist and the bureaucrat was a matter of personalities, politics and the hydrogen bomb (Strauss supported it, Oppenheimer was opposed). But according to amateur historian Jack Shlachter, the two represented opposites in another important way: as Jews. Shlachter has researched how Oppenheimer’s assimilated Jewish background and Strauss’ strong attachment to Jewish affairs set them up for conflict as men who represented two very different reactions to the pressures of acculturation and prejudice in the mid 20th century.

Shlachter is in a unique position to explore the Jewish backstory of Oppenheimer: A physicist, he worked for more than 30 years at Los Alamos National Laboratory, the New Mexico complex where Oppenheimer led the Manhattan Project that developed the bomb. Shlachter is also a rabbi, ordained in 1995, who leads HaMakom, a congregation in Santa Fe, New Mexico, as well as the Los Alamos Jewish Center.

“A hero of American science, [Oppenheimer] lived out his life a broken man and died in 1967 at the age of 62,” The New York Times wrote last December, after the secretary of energy nullified the 1954 decision to revoke Oppenheimer’s security clearance. Lewis Strauss died in 1974 at age 77; his funeral was held at New York’s Congregation Emanu-El, where he had been president from 1938 to 1948.

When I asked Shlachter what drew him to the story of Oppenheimer and Strauss, he told me, “At this later stage of my life, I realized that things are not black and white. The common narrative that I think I have heard in town puts Oppenheimer at 100 and Strauss at zero. I just tried to balance that a little bit, and I thought that their Jewishness was one way to see that there’s some nuance in the relationship.”

Our conversation was edited for length and clarity.

There has been a lot of talk about Oppenheimer in anticipation of the Christopher Nolan film, but I haven’t seen much on his Jewish background. I guess as a rabbi and a physicist at Los Alamos this was a subject you couldn’t resist.

I am speaking as a private citizen, not on behalf of Los Alamos National Laboratory or anything like that. Oppenheimer was the first director of what is now Los Alamos National Laboratory. He was the scientific leader of the Manhattan Project. And it was really his doing that the laboratory ended up in northern New Mexico. He has been out here as a late teen and really fell in love with the desert Southwest.

His Jewishness is a bit complicated. His father was an immigrant from Germany in the late 1800s. And his mother was a first-generation American but her parents had emigrated to the United States. And in their approach to religion, they became enamored with the Ethical Culture Society of Felix Adler.

That’s the non-sectarian movement that had roots in Reform Judaism and is based on the idea that morality does not need to be grounded in religious or philosophical dogma.

Correct. Samuel Adler, Felix’s father, was brought over from Germany to serve as the rabbi of New York’s Temple Emanu-El, then and now a major Reform synagogue. They sent Felix back to Germany to study and he got his PhD in Heidelberg, and the plan had been for Felix Adler to succeed his father at some point. He came back in his 20s and gave what was his first and last sermon at Temple Emanu-El. He had adopted and absorbed some ideas while he was in Germany that were completely anathema to the Reform community, and he spun off the Ethical Culture Society.

Julius Oppenheimer, Robert’s father, was a trustee of the Ethical Culture Society, and Felix Adler conducted the wedding ceremony of Julius to Ella Oppenheimer, Robert’s mother. J. Robert Oppenheimer was educated at the Ethical Culture school. It was supposed to be non-religious and yet it was clearly dominated by Jews. It was one of these things about being American through and through, and somehow not having Judaism stand in the way. I think that really shaped Oppenheimer’s approach to Judaism.

Was there an ethos that he might have absorbed from the Ethical Cultural school that would have been important either in his left-wing politics or in his approach to the Manhattan Project?

My suspicion is yes, because Felix Adler in his training in Germany had become quite interested in Karl Marx and in the plight of the working class, and it seems impossible to me that that didn’t get somehow transmitted at the Ethical Culture school. It does not surprise me that Oppenheimer’s politics were left leaning.

As an adult, did Oppenheimer ever talk about his Judaism publicly or explain what his connection was to either the people or the faith?

