#developed by a team of indigenous artists and storytellers | Explore Tumblr Posts and Blogs

ricardotomasz · 1 year

Text

Such is life! Behold, a new Post published on Greater And Grander about Introducing "City of Demons": Unleashing Malevolent Forces in Los Angeles

See into my soul, as a new Post has been published on https://greaterandgrander.com/introducing-city-of-demons-a-gripping-portal-fiction-unleashing-malevolent-forces-in-los-angeles

Introducing "City of Demons": Unleashing Malevolent Forces in Los Angeles

Today, we are thrilled to announce the development of an exhilarating new project that will transport audiences into a parallel world filled with malevolent forces and dark secrets. "City of Demons" is a groundbreaking portal fiction venture set against the backdrop of the iconic city of Los Angeles, where hidden dimensions and ominous creatures threaten to unleash chaos upon the mortal world.

In this unique blend of urban fantasy and supernatural thriller, "City of Demons" explores the terrifying possibilities of a parallel Los Angeles, occupied by otherworldly entities with their own sinister goals and objectives. As the boundary between realms grows increasingly fragile, the inhabitants of this parallel city pose a dire threat to the unsuspecting mortals who call Los Angeles home.

The concept behind "City of Demons" arose from the imagination of a visionary team of writers, artists, and creative minds who sought to captivate audiences with a gripping narrative that blends elements of horror, suspense, and action. Drawing inspiration from the rich folklore surrounding demons and the occult, this project promises to deliver an immersive and spine-chilling experience like no other.

"City of Demons" is committed to incorporating characters and lore from indigenous and diverse cultures in a respectful, and sensitive. With a deep appreciation for the rich mythologies and traditions of different cultures, the creative team behind the project aims to celebrate and honor these narratives while avoiding harmful stereotypes. By collaborating with cultural advisors and experts, "City of Demons" seeks to authentically represent diverse backgrounds, weaving their stories into the fabric of the parallel world, and ensuring that the project serves as a platform for inclusivity and cultural appreciation.

A number of projects are being actively developed, incorporating a strong use of transmedia storytelling, including:

A Fiction eBook

A Tabletop Roleplaying Game

A Narrative Podcast Series

"City of Demons" represents a significant milestone in transmedia and urban fantasy, pushing the boundaries of our imaginations, and inviting viewers to explore a terrifyingly captivating world. As viewers delve into the depths of this parallel Los Angeles, they will bear witness to the clash between supernatural beings and mortal heroes, all set against the dazzling backdrop of the City of Angels.

We invite fans of supernatural thrillers, urban fantasy, and anyone seeking an adrenaline-fueled journey to follow us on social media for further updates on "City of Demons." Prepare to immerse yourself in a world where the line between reality and nightmare is blurred, and the fate of humanity hangs in the balance.

Follow "City of Demons" on social media for exclusive updates:

Facebook: https://www.facebook.com/GreaterGrander Twitter: https://twitter.com/GreaterGrander

About [Company]:

Greater & Grander is a leading entertainment production company dedicated to pushing the boundaries of storytelling. With a team of passionate creatives, Greater & Grander strives to create captivating and immersive experiences that resonate with audiences around the world. From groundbreaking films to gripping television series, Greater & Grander is committed to delivering innovative and thought-provoking content that leaves a lasting impact.

Do you have your own thoughts? Let us know in the comments! Or join our community of successful creators on Patreon!

#California, #CityOfDemons, #Facebook, #Fantasy, #Fiction, #Humanity, #LosAngeles, #News, #PerfectProgress, #PressRelease, #SocialMedia, #SupernaturalThriller, #Transmedia, #TTRPG, #Twitter

#California #City of Demons #Facebook #Fantasy #Fiction #humanity #Los Angeles #News #perfect progress #Press Release #Social Media #Supernatural Thriller #Transmedia #TTRPG #Twitter

0 notes

yarnstrongsista · 1 year

Text

Empowering Kids with Aboriginal Stories for Early Childhood

Aboriginal stories are an integral part of Australia's cultural heritage. They transport us to an ancient time and provide valuable insights into the rich cultural traditions of Indigenous Australia. Early childhood is the ideal time to start educating children about Aboriginal culture. And what better way than through authentic Aboriginal storytelling by Yarn Strong Sista!

Who We Are

Yarn Strong Sista is an Indigenous-owned and run National Educational Consultancy and Training Provider based in Melbourne, Australia. With over 20 years of experience, we specialise in delivering authentic Aboriginal training to early childhood professionals, primary school teachers, and corporate teams.

Our Offerings

We offer a range of services, including visits to Early Childhood environments to facilitate storytelling and art workshops with children, providing Aboriginal and Torres Strait Islander-designed resources and educational tools on our website, hosting Professional Development Training for Educators, and facilitating art experiences and face-painting at festivals and events.

Our Aboriginal resources include artefacts, dolls, children’s music, children’s books, games, felt hand and finger puppets, felt mats for storytelling, puzzles, and teacher resource guides. We also have a range of corporate gifts designed by Indigenous artists and ethically produced with Fair Trade partners.

Foregrounding Anti-Bias Perspectives

We have launched a new series called "Foregrounding Anti-Bias Perspectives", which includes bilingual children’s books, all identities’ dolls, and cultural fabrics, ensuring inclusivity and representation for all children, parents, and teachers. We also provide anti-bias training for educators in early childhood and primary education around cultural competency, unconscious bias, and contemporary storytelling.

Join us in our mission to revive Aboriginal stories and promote cultural education in Australia. Connect with us at our website nowyarnstrongsista.com! Source : https://yarnstrongsistaaustralia.blogspot.com/2023/08/empowering-kids-with-aboriginal-stories-for-early-childhood.html

#Aboriginal Stories for Early Childhood

0 notes

batrainystudentkittylove · 1 year

Link

Crew members on set during the filming of Treaty Road. The six-part documentary series is the latest project by Regina filmmaker Candy Fox. Photo supplied Filmmaker Candy Fox is shedding light on Canada’s untold history. She is a director and producer currently working on Treaty Road, a new show airing this fall on APTN. “I’ve directed for other documentary series, but this series has a certain personal importance to it.” Fox has also written and directed her own short films, like ahkameyimo nitanis (Keep Going, My Daughter), a poetic look into the life of a young Indigenous family. Treaty Road is a six-episode documentary series that explores the extensive and often overlooked histories of Treaties one through six. Each hour-long episode focuses on individuals and communities that reveal what it means to live with the effects of Treaty in the present day. “[The hosts] speak with experts, Knowledge Keepers, Elders, historians, grassroots advocates, about the Treaties, the history and the current climate today,” said Fox. The show’s two co-hosts are Erin Goodpipe and Saxon DeCoqc. Goodpipe, from Standing Buffalo Dakota Nation, is a long-time television host and theatre artist. DeCoqc, a Métis writer and producer, was inspired to develop the show when he found out his ancestor James McKay was involved in the signing of the Treaties. “I discovered tha...

0 notes

ear-worthy · 2 years

Text

Drink Champs Podcast Welcomes Joe Budden For Conservation Controversial

Drink Champs launched in 2015. Each episode features co-hosts N.O.R.E. and DJ EFN enjoying free-flowing conversations over drinks with special guests and celebrities including Dave Chappelle, Alicia Keys, Patti LaBelle and more. The guests discuss the highs and lows of the hip-hop world from the past to the present, while reminiscing about their careers and events that brought them to today.

The podcast recently won Best Hip-Hop Platform at the 2022 BET Hip-Hop Awards and was nominated for Best Music Podcast for the 2023 iHeartRadio Podcast Awards.

You can listen to an all new episode of Drink Champs featuring Joe Budden out Friday, March 24 on Apple Podcasts or wherever you get your podcasts. New episodes air every Friday.

In episode 356, co-hosts N.O.R.E. & DJ EFN talk with Joe Budden as he shares stories of his career in Hip-Hop and Podcasting, past relationships, and much more.

Early this year, Drink Champs joined Interval Presents’ impressive programming slate of culture-driven audio content at the intersection of music, pop culture, and social impact alongside Rap Radar hosted by music journalists Brian “B. Dot” Miller and Elliott Wilson, Holding Court with Eboni K. Williams, The Last Resort hosted by indigenous artist and activist Xiuhtezcatl, as well as previously announced upcoming projects with Oscar-winning actress Lupita Nyong’o and pop star Jason Derulo.

Interval Presents is a podcast network from Warner Music Group (WMG) that produces multi-format, culture-forward audio content at the intersection of music, pop culture, and social impact. Launched in 2022, the network is rooted in artistry, authenticity, and diversity, partnering with WMG’s talent, notable figures, and producers to connect listeners with unique storytelling about today’s trending topics. Interval Presents’ slate of programming amplifies underrepresented voices, cultures and explores the impact of music artistry from diverse perspectives.

"Drink Champs has been at the forefront of cultural conversations for nearly a decade and has created some of the most iconic moments at the intersection of culture and music. They’ve built an incredible platform that we’ve admired from afar, and now we’re incredibly excited to welcome them to Interval Presents,” said Allan Coye, General Manager of Interval Presents and WMG's Senior Vice President of Digital Strategy & Business Development. “Our collaboration will focus on further amplifying N.O.R.E. and EFN’s unique and unfiltered approach to storytelling and bringing the show to new podcast listeners.”

