#i like claiming that i am the writer editor illustrator media project manager

[tohakumaru]

Hello!

you can now find the full illustrations + text only versions of all Impossible Nomad chapters on my project page

https://tohakumaru.carbonmade.com/projects/7264503

preview (phone, i think better on desktop)

thank you to everyone who has voted in polls and taken interest in this so far! it means the world to me :)

[myraelvira]

Myra Elvira’s Terms of Usage

Myra Elvira’s Terms of Usage

[March 10th, 2023]

I didn’t think that I would have to do this, but after some strange encounters, I believe creating this is necessary. My YouTube channel, blog posts, and other branches thereof, are for informational and educational purposes; entertainment not necessary. My projects, which can be blog posts, videos, or any other medium are my own creations, that I’ve created on my own. Whether I am reading literature, talking about history, true crime, or whatever else, each of the projects consists of my own person, most commonly represented through my voice. Blog posts, PDFs, and other writings are researched by me, Myra Elvira, and written by no-one else. These works are my own, I do not take anyone’s works and claim them as such, and neither should you.

Under the common “Fair Use” policy, which can be read on google, the use of copyright protected material under certain circumstances is allowed, without the permission of a copyright holder. Common examples of this are “react” videos, youtube poops, and clips from other videos or movies, used as a source in the main video. With reading books, this is a bit of a grey area, as I can read a book on my channel, and because I am using my own voice, it can be seen as a transformative work. Some of you may feel this way, as I have seen many comments about how the way I read, can bring stories to life (which I really appreciate). That said, if I’ve read a copyrighted work, technically, a holder could potentially still have it taken down. I have no problem with this, though the grey area of this issue is complex, and perplexing.

As for myself, and my own content, which is written by myself; or the literature readings that are considered public domain, I don’t condone any uploads online, youtube or otherwise, that do not credit what I’ve done. I just want to be credited for what I do, and it’s very annoying not to see that in the other channels that have blatantly downloaded my content at times, and uploaded them on other places. Just credit me. That’s all I ask. Place it in the description box, a pinned comment, or what have you. I just want to be credited. Many people still don’t seem to realize that it is me reading the content on my youtube channel, mainly the books. That voice you hear in every Myra Elvira video is mine. Myra Elvira’s.

I don’t think that many people understand the work it takes to read, or edit the videos I do. I’m not asking for pity or sympathy, just understanding and compassion. I am a one man team. I’m the social media manager, the voice over, the writer, video editor, and researcher. All of this is done by me. Always has, and at this point, I think it always will. I’m a perfectionist when it comes to the writings, and really can’t trust anyone to find all of the information I do. The only way I can hope to explain the length of time it takes to create everything I do, is to take every video, especially the book readings, and multiply it by two. Those 1 hour videos can take 2 hours to edit and process. The 10 hour ones, absolutely take 20. I just want to illustrate the point, that it takes a lot of my time to do what I do. So if someone doesn’t want to credit me, and re-uploads my content, everything I do is just a faceless video, misleading others who don’t know better.

I am, on the other hand, okay with archival purposes. A lot of what I do is focused on archiving, especially the books I have read which are public domain, no longer in print, at risk of being lost to history, and/or in copyright limbo due to things like an author’s death, and no sign of a current owner (See: Paul Watkins’ book). Once again, I just ask that you ask me to re-upload my content, if you decide to do so. I do not give permission to make money off my content, even if I allow for it to be re-uploaded elsewhere. I understand that you might want to have a database for such content, as some subjects I've gone over are very popular.

If you wish to archive my videos, or simply just want the files for your own, feel free to contact me by email. I am open to responding to any emails from anybody, even if it’s just a simple hello.

[ myraelvirablog@gmail.com ]

I allow my videos to be downloaded for the sake of personal use. If you wish to have the content on your computer, or whatever else, go wild. Videos are allowed to be downloaded, and used as sources for educational usage. I have gotten comments that some of my material has helped others in their classes, even being used for their essays and such. That is great! I am fully okay with this, and had actually hoped that one day, it would be how some people used it!

Educators, students (college or otherwise), are fully okay to download, edit, react, source, cite, and anything else of the like, my content. All PDFs, blog posts, and various other writings are also allowed to be used, for personal and educational purposes. Writings are of course okay to be cited in essays, books, blog posts, and the like. I write everything in an informal version of the Chicago format essay. I try to provide the PDF in links to blogs, and on my patreon, which is free. You can cite the blog posts or patreon posts, which is perfectly fine.