Almost not at all, although there are some quite interesting quotes from other people. The Nobel laureate physicist Isidor Isaac Rabi and Oppenheimer were quite close, and Rabi testified on Oppenheimer’s behalf at the security hearing in 1954. According to Ray Monk’s massive biography of Oppenheimer, Rabb says that “what prevented Oppenheimer from being fully integrated was his denial of a centrally important part of himself: his Jewishness.” And Felix Bloch, who was another Jewish physicist who went on to win the Nobel Prize, said that Oppenheimer tried to act as if he were not a Jew, and succeeded because he was a good actor. You know, when you can’t integrate yourself and you’re trying to distance yourself from your roots, you can become conflicted. That’s Rabi’s assessment of Oppenheimer’s connection to Judaism.

But you also found a few instances of Oppenheimer positively engaging with Jews and Judaism.

In 1934, when Oppenheimer was a professor at Berkeley, he earmarked 3% of his salary for two years to help Jewish scientists emigrate from Germany. I think the fact that they were scientists was the important thing, and of course they were Jewish, because they’re the ones who were trying to get out in 1934. I don’t know that he was doing this because they were Jews or because they were scientists. Supposedly, Oppenheimer sponsored his aunt and cousin to emigrate from Germany, and then he continued to assist them after they came to the United States.

And then in 1954, at the security clearance hearing, Oppenheimer said that starting in late 1936, he developed “a continuing, smoldering fury about the treatment of Jews in Germany.” I don’t know if you had gone back to 1936 that you would have found any evidence of him saying that at the time. I doubt it. But one thing to remember is that in Oppenheimer’s lifetime, antisemitism was not non-existent. Antisemitism shaped how people dealt with their Judaism and this was the way he dealt with it.

So fast forward, Oppenheimer grew up well-to-do in New York and was educated at Harvard and then in Europe, where he studied physics at the University of Cambridge and the University of Göttingen. He joins the staff at the Lawrence Radiation Laboratory at Berkeley, and he begins socializing with leftist professors — both communists and so-called fellow travelers, deeply involved in workers’ rights and supporting the anti-fascists in the Spanish Civil War — in ways that are going to come back to haunt him in the 1950s. In the “American Prometheus” biography, which Nolan’s film is based on, we learn that Oppenheimer’s political activities came to the attention of the FBI at this point, years before his work on the atom bomb project.

That’s correct. He clearly had sympathy for those causes. And I would say understandably. There was a depression going on in this country, and the workers’ condition was not perfect.

There are now historians who are claiming Oppenheimer really was a card-carrying communist despite his denials. He certainly was a fellow traveler, his brother Frank was clearly a card-carrying communist as was Robert’s future wife Kitty.

In 1942 Lieutenant Colonel Leslie Grove was appointed director of what became known as the Manhattan Project, and selected Oppenheimer to head the project’s secret weapons laboratory.

Groves and Oppenheimer seem to have a chemistry which was critical for the success of the project. Why Groves figured that Oppenheimer was the guy to lead it is a little bit of a mystery. Oppenheimer had not led anything even remotely like this. He was a theoretical physicist, and you’re talking about huge experimental facilities for the project. And he wasn’t yet 40. But Oppenheimer rose to the occasion.

You mentioned earlier what Oppenheimer later described as his “smoldering fury” over the Nazis treatment of the Jews. Did working on a bomb to defeat Nazi Germany assuage whatever pangs of conscience he might have had over developing a bomb of such massive destructive potential?

I do think so. And that was probably true for many of the scientists who worked on the project, many of whom were Jewish. There was also a suspicion that the Nazis were working on a bomb as well and then God forbid that they should get there first. I think that was really the driver.

I’vre read that Oppenheimer did not feel guilt over his contribution to developing nuclear weapons or the bombings of Hiroshima and Nagasaki but he did feel a sense of responsibility for what had been unleashed.

Oppenheimer realized that a lot of people lost their lives as a result of this. But I will tell you, my father was a GI during World War II, he enlisted in 1943 and fought until ’45. He was in Europe when V.E. Day came, and then came back to the United States for leave before he was going to be shipped out to the Pacific. And my father was convinced to his dying day that the bomb saved his life [by ending the war with Japan]. And, you know, that was a widespread sentiment.

After the war, Oppenheimer ends up in Princeton directing the famous Institute for Advanced Study and that’s going to bring him into the crosshairs of Lewis Strauss. Tell us who he is and how these two Jewish figures contrasted.