I've listened to the show, and it is exactly as promoted, as a night of boozy conversation and boisterous storytelling. The hosts and guests engage together in fun, light-hearted conversation - looking back at their paths to success, highlighting their lives, friendships, and iconic moments within their careers.

Any time multiple people are talking in a party-like atmosphere, recording a podcast can present problems with volume level, equalization, and people talking over one another. Drink Champs co-hosts and production people have mastered this logistical challenge. The co-hosts' voices are clear and multiple conversations flow without distortion and add to the depth of the atmosphere.

A long-form podcast -- episodes can last over two hours -- with a conversational art for exploring ideas, friendship, and the most interesting anecdotes from the hip-hop community, Drink Champs excels at unconventional, cultural storytelling.

“I’m feeling good about partnering with Interval Presents and joining the all-star team they've got. We're ready to take things to the next level for us and the culture at large! Let's go!!” said N.O.R.E., rap artist and co-host of the podcast.

“We were impressed with the network’s dedication to the culture and the support we’ve received to expand our show to reach new heights, allowing us to further pioneer and break barriers in the space!” said DJ EFN, co-host of the Drink Champs podcast.

Check out the latest episode with Podcaster and former rapper Joe Budden. You just never know what he will say.

#podcast #rap music #interviews

1 note · View note

avatar-news · 3 years

Photo

Netflix officially confirms cast + authentic adaptation

A bit under a week after my initial report, Netflix officially confirmed the main cast of the live-action adaptation of ATLA. The announcement included some new information as well:

Albert Kim, previously already reported as showrunner/executive producer, will also be a writer on the series.

Michael Goi, previously already reported as a director, will also be an executive producer.

Roseanne Liang, previously already reported as a director, will also be a co-executive producer.

Jabbar Raisani is a newly announced director on the series! More on him in my next post.

Rideback was also announced as the production company, and from it Dan Lin and Lindsey Liberatore as executive producers (all previously already reported).

Lastly, a pretty extensive mission statement of sorts written by showrunner Albert Kim was released. The main thing is that it “confirms” that the show won’t be modernized or changed fundamentally from the original, probably addressing the assorted viral fake news that has been going on for years. If you follow Avatar News, you’ve already seen me debunk this ten thousand times, and never report it in the first place. :) Well, now it’s OFFICIAL official.

Key takeaways:

They’re confident about the bending VFX.

The story will be more streamlined and expanded compared to the original episodic format.

The worldbuilding will be expanded.

Concerning the following three pillars, it will be an “authentic” adaptation: story, characters, and cultural influences.

They’re specifically using that word “authentic”, and “authenticity”, a lot.

Here’s the full thing (bolding mine), as well as official descriptions of Aang, Katara, Sokka, and Zuko after it (no surprises there):

“This is all my daughter’s fault. She’s the one who got me hooked.

When Avatar: The Last Airbender first aired on Nickelodeon, she wasn’t quite old enough to fully track the narrative. Yet I’d still find her glued to the TV every week, captivated by the adventures of Aang and his friends (who would quickly become her friends).

I began watching along with her with the thought of helping her understand what was going on. But my Dad-splainy duties quickly fell by the wayside as I found myself sucked into the world and characters, and soon we were watching side by side, both of us swept away by the singular mix of action, humor, and epic storytelling.

It also wasn’t lost on me that this was a world that drew from Asian cultures and legend, which is a rarity to this day and something I appreciated as an Asian-American father. That my daughter was able to see characters who looked like her on screen was more than just entertaining. It was a gift.

Flash forward 15 years. Netflix offers me the opportunity to develop a live-action remake of Avatar. My first thought was, “Why? What is there I could do or say with the story that wasn’t done or said in the original?” A:TLA had only grown in popularity and acclaim over the last decade and a half, which is a testament to how complete and resonant a narrative experience it had been. So if it ain’t broke, why fix it?

But the more I thought about it, the more intrigued I became. VFX technology has advanced to the point where a live-action version can not only faithfully translate what had been done in animation — it can bring a rich new visual dimension to a fantastic world. We’ll be able to see bending in a real and visceral way we’ve never seen before.

Also, Netflix’s format meant we had an opportunity to reimagine a story that had originally been told in self-contained half-hour episodes as an ongoing serialized narrative. That meant story points and emotional arcs we’d loved in the original could be given even more room to breathe and grow.

Finally, a live-action version would establish a new benchmark in representation and bring in a whole new generation of fans. This was a chance to showcase Asian and Indigenous characters as living, breathing people. Not just in a cartoon, but in a world that truly exists, very similar to the one we live in.

I also knew what I didn’t want to do. I didn’t want to change things for the sake of change. I didn’t want to modernize the story, or twist it to fit current trends. Aang is not going to be a gritty antihero. Katara is not going to get curtain bangs. (I was briefly tempted to give Sokka a TikTok account though. Think of the possibilities.)

Don’t get me wrong. We’ll be expanding and growing the world, and there will be surprises for existing fans and those new to the tale. But throughout this process, our byword has been “authenticity.” To the story. To the characters. To the cultural influences. Authenticity is what keeps us going, both in front of the camera and behind it, which is why we’ve assembled a team unlike any seen before—a group of talented and passionate artists who are working around the clock to bring this rich and incredibly beautiful world to life.

But in the end, the reason I decided to do this came down to one thing:

Somewhere out there, a young kid is sitting glued to their TV, waiting to be taken on an incredible journey. And I want to take them on it.

I hope you’ll come along too.”

Character descriptions:

“GORDON CORMIER (he/him) is AANG (12), a fearless and fun-loving twelve-year-old who just happens to be the Avatar, master of all four elements and the keeper of balance and peace in the world. An airbending prodigy, Aang is a reluctant hero, struggling to deal with the burden of his duties while still holding on to his adventurous and playful nature.

KIAWENTIIO (she/her) is KATARA (14), a determined and hopeful waterbender, the last in her small village. Though only fourteen, she’s already endured great personal tragedy, which has held her back from rising to her true potential, though it’s never dimmed her warm and caring spirit.

IAN OUSLEY (he/him) is SOKKA (16), Katara’s sardonic and resourceful 16-year-old brother. Outwardly confident, even brash, he takes his responsibility as the leader of his tribe seriously, despite his inner doubts over his warrior skills… doubts that he masks with his wit and deadpan sense of humor.

DALLAS LIU (he/him) is ZUKO (17), a skilled firebender and the intense and guarded Crown Prince of the Fire Nation. Currently roaming the world in exile, he’s on an obsessive quest to capture the Avatar because he believes that is the only way to reclaim his life and live up to the demands of his cruel and controlling father, the Fire Lord.”

Source: Netflix

#news #live action atla #season 1 #casting #cast and crew #netflix #albert kim #michael goi #roseanne liang #jabbar raisani #adaptation

222 notes · View notes

architectuul · 3 years

Text

Mapping the Margins

Christina Serifi is an architect, researcher and urbanist. She is a co-founder of TiriLab, an initiative which explores multi cultural heritage related to techniques, technologies and culture specifics from communities in northern Greece. Christina is associate researcher in Terreform, where she has coordinated various publications regrading indigenous knowledge, alternative educational models and self sufficiency.

Photo © Norman Posselt

Her work investigates forms, collective memories, typologies and local practices, focusing on urban fragments, in-between spaces, as well as osculation of architectural and social space, Christina has been awarded with the Fulbright fellowship and Urban Design Award ’14 from CCNY, she is also a Future Architecture Platform Fellow and Digital Research Fellow of Architectuul.

Mapping the Margins is a series of maps and documentations, identifying, for the first time, all the women associations, local agriculture cooperatives as well as abandoned buildings in Thesprotia province, in order to create an active platform where many cooperatives can find a space to grow. Through these rural commons, we aim to merge formal, non-formal and informal learning models and create encounters with artists, local institutions and inhabitants from and for the region.

Berlin, New York, Athens, where is your basis?

CS: The truth is that I develop my professional practice through constant collaborations with local initiatives, professionals and different institutions. I am a Digital nomad I would say. If you ask about my physical basis is in Berlin, where I spend three or four months. The rest of the year I travel a lot, try to be as close as possible with communities that I work with.

Christina, please talk about your work in Terreform with Michael Sorkin. He has been a very important mentor and friend who has influenced your work a lot?

CS: Yes, this is true and I am happy that you are taking me some years back. This is a very sensitive matter for me because as you know we lost Michael a year ago because of COVID and since then all Terreform members are mourning for this loss.

I joined Terreform team after my Masters studies in New York, when we started to work in Yachay in the North of Ecuador, which was a new Technopole that the government was planning to build from scratch in one of the most fertile lands in the country. We started to investigate during my Masters this topic and Michael suggested me to join Terreform team, which was for me an amazing experience. Not only we manage to focus deeper on Technopoles, but we also travelled to Ecuador, we developed a lot of alternative plans, we talked with the local municipality how to support the local communities and protect this territory. We developed alternative plans, on how many new educational functions can be re-located in the existing near town called Ibarra. We also investigated a lot the integration between formal and informal knowledge. I don’t like to use words scientific or non-scientific, because I believe that this distinction has to do more with power and less with the production of knowledge. We were trying to highlight the local knowledge. This was one of the most interesting project that I was working while I was in Terreform.

Terreform Why Yachay. | Photo © Christina Serifi

We worked in Gowntown, where we interrogated the expansion of the Columbia University in Upper West Manhattan. I also worked in this amazing project that Michael initiated ten years ago called New York City Steady State where we investigated how New York can be self sustainable and self -sufficient in its own boundaries. For me the most important lesson that I’ve learned in Terreform was regarding the work ethics and this amazing environment that we built together. Michael was a very generous and open person. He managed to bring together people from different places around the world and involved them on projects that were really interesting. He was very generous in this sense, offering his knowledge, his guidance, giving the space to every person who wanted to investigate, publishing books from independent authors or people that they couldn’t find publishers. In this sense he was a true mentor and a real light. Although, I left New York four years ago I really miss his light.

Another part of your professional life is TiriLab?

CS: TiriLab is something I was dreaming many years and have imagined since I left Greece and moved to New York. I had this dream of how to return to my hometown, in Morfi, a smaller village where I was born, be closer to nature, work with the community there and different women initiatives. In TiriLab, we work mostly with women through our recent projects. These projects challenge traditional gender norms in rural areas, rediscovering narratives of women from different ethnic groups. Everything started, when I invited 35 amazing friends from all over Europe to come and spend some days in the village. They stayed with local families and we managed to create food encounters, where we were cooking together and meeting different women initiatives from the area. We called it Summer of Nothing. The idea was not to propose solutions as professionals but to go to rural area, stay, listen and understand the life that unfolds in such areas. This was the beginning of TiriLab.

Mapping the margins in Thesprotia by Tirilab. | Picture © Christina Serifi

A lot of local initiatives were organised by women, these small informal or formal groups managed to keep these villages alive during the economic crisis and they are also responsible of the cultural life of these villages. We wanted to empower these women initiatives, give them visibility and foster their multi-layered identity. A big step was last year when Tirilab got selected to be part of Future Architecture Platform encounter in Ljubljana, where I met different other groups and exchanged experiences. After that TiriLab expanded.

Mapping the margins in Thesprotia by Tirilab. | Picture © Christina Serifi

Oikeiology, Satellite Kitchens, Epirotopia - could you explain me these projects briefly?

CS: They are ongoing projects that started last year after I returned from Ljubljana. Oikeiology started as a pedagogical experiment, we wanted to bring to the forefront all the livelihood relationships between communities and natural bodies. It came to our minds in May, when the Greek government passed a law of abolishing the protection of NATURA 2000 areas in the whole country. Specifically in Thesprotia, in the region where we work in Tirilab, more that 45% of the natural areas are protected. The new law will leave these areas without any legal legislation for protection. We wanted to bring to the attention of local municipalities and also neighbourhood communities how to keep these ecosystems alive, how to involve the idea of eco-pedagogy into the schools and learning programs because the relationship of the communities with the natural environment there is really strong. Their food culture, their economic activities are related to the natural landscape. These pastoral communities use the natural resources in a regenerative way and they strongly support their protection. This dialogue is very important. In a bigger scale, with Oikeiology we wanted to examine the connection between urban and rural environments through shared experiences, knowledge, skills, ideas and resources of solidarity.

Satellite Kitchens, Paraskevi Demetriou | Photo © Angel Ballesteros, Muzungu

Satellite Kitchens, Dora Tzani | Photo © Angel Ballesteros, Muzungu coop

With the support of 5th Istanbul Design Biennial we created the project Satellite Kitchens. Through this project we had an amazing chance to collaborate with Muzungu, a group of video producers and journalists based in Madrid and Athens. We spent a month of documentation and researching on exterior kitchens. In this area a lot of women have built their kitchens, where whole communities were created around them. These communities were more pastoral and nomadic. After the 1960s they become more stable and you can see that many houses were developed around the exterior kitchens. We started documenting, drawing and understanding how these kitchens were evolved as spaces and also as places of storytelling, sharing different experiences and stories of women that have inhabited them so long. We saw a kitchen not only as a laboratory but also as an assembly space, as a common space and also as a space of resistance. They are more that 40 communities in the area and we managed to document 15 of them. For me, personally, it was an amazing opportunity to understand and come closer to a lot of these women that I knew since my childhood.

TiriLab’s Summer of Nothing. | Photo © Emanuel Dominguez, Zuloark

Epirotopia started when Zuloark, invited us to create the first parliament talking about the rights of the people in the area. We managed to bring together people from the municipality, local initiatives, inhabitants of different villages and young groups that create interesting projects. We invited them in a first digital encounter last December to envision together different socio-political imaginaries for the area. It was challenging moderate this huge parliamentary session but very rewarding! We are planing to create a physical meeting in August and discuss some of the local issues in depth. We also plan to make it regularly every year. The idea is that each inhabitant could reply to each of the 3 questions: what to protect, what to eliminate and what to bring new in the area.

What about the Future Architecture Platform and the Digital Research Fellow as a part of Architectuul’s joint venue?

I am super grateful having in my professional and personal life both platforms. Through Future Architecture Platform I meet Architectuul, where we started developing an amazing professional and personal relationship. It was a unique opportunity that through FAP we managed not only to bring TiriLab into life but also to create further exciting collaborations.

Christina presenting TiriLab at the Future Architecture CEx2020 Matchmaking Conference, 12. februar 2020, MAO | Photo: Iztok Dimc

I was also very happy to be nominated together with 45 degrees as a Digital Research Fellow and work with Architectuul. We continue with mapping all the best practices that we started in Greece and bring it in another scale, to start highlighting a network around Europe. I was imagining Architectuul as an active knowledge platform where practitioners, activists, researchers, local initiatives and practices can interconnect and create synergies.

youtube

Your theoretical work and research is very much integrated into the core of different communities, you use new digital methodologies and technologies to enable forgotten communities?

CS: This is a hard question! My work is balancing between theory and practice. When I work close to local initiatives I am trying to understand their ways of living and producing and how to deliver this message to reach wider institutions and more specifically educational institutions. When I was working in Terreform, we started using multiple digital mapping techniques, integrating GIS in our research, collecting not only quantitative but most importantly qualitative data. Since then, I had this obsession on creating active digital maps that can operate as an open encyclopaedia or platform of practices, methodologies, local techniques and knowledges. I am really grateful of having the opportunity to be part of a new research project between TU Braunschweig and Central Saint Martins “Architecture after Architecture: Spatial Practice in the Face of the Climate Emergency” where I can explore these mapping methodologies together with an inspiring group of educators and researchers.

But you are still not finished, I heard about some UAU?

CS: UAU! is an amazing collaboration that we started recently and stands for Urban Activation Unit. It’s a joint venture between collectives, professionals, practitioners and educators. The three of us whom initiated UAU! don’t see it as a project that belongs to us. We see it as a bigger platform that can embrace alternative pedagogical experiments and qualities of third landscapes as ecosystems.

youtube

With UAU! we want to challenge the established way of transferring knowledge and we see it as a moving open pedagogic parliament. It starts its route within the Balkans because the three of us come from the Balkans. Our idea is to bring together people from urban and rural geographies, local residents with students, each time on a different program addressing issues that have to do with water recuperation, food production and local educational practices.

Its launch will be at the summer school Informal City: Temporal-Autonomous Utopias in Koper, Slovenia from 1-10 September. During this event we will co-build the Table on the Future, where participants will share food, exchange ideas and open new cultural dialogues regarding lively practices. This table will become an infrastructure where the production and distribution of food will be celebrated to address how can we establish ecological conscious communities. More news will follow from UAU! so stay Tuned!

#intervew #future architecture platform

15 notes · View notes

yegarts · 6 years

Text

Mosaics & Magpies - a year of Edmonton Public Art

(Detail of Calder Community Mosaic by SpaceMakePlace Design (Rebecca Bayer & David Gregory - photo Doyle C. Marko)

The city of Edmonton is more vibrant thanks to a swath of public art installations over the past year. The Edmonton Arts Council public art and conservation teams were busy as they worked with artists from across Canada to place the final touches on artworks at Calder Library, ᐄᓃᐤ (ÎNÎW) River Lot 11∞ , Rossdale Linear Park, South Haven Cemetery, and Borden Natural Swimming Pool. In addition to new work, the conservation team took on more than 20 special projects, including cleaning bronze sculptures in two city parks, restoring the Norman Yates mural from the old Stanley Milner Library, and cleaning up Spectators for the Castle Downs Arena.

(Images from #YEGCanvas 2017-2018 clockwise by Elsa Robinson, Vanessa Ryl, and Kasie Campbell)

#YEGCanvas 2017/18 showcased 45 new works by local artists around the city on billboards and the LRT line.