Three of Strauss’ four grandparents emigrated from Germany/Austria, probably in the 1830s, 1840s. Somebody ended up in Virginia and Strauss grew up in the South. His connection to Judaism is quite different from Oppenheimer’s. Strauss was a valedictorian of his high school and in his autobiography says that he was absolutely fascinated by physics. But the family had no money so rather than go to college Strauss became a traveling shoe salesman. And even though merchants he sold to would be closed on Sunday, he insisted on [also] taking Saturday off because of his Judaism, and he took the financial hit. He ended up volunteering to work for Herbert Hoover, the future Republican president, who was organizing European relief efforts after World War I. Hoover becomes a lifelong friend, advocate and supporter. Strauss managed to push Hoover — no friend to the Jews — to lodge a formal complaint when some Jews were slaughtered by the Poles.

He had a pretty meteoric rise. He gets connected to the Kuhn, Loeb investment firm, marries the daughter of one of the partners and he makes money hand over fist. But he stayed connected with his Judaism through all this, eventually becoming the president of Temple Emanu-El for 10 years from 1938 to 1948. So just like there are political differences between Oppenheimer and Strauss, there are religious differences: Oppenheimer grows up in the Felix Adler breakaway and Strauss is mainstream Reform Judaism.

Strauss was a trustee of the Institute for Advanced Studies when it hired Oppenheimer. What else came between the two men? I’ve read that Strauss was a proponent of the hydrogen bomb, and Robert Oppenheimer was hesitant because he felt the astronomically greater power of the H-bomb was not necessary.

The H-bomb was physicist Edward Teller’s idea — he called it “the super” — and Oppenheimer appropriately sidelined Teller at Los Alamos, saying “this is a distraction from what we’re trying to accomplish.”

The animosity between Strauss and Oppenheimer had probably several different dimensions. But I think Strauss also had to navigate being Jewish in an American society that didn’t totally embrace Jews, and I think it was somewhat of a threat to him to have somebody like Oppenheimer whose approach to dealing with his Judaism was to hide it, basically. Here’s Strauss, you know, president of Temple Emanu-El, he’s clearly not hiding that he’s Jewish, and he’s trying to survive and thrive in a Washington establishment that’s not so embracing of Judaism. So that was another dimension. I’d even read that Strauss was offended by Oppenheimer’s alleged marital infidelity.

The animosity also includes the fact that Oppenheimer could be mean. Generally, people who worked at the laboratory loved him, but he could also be mean, and he made Strauss feel like a fool in a public hearing in 1949 — sort of like, “You’re an amateur physicist. You don’t know what you’re talking about,” and that really cut to the quick.

Whatever the reason, Strauss is not a good enemy to have when he becomes a trustee of the Atomic Energy Commission. It’s Strauss who in 1953 told Oppenheimer that his security clearance had been suspended, and led Oppenheimer to request the hearing that led to his security clearance being revoked.

Strauss was appointed one of the five members of the original Atomic Energy Commission. The chair at the time was David Lilienthal, also Jewish by the way, and there’s a photograph of the five members of the Commission that’s absolutely perfect because there are four people on one side on the left, and one person sort of off by himself on the right — and it’s Strauss who’s off by himself. And there were apparently a few dozen votes of the Commission in its early years, mostly having to do with security matters, where the vote was four to one and Strauss was the lone dissenting voice. He was focused on security and was probably very anti-communist.

I want to shift gears and talk about your background, and how a physicist becomes a rabbi.

I was a graduate student at the University of California, San Diego, and my thesis advisor sent me to Los Alamos for the summer of 1979 to learn a certain piece of physics. My connection to Judaism at that stage in my life was almost nil. I had done the classic sort of Conservative American Jewish upbringing of post-bar mitzvah alienation. When I came to Los Alamos I didn’t know a single person in town, so I thought I could go to the synagogue and meet some people. And because my training was reasonably thorough in the liturgy, I started leading some things at the synagogue while I was here.

Instead of going back to UC San Diego, I ended up continuing my graduate studies at the laboratory and completing my PhD while I was still here, and then got hired as a staff member at the laboratory. And all that time there was a rabbi who was coming up from Santa Fe to Los Alamos, and would teach an adult education class and I got interested. I had the arrogance of a newly minted PhD physicist that if you can learn physics, you can learn anything. So I started doing a lot of self-teaching in Judaism.