(pehonan in the snow -artwork by Tiffany Shaw-Collinge, photo by Brad Crowfoot)

Perhaps the biggest public art news story of 2018 is the completion of ᐄᓃᐤ (ÎNÎW) River Lot 11∞ - Edmonton’s Indigenous Art Park. In development since 2013, the park was introduced to the public with a snowy opening ceremony on September 15. More than 75 people gathered at the site within Queen Elizabeth Park to celebrate the artists, artworks, and the spirit of collaboration that informed every stage of its development.

ᐄᓃᐤ (ÎNÎW) River Lot 11∞ is the result of a partnership among the City of Edmonton, Confederacy of Treaty No. 6 First Nations, Métis Nation of Alberta, and Edmonton Arts Council with substantial direction from Indigenous artists, Elders, knowledge holders, and community members. The park features contemporary works by six Canadian Indigenous artists that express “the stories of this place.”

The artists are: Amy Malbeuf (Rich Lake, Alberta), Tiffany Shaw-Collinge (Edmonton, Alberta), Duane Linklater (Moose Cree First Nation, Ontario), Jerry Whitehead (James Smith First Nation, Saskatchewan), Mary Anne Barkhouse (Nimpkish Band, Kwakiutl First Nation), and Marianne Nicolson (Dzawada'enuxw Nation). Candice Hopkins was the park curator.

(Sneak peek of a detail from Spring is Sprung, The Grass is Riz (I Wonder Where the Birdie Is?) by Karen Klassen & Erin Pankratz - photo, EAC)

In addition, some yet-to-be revealed works were installed at the Edmonton Valley Zoo and Dermott Park, while artists Sergio Serrano and Alexander Stewart will complete their artwork at Capilano Library early in the new year.

Read on for some images and descriptions and stay tuned in 2019 as new artworks are revealed!

(Calder Community Mosaic - Rebecca Bayer & David Gregory, photo Doyle C. Marko)

Calder Community Mosaic fuses an ancient art form with 21st century techniques. The artwork is made from more than 7,500 triangular stained glass tiles. It measures 4.8m X 2.4m and sits in the Community Room at the Calder Library. The mosaic is visible from the library’s forecourt and welcomes all visitors in the universal languages of colour and geometric pattern.

(One of the two mosaics that make up Ripples on a Pond by William Frymire at Borden Natural Swimming Pool - photo Aspen Zettel)

The artwork Ripples on a Pond is composed of two mosaics created by William Frymire. The colourful artworks resemble small ponds and feature three native Alberta aquatic species – the Western Painted Turtle, the Leopard Frog and the dragonfly. All are interdependent species susceptible to human modification of our natural environment, and key indicators of pond health. The mosaic’s illusion of a shallow pond conveys this message in a playful and fun manner while underlining the natural filtration of the pool’s ecosystem. Realized in a postmodernist style, this mosaic is a contemporary take on an ancient art form.

(mamohkamatowin (Helping One Another) by Jerry Whitehead photo by Brad Crowfoot)

Many nations, Indigenous and settler, helped shape the history of this place, amiskwaciy – “beaver house” in Cree. The theme of helping each other is inherent in mamohkamatowin, artists, artisans, and students came together to figure out the technical aspects, layer the mosaic tiles, and help bring the turtles to life. As they worked, shaping and adhering tiles, students from amiskwaciy Academy engaged with elders and knowledge holders who carry on the tradition of telling stories of this place. mamohkamatowin is a symbol of all these elements, and represents the stories of this place.

(mikikwan by Duane Linklater - video still by Conor McNally)

mikikwan is a concrete reproduction of a 9,000-year-old buffalo bone hide scraper from the archives of the Royal Alberta Museum. The artist chose the bone as his source material because of the many meanings, ideas, histories, narratives, languages and cultures embedded within it. The finished sculpture will memorialize the work of Indigenous women and the relation of that labour to the land. The sculpture also pays respect to the importance of the buffalo itself to the people living in this place, the communal aspect of its use, and its destruction with the arrival of Europeans on the Plains.

(Reign by Mary Anne Barkhouse - video still by Conor McNally)

From the echoes of trumpeting hadrosaurs traversing the valley floor, to being buried under a kilometre of ice, this territory has witnessed radical change over the years. It has been home to hunter and hunted alike, be it Albertosaurus and Edmontosaurus, or coyote and hare. The plants depicted have their own history as important to both body and soul. For those that have gone before, for that which has sustained and for those that have survived, Reign pays respect to the healing and adaptive nature of the land and to the original inhabitants of this territory.

(iskotew by Amy Malbeuf - video still by Conor McNally)

iskotew is a sculptural representation of the word “fire” in nehiyawewin (Cree language) syllabics: ᐃᐢᑯᑌᐤ. The colours chosen are based on colours that are seen in both historical and contemporary works as to illustrate the congruencies and survival within Indigenous cultures. The vibrancy of the colours are also congruent with the vibrancy of our cultures and languages. The nehiyawewin word for woman, iskwew, is derived from the word fire, therefore; iskotew connotes the sacred abilities of women, and the often unrecognized labours of Indigenous women who contributed to creating the place now known as Edmonton.

(Preparing to Cross the Sacred River by Marianne Nicolson - video still by Conor McNally)

Preparing to Cross the Sacred River references and acknowledges the natural formation of the North Saskatchewan River Valley banks, wildlife, and shared stories and traditions of Indigenous peoples. The stone slabs form a wall or “lookout” etched with images of “this place.” The artwork, which features sandblasted patterning reminiscent of beading styles, symbolizes the need to reconnect with ancient and sacred Indigenous beliefs to uphold our relationship to the land and protect the planet. Such activities must be built upon the foundation of ancient stories that tell how humans came to be in this place and how they must act within it.

(pehonan by Tiffany Shaw-Collinge - video still by Conor McNally)

This installation is inspired by the idea of pehonan (Cree – gathering or waiting place) and the oral traditions of Indigenous people as well as the many stories told of this area. It offers a space for teaching, storytelling, or performance. Conceptually, it references the oral roots of this place, and the ways in which stories change depending on proximity to the source. “The furthest back seat (at the top) references the deep past. It’s farthest from our reach when you are at the base, but when you are sitting at the top you have the greatest field of vision with perhaps the greatest perspective. When you sit on the lowest seat you are closest to the future, but not able to see to far into the distance.”

(One of the four sculptures that comprise The Magpies’ Nests by Chai Duncan & Kevin Sehn - photo Doyle C. Marko)

Rossdale Linear Park is a slice of nature in in an urban setting. The Magpies’ Nests considers the complex interactions between humans and nature as well as the concept of “home”. The welded steel nests on top of four plinths relate to structures found in Edmonton. The pyramid references the Muttart Conservatory; the cube stands in for local industrial buildings relating to ideas of innovation and productivity; the pentagonal prism, or house -shape, represents dwellings found the surrounding community; the sphere represents the magpie’s own expertly built domed nest.

(Night shot of Veil by Brandon McGillicuddy & Jeffrey Riedl at South Haven Cemetery - photo by Doyle C. Marko)

Veil is a large fabric-like lattice of airy line work appearing to billow from the South Haven Cemetery Service Building’s rectilinear geometry. The artwork’s delicacy and flow elegantly compliments the design and materials of the building it inhabits, and is empathetic to the sensitive context of the cemetery. The imagery evokes medieval Vanitas, or memento mori paintings, which reflect on mortality, the vanity of life, and transient nature of existence. Cloth, or empty clothing, is used to represent absence and loss. Veil represents loss in a non-religious way.

#yegarts #yegpublicart #publicart #iniwriverlot11 #yegparks #indigenousart #canadianart #edmonton #edmontonartscouncil #cityofedmonton

2 notes · View notes

fearsmagazine · 2 years

Text

IDW Announces Nine Original Series, Launching Expansive New Comic Book Initiative

IDW Builds Upon Creator-Driven Legacy with Renowned Storytellers Scott Snyder, G. Willow Wilson, Stephen Graham Jones, John Ridley, and More!

Get ready for the next evolution of original content as IDW, the award-winning publisher of comic books and graphic novels, announced a slate of new original projects by New York Times best-selling authors, some of the industry’s finest artists and writers, and newcomers destined for greatness!

Beginning with Scott Snyder’s Dark Spaces: Wildfire in July, IDW will be publishing new original projects on a monthly basis, reflecting a wide selection of genres: crime thriller, supernatural horror, science fiction, epic fantasy, and more.

“A year ago we gave ourselves a mission: to make IDW the destination for premier talent and rising stars,” says Mark Doyle, editorial director of Originals. “This is an unprecedented moment in IDW’s history, and there’s been a tremendous team effort from our creative and editorial teams and everyone at the company to develop a stellar slate of original stories—and we’re having a blast doing it!”

Dark Spaces: Wildfire, a thriller series written by Scott Snyder with art by Hayden Sherman, follows a group of female inmate firefighters deep into the smoldering California hills, where their desperate heist of a burning mansion will lead them to the score of a lifetime…or a deadly trap!

Trve Kvlt, a five-issue miniseries written by Scott Bryan Wilson with art by Liana Kangas, introduces Marty Tarantella, a down-on-his-luck loser whose last-ditch scheme to escape a lifetime of fast-food service sets him on a collision course with a cult of violent, Devil-worshiping lunatics!

Crashing, a five-issue miniseries written by Matthew Klein with art by Morgan Beem, throws open the doors of an emergency room filled with casualties of a superhuman war, where Rose Osler, a doctor on her own path of addiction and recovery, faces the most dangerous day of her medical career.

Earthdivers, an ongoing series written by Stephen Graham Jones with art by Davide Gianfelice, unites four Indigenous survivors in an apocalyptic near future as they embark on a bloody, one-way mission to save the world by traveling back in time to kill Christopher Columbus and prevent the creation of America.

Dead Seas, a six-issue miniseries written by Cavan Scott with art by Nick Brokenshire, transforms a cynical convict into a reluctant hero when he’s trapped on a sinking prison ship swarming with ghosts. Can he unite desperate criminals, pirates, and brutal guards as they try to escape a watery grave?

Golgotha Motor Mountain, a five-issue miniseries written by Matthew Erman and Lonnie Nadler with art by Ryan Lee, is a high-octane, redneck motor massacre about two meth-cooking brothers and their attempt to make it home in one piece as all manner of cosmic alien horrors are hot on their trail.

Arca, an original graphic novel written by Van Jensen with art by Jesse Lonergan, leaves a dying Earth behind as billionaires establish a luxurious new society out among the stars, tended to by teenage indentured servants. But one girl discovers that the good life promised for their years of servitude was a lie…

The Sin Bin, a six-issue miniseries written by Robbie Thompson with art by Molly Murakami, hits the road with washed-up hockey player Dale “Dukes” Duquesne, who moonlights as a monster hunter during away games with his daughter, Cat, in tow, hoping to find her mother’s killer.

The Hunger and the Dusk, a twelve-issue storyline written by G. Willow Wilson with art by Chris Wildgoose, upends an age-old conflict between humans and orcs by introducing a new, deadlier species. Fragile alliances form—and unexpected romances blossom—as former enemies wade into battle together to save their two races.

“Throughout our history, IDW has provided a supportive environment for passionate creators to pursue their artistic vision, taking form as such beloved titles as 30 Days of Night, Locke & Key, V Wars, Canto, October Faction, and Wynonna Earp, just to name a few,” says publisher Nachie Marsham. “Our new Originals editorial division, spearheaded by Mark Doyle, reflects our commitment to building upon that legacy. More than ever before, we are reaching out to the creative community, welcoming fresh ideas that span a diverse range of genres, and offering audiences wild new worlds to explore.”

The nine titles announced today are just the beginning for IDW, as the company has numerous additional projects underway for 2023 and beyond, including a comic book series by Academy Award–winning director, screenwriter, novelist, and showrunner John Ridley (Netflix's upcoming Shirley, Let It Fall: Los Angeles 1982-1992, The Other History of the DC Universe) and several original graphic novels aimed at middle grade and YA audiences.

In addition to publishing plans, IDW will be developing these properties for film, television, and other entertainment mediums.

1 note · View note

elotroalberto · 3 years

Text

Seattle Int'l Film Festival is looking for a new director

EXECUTIVE DIRECTOR SIFF is seeking a transformational Executive Director to lead our organization at a time of restart and revitalization as we gather again as a community and reopen our theaters. This position offers the opportunity to define SIFF's unique role in the international film landscape and as a thought leader for film culture in this region. A successful candidate will lead the organization into the future, serve as the organization's public face, grow our membership, showcase the value and impact of SIFF, and help create a lasting legacy in the arts community of Seattle and beyond. SIFF is well known for the world- class annual Seattle International Film Festival that, pre-COVID, attracted an average of 140,000 attendees over 25 days. Since 2011, SIFF has grown to encompass much more, including the operation of three theatrical venues with five screens of year-round entertainment, multiple festivals during the year, virtual events and screenings, and educational programs serving over 13,000 students annually. ABOUT US Mission To create experiences that bring people together to discover extraordinary films from around the world. It is through the art of cinema that we foster a community that is more informed, aware, and alive. Equity Values SIFF believes that valuing and promoting diversity is vital to our mission. We are dedicated to improving racial equity within our organization and our community. SIFF uses our unique position to share diverse perspectives in visual storytelling while empowering new voices to share their own stories and promoting accessibility for all people. We strive to foster diversity in all facets of our organization, from Board to volunteer, from artist to audience, and beyond. ABOUT THE POSITION The successful candidate will collaborate with the Board and staff to reimagine and build on the vision, mission, and strategic plan for the future of the organization. They will create a stable foundation and drive innovation practices in our industry. Reporting to the 20+ Board of Directors, the new Executive Director will lead this non-profit organization with an $8M+ annual budget and a year-round staff pre-COVID of 60+ people, 90+ seasonal staff, and hundreds of volunteers. While we are a lean operation right now, we are looking for an Executive Director who can equitably and sustainably build the right size team around the organization's needs. Key responsibilities include: Reset and rebuild the infrastructure of SIFF and lead the organization in strategic planning and implementation for future success, ensuring plans and actions further SIFF’s vision and mission: ● Build and execute a long-term plan for organizational effectiveness. ● Maintain stabilization and build strategy for current priorities and future growth. ● Execute on key decisions for the overall organization to ensure long-term sustainability. ● Redesign the culture and structure of the organization, including defining, creating, and developing organization-wide values. ● Provide strategic guidance to the programming, education, and events teams, collaborating with the Artistic Director and Leadership Team on experiences that leverage our programming expertise to develop audiences and cultivate donors. ● Engage the Board in strategic planning and update them regularly, ensuring the status of current activities is understood, matters requiring action are addressed, and Board members understand how they can help ensure success. Provide financial management and enhance the financial stability of the organization: ● Realign spending across the organization and manage all financial considerations in collaboration with the Board. ● Work with the Development Director and Marketing Director to increase contributed and earned income, manage capital campaigns, secure sponsorships, identify and pursue funding opportunities from government and foundations, grow individual giving, cultivate and solicit individual donors for major gifts. ● Assist the Dev Director with relationship building with current and prospective individual donors and corporate partners and expanding, broadening, building, sustaining, and diversifying the donor and membership bases. ● Evaluate and improve the effectiveness of marketing and giving programs. ● Partner with the Director of Finance and Administration to define budgets, financial goals, meet targets and ensure external audits are conducted timely and in compliance with federal, start, and local regulations. ● Provide support to the Board, including cultivation and recruiting, direction on good governance practices, support in fundraising, and ongoing education and engagement. Oversee the organization's investments, including in HR and Infrastructure design, operations and management of our facilities, and information technology: ● Lead team to ensure efficient operations and logistics, including theater back and front of house and all facilities and festival operations. ● Lead ongoing maintenance and construction efforts on physical theaters; work with architects, contractors, and city officials as needed. ● Oversee the purchasing, updating, and maintenance of technology required for effective operations. ● Invest resources in facilities, delivering optimum customer-focused experiences for all patrons. Represent SIFF with the broader community of patrons, peer organizations, elected officials, and educators: ● Build and maintain relationships with donors, elected officials, community leaders, Seattle Center officials and peers, Climate Pledge Arena stakeholders, and arts and film leaders locally, nationally, and internationally. ● Become an ally of and collaborator with other Seattle Arts organizations and the City’s Arts community. ● Make contacts and build donor, audience, and community engagement by attending community events as a SIFF ambassador, including weekends and evenings. ● Showcase the value and impact of SIFF in Seattle and beyond. ● Attract the best talent available for a world-class, diverse and inclusive organization. ● Provide leadership and development of the year-round staff and volunteers in the organization. 2. ORGANIZATION OVERVIEW SIFF has been a Seattle cultural icon since its first Seattle International Film Festival in 1976. We are a vibrant non-profit that builds community and celebrates the art of cinema—past, present, and future. We believe in the power of film and underpinning everything SIFF does, is our ability to provide great experiences: The Seattle International Film Festival is the largest audience-focused film festival in the United States. Year-round, our amazing staff couples great films with showcase events in our theaters and venues around the greater Seattle area, and we use our expertise to create educational programs for all ages, to further both the production and appreciation of cinema within the broader Puget Sound community. We continue to re-evaluate what it means to be a "film" organization in a world where the consumption of visual media is constantly evolving. In support of expanding these programs, we’ve been focused on the following key organizational priorities: ● Establish and grow meaningful and equity-based relationships with our communities. ● Develop new and existing audiences and increase the value both members and non-members receive from the organization. ● Increase our contributed and earned revenues and solidify the sustainability of SIFF through financial excellence, improved development programs, and good governance. ● Become first-class operators of our year-round owned and leased facilities. We must create long-term strategies for our programming footprint, facilities investment and maintenance, and partnerships with other venues as we re- emerge as a community from the pandemic as the needs of the Puget Sound market change and digital experiences grow in importance. ● Revitalize our annual tentpole festival, improve systems, infrastructure and increase filmmaker, talent, and audience attendance. ● Redesign and nurture the culture of the organization. ● Improve marketing and branding. ● Modernize our internal processes and technologies to improve our relationships with patrons, partners, and communities and increase scalability. ● Continue to play a leadership role in our partnerships with elected officials, community leaders, Seattle Center officials, Key Arena redevelopment and operations, and other peer organizations throughout the region to ensure thriving arts programs are available to everyone. SIFF is committed to... Making Our Culture More Inclusive and Affirming SIFF uses email signatures that include pronouns as an opportunity for people to make their gender pronouns visible, and gender inclusive restrooms to provide welcoming spaces that best fit their identity. Seattle's Indigenous Heritage SIFF acknowledges that we are on Indigenous land, the traditional territories of the Coast Salish people. We practice allyship in taking care of these shared lands. 3. Race, Equity and Social Justice Through programming, meaningful partnerships, and a staff-led cohort SIFF executes our mission with increased relevance, effectiveness, and impact. We understand that to meet this goal; we must address the inequities that exist within SIFF, our programs, and our wider communities while creating opportunities for new inclusive practices. QUALIFICATIONS Minimum ● Substantial and effective strategic planning, staff development, communications, public speaking, and financial management skills. ● Demonstrated success in leading organizational transformation, collaboration, team-building, internal and external communications. ● Startup mentality, entrepreneurial spirit, and growth mindset ● Successful track record of relationship building, both internally and externally, with key executives, elected officials, and individual contributors ● Seven years or more senior-level leadership or leading departments of similar scope or size with budget responsibility ● Solid leadership competencies to develop, lead, support, and inspire a large cross-functional workforce ● Demonstrated commitment to principles of diversity, equity, and inclusion and anti-racism ● Experience working with non-profit or not for profit organizations ● Solid knowledge or interest in or experience in the cinema/film industry ● BA degree in business, org development or equivalent education and experience Desired ● Advanced degree in business administration, org development, or related field ● 10-15 years or more senior-level leadership or leading departments of similar scope or size with budget responsibility ● Experience managing physical facilities and operations ● Solid knowledge or expertise in change management processes We believe ● We offer competitive medical, dental, and vision package ● Nine paid holidays, vacation, sick leave and comp time available ● Employees have access to discounts and passes to SIFF programming and neighboring Arts organizations Work Environment: This position is located in Seattle, WA, and will work in an office using a computer. Currently, most positions are working remotely due to COVID. Other Demands: The physical demands described here are representative of those that must be met by an employee to in an equitable hiring process. The following is additional information about the position and benefits. ● Salary range is $140 000 - $190 000, DOE ● This position is a full-time FLSA exempt position 4. perform the essential functions of this job successfully. While performing the duties of this job, the employee is regularly required to communicate effectively through oral and written methods; have the mobility to move between office settings, office, and event locations; have manual dexterity; use a computer as an essential work and communications tool. The position also requires the following mental abilities: cognitive complexity; verbal comprehension; word fluency; number aptitude; inductive reasoning; memory; spatial aptitude; perceptual speed. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions. TO BE CONSIDERED 1. Apply online at Indeed.com or send application material to [email protected] with the subject line: SIFF Executive Director. 2. Attach your resume detailing all relevant professional experience to the role. 3. Provide a cover letter stating why you’re interested in SIFF and experience that will qualify you to be successful in the role. 4. All attachments must be in a PDF file. 5. First review of applications will be Friday, July 30, 2021. 6. All responses are confidential. SIFF welcomes candidates from all walks of life and values diverse perspectives. We believe diversity makes us