And what I discovered, which is my passion in the rabbinate, is that adult Judaism is not taught to kids because kids are kids. And most people reject Judaism like I did because they don’t know that Judaism is much richer than what most people reject. I spent my entire physics career here at the lab and in parallel, as I became more knowledgeable in Judaism, I came to know that I didn’t know anything. Then it turns out that there was a rabbi, Gershon Winkler, who moved to New Mexico and took me on as a private student, and that process led to my private ordination through him.

To pull the threads together, I’m curious how you as a physicist think about your responsibility for the uses of science, and how they mesh or clash with what you are learning in Torah.

I’ll steer your question slightly, if that’s okay. [The medieval Jewish philosopher] Maimonides says clearly that we’re given brains and the ability to do rational thought. Judaism is, it seems to me, inherently compatible with the idea of using your brain to understand how the world works, which is what physics is all about. Physics can help us see the beauty in the universe. And that beauty is part of what we’re given as a responsibility to appreciate in Judaism as well.

But science can also be applied for destructive purposes.

We are in a world that is not perfect. And, you know, there have been wars since time immemorial. Atomic weapons were used to end a war, and that was important. Like I said, my father to his dying day felt that his life was saved because of the atomic bomb, and you know, who’s to say that he was wrong?

In Los Alamos, how does the community process their legacy? Is it one of unmitigated pride or is it always leavened by regret about the destructive forces that were unleashed?

I think Oppenheimer is generally viewed very positively. What happened in Los Alamos was an important part of the history of the world. And it’s inspiring to be here at a place where, 80 years ago, there was basically nothing but a small boys’ school.'

[angelboydream]

A Band of Thieves from Fidel Ruiz-Healy on Vimeo.

The story of a young, western-obsessed girl hell-bent on turning her quiet Texas suburb into the lawless playground of her imagination.

Official Selection: FantasiaFest 2015 Official Selection: Mill Valley Film Festival 2015 Official Selection: Hamptons International Film Festival Official Selection: Santa Fe Independent Film Festival Official Selection: deadCENTER Film Festival 2015 Official Selection: Oaxaca Film Festival 2015 Official Selection: Holly Shorts Film Festival Official Selection: Tall Grass Film Festival Official Selection: Williamsburg Film Festival 2015 Official Selection: USA Film Festival 2015 Official Selection: Alamo City Film Festival 2015 Winner: "Best Film Shot In Texas" Alamo City Film Festival 2015 Official Selection: Take Two Film Festival 2015 Official Selection: San Antonio Film Festival 2015 Winner: "Best San Antonio Filmmaker" San Antonio Film Festival 2015 Official Selection: MEME PAS PEUR Festival 2017 Official Selection: Noorderzon Performing Arts Festival Groningen 2017 __________________________________________________________________________________________ Written & Directed by Fidel Ruiz-Healy Produced by Tyler Walker, Fidel Ruiz-Healy, and Jordan Michael Blake A Product of The American Standard Film Co.

Olivia Osteen as Josie Quinn Erickson as Ryan Logan Macaulay as Barry Julie Phillips as The Mom Fidel Ruiz-Healy as The Bank Teller

Assistant Director // Tyler Walker Executive Producers // Josephine Ruiz-Healy & Eduardo J. Ruiz-Healy Associate Producer // Behrad Gramian

Cinematographer // Conor Murphy Gaffer // Chelsea Soby Best Boy // Wilson Zellar Grips // Josiah Jones, Noah Acevedo, Ashley Flores Assistant Camera // Nicolas Wachter, Ethan Cohen Production Designer // Jordan Blake Art Director // Zack Block Set Decorator // Eduardo Ruiz-Healy, Behrad Gramian Costuming // Anastasia Holl Hair and Makeup // Sonia Holl

Production Sound // Nick Hepding Boom Op // David Sanchez

Editor // Katherine Yates Assistant Editor // Ari Sellinger Sound Designer // Douglas Szafir Sound Mix // Bobb Barito

Production Manager // Christina Tellez Associate Producer // Behrad Gramian Locations Manager // Maggie Reville Catering // Carlota Rodriguez Ruiz-Healy

Visual Effects // Josh Depew Colorist // Alan Gordon Trailer Editor // Sophia Harvey Special Thanks // The San Antonio Film Commission Shot on Location in San Antonio, Texas & Seguin, Texas

Made at New York University's Tisch School of the Arts with the guidance of Debbie Reinisch