0 notes

n--i--s--s--e · 4 years

Text

A Story of Karma by Michael Schauch

Book Summary:

In 2012, Michael Schauch and his wife, Chantal, undertook an expedition deep in the Himalaya of northern Nepal, into a remote valley that had been closed off to outsiders for decades. They led a team of artists (a photographer, a musician, and a painter), with the objective of capturing a moment in time through their unique lenses. As a mountaineering fanatic, Michael had a second (and less conspicuous) goal to climb an unknown mountain he had only identified through a photograph. What unfolded in the mountains forced him to question his values and his own identity, and eventually resulted in meeting a little girl, which was the most profound encounter of his life. Little did either know that from that moment they would completely change the trajectory of each other’s life.

A Story of Karma recounts this journey, and the years that follow as Karma (the little girl), and Michael and Chantal grow their lives together amidst the confusing dichotomies and backdrop of Karma’s 17th-century Himalayan village; the impoverished and polluted Kathmandu; and the modern world of Vancouver, Canada.

Amazon Link - https://amzn.to/3l1KS2F

youtube

Reviews:

"Each word ushers you deeper into an external journey to the Himalayas and an internal journey to the heart. Schauch's masterful storytelling transports you to a healing realm where external and internal distinctions dissolve in the beauty of embodied love. Not only is this a tale of transformation for Schauch, the reader too is transformed."-Paula Arai, Ph.D., author of Painting Enlightenment, Bringing Zen Home, and Women Living Zen

“A man's mission to climb a mountain in the Himalayas turns into providing education for children in the most remote region of Nepal. A Story of Karma is a heartfelt and inspiring story about nature and human connection, and the amazing things that happen when you open your heart and mind to the unknown world.” --Dorje Dolma, author of Yak Girl: Growing Up in the Remote Dolpo Region of Nepal

“Schauch writes a moving story of personal growth and transformation in his encounter with the indigenous peoples of the remote highlands of Upper Manang, Nepal. The desire to climb a peak drew him there, but what changed him forever was the unexpected and extraordinary creation of family ties in Nar-Phu and the role that Tibetan Buddhism played in helping him transcend differences of culture to nurture that family. Read his story with an open heart and mind - it will touch you deeply.” --Mark Aldenderfer, distinguished professor of anthropology at University of California Merced, and National Geographic Explorer

“Michael Schauch's vividly descriptive writing will transport you to a remote Himalayan village and leave you with the taste of yak butter tea on your tongue and the odour of dung-fuelled fires in your clothing. A Story of Karma is a thoughtful and passionate meditation on privilege and poverty, consumerism and spirituality, fate and chance, individualism and community. Above all else, this story is a testament to the power each and every one of us has to generate meaningful and lasting change in our beleaguered world.” --Jan Redford, author of End of the Rope: Mountains, Marriage, and Motherhood

“n this book, Michael Schauch shares the words of the Dalai Lama when describing the Beyul - the sacred, hidden valleys of the Himalaya - as places of multiple dimensions where the physical and spiritual worlds coalesce. 'From a Buddhist perspective [these] sacred environments... are not places to escape the world, but to enter it more deeply... Such places often have a power that we cannot easily describe or explain....' Schauch's story introduces us to many hidden places and the people who inhabit them. It is a fine example of how the human spirit can face even the toughest challenges, and by overcoming them, change the lives of ourselves and others in a profound way.” --Martin Parnell, author of Marathon Quest, Running to the Edge, and The Secret Marathon: Empowering Women and Girls in Afghanistan through Sport

“A Story of Karma speaks to an inward journey of purpose, a quest for meaning and connection - something to which we may all aspire. What began as a test of strength, determination and grit, a monumental goal by any measure, became an invitation to an awakening of the heart, a softening of the human spirit. There is that rare combination of lyricism and raw honesty throughout. This book is a must read!” --Peter McCoppin, international orchestral conductor and national host/broadcaster

About the Author:

Michael Schauch is a mountaineer, entrepreneur and storyteller who lives to explore remote places around the world and to share the depth and beauty of human connection he discovers along the way.

With early success as an entrepreneur at age 15, and over 20 years of global financial investment experience, Schauch brings his business acumen and altruistic heart to lead and support local and international mentorship, fundraising and educational initiatives. These include the education of girls and student mentorship in Nepal, outdoor youth leadership for those facing barriers to access nature and holistic Indigenous leadership development in British Columbia. He holds an MBA from Queen’s University and is a member of the Explorers Club.

He and his partner in adventure Chantal make their base camp in Squamish, nestled in BC’s rugged Coast Mountains and temperate rainforests.

1 note · View note

marinela-nac-nac · 4 years

Text

A Story of Karma by Michael Schauch

Book Summary:

Amazon Link - https://amzn.to/3l1KS2F

youtube

San Francisco Book Review – 4 Stars

For Michael Schauch, the most influential journey of his life began with a photograph shown to him by a friend while in a restaurant in Vancouver. It was a photograph of a mountain. In Schauch’s mind, it was the mountain: “A perfect pyramid from its southwest aspect, with sheer faces and a striking ridgeline that snaked its way to a spear-tipped summit piercing both cloud and sky.” He had always enjoyed mountain climbing, but this one was different: it won his heart and drew him to it. He was desperate to conquer the mountain and so, accompanied by his wife, Chantal, and a group of friends, he undertook a trip to the Lugula, a sub-range of the Nepalese Himalayas. Unfortunately for Schauch, the weather was against him and he had to abandon the ascent of his dream mountain.

However, that was far from being the end of the story. While staying in the village of Nar, after abandoning his attempt to climb the mountain, Schauch and his group became acquainted with a teacher who told them about the local school and introduced them to its seventeen pupils. One of those pupils was a seven-year-old girl named Karma, who seemed to deputize as the teacher when he could not be bothered to teach. Karma quickly became attached to Schauch and Chantal, and they to her. Recognizing that Karma would never receive the education she both wanted and deserved if she remained in Nar, they offered to fund her education at a boarding school with a Buddhist ethos. And so began a relationship between the Schauchs and Karma and her family that would last for years to come

A Story of Karma is the perfect book for an armchair traveler with an interest in mountaineering and Buddhist philosophy. The first part of the book details Schauch’s discovery of his mountain and then his group’s long, arduous trek through Nepal. From the sights, sounds, and smells of Kathmandu, to the friendly and welcoming resting places they find along the way, to the tragically decaying remote village of Phu, to the mystery and melancholy of long-abandoned Tibetan settlements, Schauch does a great job of bringing the scenery to life and introducing the diverse people he encountered on his journey. His love for the region really shines through.

The second part of the book focuses on the Schauchs’ relationship with Karma and her younger sister Pemba, and on their attempts to ensure that the girls received the education they desired. At first, this involved securing them places at the boarding school, but later, it meant securing visas so that the sisters (with the full approval of their parents) could move to Canada with the Schauchs and continue their education there. There is some interesting information here, and it’s particularly informative to note the differences between approaches to life and education in Nepal and those in Canada, although it is likely of more significance to Schauch than it is to the general reader. Schauch and Chantal clearly had the girls’ best interests at heart, and with that in mind, it would have been nice to know more about the decision that Karma and Pemba should return home and what has happened to them since then.

A Story of Karma is an engaging travel book and an interesting tale of people finding each other in the most unexpected of places. It will prompt readers to consider issues such as tradition vs. modernity, preservation vs. change, and fate vs. destiny. The book also includes a selection of photographs, including some impressive mountain vistas, which serve to enhance the reading experience.

Reviewed By: Erin Britton https://sanfranciscobookreview.com/product/a-story-of-karma-finding-love-and-truth-in-the-lost-valley-of-the-himalaya/

About the Author:

Michael Schauch is a mountaineer, entrepreneur and storyteller who lives to explore remote places around the world and to share the depth and beauty of human connection he discovers along the way.

He and his partner in adventure Chantal make their base camp in Squamish, nestled in BC’s rugged Coast Mountains and temperate rainforests.

https://www.michaelschauch.com/astoryofkarma

0 notes

mariahcaarey · 4 years

Text

A Story of Karma by Michael Schauch

Book Summary:

Amazon Link - https://amzn.to/3l1KS2F

youtube

Reviews:

About the Author:

Michael Schauch is a mountaineer, entrepreneur and storyteller who lives to explore remote places around the world and to share the depth and beauty of human connection he discovers along the way.

He and his partner in adventure Chantal make their base camp in Squamish, nestled in BC’s rugged Coast Mountains and temperate rainforests.

https://www.michaelschauch.com/astoryofkarma

0 notes

ear-worthy · 2 years

Text

“Drink Champs” Podcast Joins Warner Music Group & Goes With The Flow

You have to give it up for the Warner Music Group. The company seems to have a well-considered strategy to expand into podcasting. It’s not a “throw it against the wall and see what sticks” Spotify strategy, which has engendered a pullback. Warner has moved carefully, keeping close to its wheelhouse. The company also collaborates with talented people.

So it wasn’t a surprise when Warner Music Group’s in-house podcast network, Interval Presents, announced Drink Champs is joining its programming slate under an exciting new audio licensing deal. The partnership expands Interval Presents‘ growing audio roster, and the podcast’s first episode of the collaboration premieres on January 27.

Drink Champs is joining Interval Presents’ impressive programming slate of culture-driven audio content at the intersection of music, pop culture, and social impact alongside Rap Radar hosted by music journalists Brian “B. Dot” Miller and Elliott Wilson, Holding Court with Eboni K. Williams, The Last Resort hosted by indigenous artist and activist Xiuhtezcatl, as well as previously announced upcoming projects with Oscar-winning actress Lupita Nyong’o and pop star Jason Derulo.

“Drink Champs has been at the forefront of cultural conversations for nearly a decade and has created some of the most iconic moments at the intersection of culture and music. They’ve built an incredible platform that we’ve admired from afar, and now we’re incredibly excited to welcome them to Interval Presents,” said Allan Coye, General Manager of Interval Presents and WMG’s Senior Vice President of Digital Strategy & Business Development. “Our collaboration will focus on further amplifying N.O.R.E. and EFN’s unique and unfiltered approach to storytelling and bringing the show to new podcast listeners.”

I’ve listened to the show, and it is exactly as promoted, as a night of boozy conversation and boisterous storytelling. The hosts and guests engage together in fun, light-hearted conversation — looking back at their paths to success, highlighting their lives, friendships, and iconic moments within their career.

Any time multiple people are talking like at a party-like atmosphere, recording a podcast can present problems with volume level, equalization, and people talking over one another. Drink Champs co-hosts and production people have mastered this logistical challenge. The co-hosts’ voices are clear and multiple conversations flow without distortion and add to the depth of the atmosphere.

A long-form podcast — episodes can last over two hours — with a conversational art for exploring ideas, friendship and the most interesting anecdotes from the hip-hop community, Drink Champs excels at unconventional, cultural storytelling.

“I’m feeling good about partnering with Interval Presents and joining the all-star team they’ve got. We’re ready to take things to the next level for us and the culture at large! Let’s go!!” said N.O.R.E., rap artist and co-host of the podcast.

The podcast recently won Best Hip-Hop Platform at the 2022 BET Hip-Hop Awards and was nominated for Best Music Podcast for the 2023 iHeartRadio Podcast Awards.

The next episode of Drink Champs, and the first under Interval Presents, premieres January 27, 2023, with new episodes dropping every Friday. Until then, check out some of the recent episodes. It’s a party in your ears!

#podcast #music #rap music #hip hop

0 notes

jeremystrele · 4 years

Text

A Cross-Country Collaboration Between A Saddler + A Contemporary Furniture Maker

Art

Sasha Gattermayr

Trent Jansen (left) and Johnny Nargoodah (right) met in 2016, and have been creating together ever since. Photo – Romello Pereira.

(Left) Jonny carving leather in the workshop. Photo – Romello Pereira. (Right) ‘Chair’, from Ngumu Janka Warnti (All Made From Rubbish) collection. Photo – Tom Ross.

‘Bench’, from Ngumu Janka Warnti (All Made From Rubbish) collection. And Trent at work. Photo – Romello Pereira.

‘Partu’ is showing at Gallery Sally-Dan Cuthbert until July 15th. Photo – Tom Ross.

‘Saddle Vessel Long’, from Saddle collection. Photo – Tom Ross.

‘Chair’, from Ngumu Janka Warnti (All Made From Rubbish) collection. Photo – Romello Pereira.

‘Chair’, from Ngumu Janka Warnti (All Made From Rubbish) collection. Photo – Tom Ross.

‘Bench’, from Ngumu Janka Warnti (All Made From Rubbish) collection. Photo – Tom Ross.

Johnny + Trent at Gallery Sally-Dan Cuthbert in Rushcutter’s Bay. Photo – Tom Ross.

Johnny Nargoodah is a Nyikina man from Fitzroy Crossing, who has spent most of his life as a saddler on remote cattle stations in Western Australia. Trent Jansen is a contemporary furniture and object designer from coastal New South Wales. The pair met in 2016, in Johnny’s hometown, as part of the Fremantle Arts Centre’s ‘In Cahoots’ project, where they collaborated on a leather work project with Mangkaja artist, Rita Minga. This was the beginning of a deep creative partnership and long-lasting friendship between the two.

Partu (the Walmajarri word for ‘skin’) is Johnny and Trent’s latest collaboration of conceptual furniture, which is exhibiting now at Gallery Sally Dan-Cuthbert in Sydney. Comprising of two collections with distinct styles, the leatherwork pieces explore the relationship between materials and the learning process involved in collaboration. ‘Saddle’ leans on Johnny’s experience as a saddler on cattle stations, and sees upholstery leather stretched taughtly across geometric steel frames. The pieces in this collection resemble objects cloaked in sheets, or barrels sucked airtight by an external force!

‘Ngumu Jangka Warnti’ (a Walmajarri phrase meaning ‘whole lot from rubbish’) is the second collection, which uses aluminium mesh Johnny and Trent found in a scrap metal yard as the base for the furniture frames. They cut this wire material into the shape of a chair or table, and battered it into form with hammers and concrete blocks. The resulting structures are then laminated with saddle leather to form a waffle-like skin through which the mesh imprint can still be seen.

‘Saddlers used to come and repair saddles using leather, making twisted rope out of cowhide,’ Johnny explains of his profession, and the significance in the choice of material. ‘The smell of that leather is so good. It brings back memories, triggered those old memories of walking around the saddle room in Noonkanbah shed. There is a sensory response, that’s important.’

Johnny and Trent spent 18 months developing these pieces for Partu, where sketching and swapping their ideas became a key part of the process. They only met in person three times over these months, in two-week stints where Johnny would travel from Fitzroy Crossing to Trent’s workshop in Thirroul, close to Woollongong on the NSW coast. In the interim, Trent and his team would source components and build sections of pieces in preparation for Johnny’s next visit.

Separated by thousands of kilometres and the Tanami Desert, the distance between Johnny and Trent meant they had to experiment with the traditional boundaries of collaboration. Trent details a process he calls ‘sketch exchange’, where the specifics of design jargon can be overcome by communicating purely through drawing.

‘When you work in a collaborative context outside of a shared disciplinary understanding, it’s hard to get anywhere because the words mean something different,’ he explains. Instead, he and Johnny spent most of the first trip sketching their ideas and swapping them, encouraging the other to adapt and change designs with their own input. ‘It’s not as linear as it sounds, not as back-and-forth,’ Trent laughs. ‘But I was wanting to generate these outcomes that were legitimately co-created, as symmetrical as possible in their co-authorship.’

The resulting pieces are a fusion of both Johnny and Trent’s disciplines, and a meeting of their independent creative sensibilities. “History – the leather gives it a reference to the history of Fitzroy Crossing,’ Johnny states, a point Trent echoes.

‘I’m keen for people to understand these narratives that come out of places far away from where they might live, like Indigenous workers on cattle stations and the backbone they form of that industry,’ Trent says. ‘I want to express how important Indigenous workers are for Australia as a contemporary industrial nation, and how that has contributed to the idea of Australian-ness.’

But in the end, it’s about the act of friendship and storytelling the making facilitates that matters most. ‘We work together because we enjoy each other’s company and we enjoy the cultural exchange as well as the skills exchange,’ says Trent. ‘Working with Johnny is part of my life now.’

Partu Thursday, June 11th – Wednesday, July 15th

Gallery Sally-Dan Cuthbert 20 McLachlan Ave, Rushcutters Bay New South Wales

The exhibition is open to the public with safe social distancing measures in place.

Trent will be discussing the show with Australian Financial Review Design Editor, Stephen Todd, from 6-6.30pm on July 2nd, in the gallery and on Instagram Live. RSVP to attend in-person at [email protected], or follow Gallery Sally-Dan Cuthbert here to watch the streamed event.

1 note · View note

bigyack-com · 5 years

Text

A Walk on the Frontier of Art, Where the Sky Is the Limit

This article is part of our continuing Fast Forward series, which examines technological, economic, social and cultural shifts that happen as businesses evolve.When walking on the High Line, it’s tough to look more lost than some of the tourists, but I did a pretty good job of it last month when I tripped on a curb while looking at art. (I caught myself before falling, but still.)I was taking in an exhibition from Aery, a new augmented reality platform tailored to digital art exhibitions. Looking up to the heavens through an iPad, and not at my feet, I was using a loaner tablet to get an artwork by Richard Humann to magically appear.But it worked: On the iPad, a constellation of a rose appeared, at an angle in the sky and topped by a crown, as Mr. Humann intended. A couple of out-of-towners who were watching me seemed mightily impressed when they looked over my shoulder at the screen.The technologies known as augmented reality and virtual reality (AR and VR, for short) may seem futuristic, but they are being employed by artists more often.For me — someone who looks at art for a living, but also avoids downloading new apps — experiencing three exhibitions of augmented reality art over a couple of weeks was a crossing of a threshold, one that more and more people will experience in the years ahead.“It’s going to have a huge impact on the art world,” said Jay Van Buren, who, as chief executive and co-founder of the tech company Membit, helped create Aery, a joint venture between Membit and the real estate firm Related Companies. “Artists can do anything with it,” Mr. Van Buren said.Membit’s technology is based on what it calls a Human Positioning System, its version of GPS. Essentially, the user adjusts the placement of the device based on a set of instructions. Aery is currently in beta mode, but is coming to Apple’s App Store soon for iPad and iPhone, and eventually will have an Android version.As part of Aery’s inaugural exhibition, the artist Shuli Sade created a piece called “Wild, Heterotopias,” based on her photographs of the landscaping along the High Line. I viewed it in the High Line Nine Galleries: What appeared before me on the iPad, in an otherwise empty white gallery, were globes of spinning, floating greenery and flowers.Ms. Sade, who is based in New York, has worked with augmented reality a few times during the past five years, building on her background in photography.She likened the technology to a kiln or a paint brush: In the big picture, it is simply another way for an artist to create. “It’s a fabrication tool,” Ms. Sade said. “It’s a medium.”“Whether it will develop further, I’m not sure,” she said. “But it’s a fun ride.”In the same way that most sculptors do not cast a piece in bronze themselves — that work is done by experts at a foundry, to the artist’s specifications — Ms. Sade sent her photographs to Mr. Van Buren to be turned into augmented reality.That is how it worked for T Walk, a joint venture from Apple and the New Museum in New York City. The experience is free in six cities — San Francisco, New York, London, Paris, Hong Kong and Tokyo — and is slightly customized in each. Seven artists contributed, including the poet-artist John Giorno, who died last month, and the Chicago-based Nick Cave.Massimiliano Gioni, the New Museum’s artistic director who helped curate the artist contributions, said that when Apple approached the museum about collaborating on the project, the curators saw the same potential the company did.“The benchmarks were previously more from the world of entertainment and gaming,” Mr. Gioni said of augmented reality and virtual reality. “And they wanted to go well beyond that.” (Mr. Van Buren said that whenever he was called upon to explain augmented reality, he mentioned Pokémon GO, the interactive game craze.)I did T Walk on a glorious fall day in Central Park, starting at the Apple store on 59th Street and Fifth Avenue. I used one of its iPhones (you do not use your own) to experience the artworks, and to get each piece to appear, I pointed the phone at an object, usually a sign, part of process that the company calls “anchoring.”The art is calibrated based on the position of you and the anchor, and when you have lined up the phone and the sign correctly you feel a slight vibration in the phone that the company calls “haptic feedback.”Mr. Cave’s contribution, “Accumul-Istic Quest,” had his usual ebullience: At the beginning I was asked to pick one of several personality types, and on the screen I was suddenly being shadowed by a very bouncy, multicolored fright wig. He calls the different characters “istics.” (Mr. Cave also created an in-store augmented reality piece called “Amass,” which can be experienced in any Apple outlet around the world on your own iPhone.)Normally the walk is a group affair of about 10 people, and every participant gets an istic. About five minutes into the walk, a large, friendly monster of sorts appears above the tree line — it has a head like a gramophone horn, a version of Mr. Cave’s “Soundsuits” characters, which he has been working with for years — and consumes everyone’s istics.Though done with humor, Mr. Cave told me there was a larger theme at work.“I wanted it to absorb and swallow everybody, becoming multicultural in the process,” he said.The process of making the work involved many phone calls, with Mr. Cave sketching his ideas and making multiple trips to Apple headquarters in Silicon Valley. “We were practically in a relationship,” Mr. Cave joked.For now, augmented reality seems to be getting more play among fine artists than virtual reality. As Mr. Van Buren put it, “AR loops you in more firmly to the place where you are, rather than taking you away into another world.”But that could change. Bjarne Melgaard’s “My Trip” (2019) is a virtual reality work that can be experienced through Dec. 15 in Berlin at the Julia Stoschek Collection. It is a production of Acute Art, a virtual reality studio that collaborates with international artists.Daniel Birnbaum, Acute Art’s director, said “My Trip” was a “trippy fantasy about darkness” that worked as an autobiography of the Norwegian artist.To create the characters in the piece, Acute’s team scanned sculptures by Mr. Melgaard, and for some of the environments that people can experience in the piece, the artist provided developers with photographs of paintings.“AR is easier, but it has limitations,” Mr. Birnbaum said. “You only see things on the phone. It can be a little gimmicky.”But augmented reality’s ability to show two realities at once can be a powerful storytelling approach, as demonstrated by the New York-based artist Alan Michelson’s show “Wolf Nation,” at the Whitney Museum of American Art through Jan. 12.Two of the four works in the show are made with augmented reality, and Mr. Michelson — a Mohawk member of Six Nations of the Grand River — collaborated on both with Steven Fragale, a painter who has become an augmented reality specialist, creating his own apps for his work.One of the pieces, “Town Destroyer,” looks like a two-dimensional wall work depicting George Washington’s home at Mount Vernon. But when activated by the show’s augmented reality app on an iPhone, the bust of Washington in the center goes through a rapid transformation, overlaid with a series of colors, patterns and texts. “Town Destroyer” was the name given to Washington by the people of the Iroquois Confederacy, whose villages were burned and pillaged during the Revolutionary War.To present an indigenous perspective on a familiar icon, “AR provided a solution — more than a solution, actually, a tool with all sorts of metaphorical aspects,” Mr. Michelson said.Mr. Michelson said that the idea of multiple people holding up their phones to see his works at the same time also made him think of the technology’s “social possibilities.”Although augmented reality and virtual reality explicitly take us out of the real world — our noses in another screen or two, and possibly tripping along the way — they also can be an invitation to interact with others about what they are seeing.Mr. Gioni of the New Museum agreed. “The effects are in some ways just a pretext to come together,” he said. “This gets real only when you share it.” Source link Read the full article

0 notes