Of course, there are multiple ways to cite the works of somebody, like MLA, APA, and Chicago. According to citationmachine.net, the ways to cite a PDF in MLA would be:

-Change the medium description to “PDF download”. To cite a PDF available to view online, change the location description to the URL leading to the PDF.

[MLA]

For example: Hardin, Myra Elvira. The Tale of Acid Bath, 2022. Internet Archive, archive.org/details/acid-bath-band. PDF Download

MLA is strange, and I don’t really like it, but that’s about as accurate as it seems to be. The format is based off of a chegg video posted on 10/22/22.

[APA]

I’m going with a guide from centralpenn.edu as the reference ofr this. According to the, pdf’s would be cited like this:

Surname, Initials. (Date of Publication). Title of Document. Site name (if different from author). Url the pdf came from

Example: Hardin, M. (2022). The Tale of Acid Bath. Internet Archive. Archive.org/details/acid-bath-band

If possible, use the url that takes the reader to the pdf directly, otherwise, use the url of the site/post that it came from. The sites I use are typically patreon, tumblr, and archive.org. Tumblr doesn’t have pdf file hosting, so most links will be from the other two sources, most likely archive.org.

[Chicago]

According to owl-purdue, they state that electronic books, and books consulted online are cited exactly like their printed peers, with the addition of media at the end. Stable page numbers aren’t always available in electronic formats, so you can include the number of the chapter, section, or other easily recognizable locator.

Footnote version: 1. Myra Elvira Hardin, The Tale of Acid Bath (Internet Archive, 2022) archive.org/details/acid-bath-band. Pdf

Book version: Hardin, Myra Elvira. The Tale of Acid Bath. Internet Archive, 2022. Archive.org/details/acid-bath-band. Pdf

I won’t be including the city of this citation, it’s pointless for what I do anyway.

— That would he the most accurate way to cite anything I’ve written, and posted online. I’ll try to provide a citation at the end of my writings when possible. If you don’t feel like doing it manually, then I recommend a site like easy bib to do it for you. That’s what I used when I was in school.

—

[ Citing the videos themselves ]

[MLA]

“Title of Video” youtube, uploaded by screen name, day month year, url.

Example: “The Tale of Acid Bath” youtube, uploaded by Myra Elvira, September 3, 2022, url.

[APA]

Person who uploaded video. (Date of Publication). Title of Video [Video]. Youtube. Url

Example: Myra Elvira. (September 3 2022). The Tale of Acid Bath [Video] Youtube. Url

[Chicago]

Footnote version: 1. First name, surname, “Title of Web page”, name of site, Publishing organization, publication or revision date, access date if no other data is available, url.

Example: 1. Myra Elvira, “The Tale of Acid Bath”, youtube, September 3, 2022, url

Book entry: Surname, First name, “Title of Web page”. Name of website. Publishing organization, publication or revision date. Access date if none other available. Url

Example: Hardin, Myra Elvira, “The Tale of Acid Bath”. Youtube. September 3, 2022. Url

— If you wish to download any files of mine, they are typically located on patreon and archive.org. I will provide zip or rar files that you can use, which can later be extracted. If possible, I will try to have more of my videos archived, at least, the more historically interesting ones. I will upload a thumbnail, if I have one, that comes with the videos. In 2021, I had a hard drive crash, and I don’t have the thumbnails to the old content.

I’m not perfect, so I might miss things, or forget a thing or two. If there is a video or thumbnail you would like, feel free to email me. It would be a lot easier to download any files or videos from me, and any place I archive my work. The video files are usually huge, thanks to the lossless audio. With compressed zip and rar files, it shouldn’t take an entire day to download anything of mine.

I have seen my videos on other channels, and honestly don’t know why these people would rip off the videos, probably using a sketchy site that would jack up your computer. Considering the size of the files on my own computer, I don’t seriously don’t know why someone would try to download the uncompressed videos in their entirety. Some videos are huge, some are “little”. The biggest file so far is the “Child of Satan, Child of God” master video. It’s 68 gigs on my computer. Some videos can be 1 gig, or half of one, but it still takes up space. I honestly can’t fathom why someone would download the hours-long videos! Save your internet, save your cpu, and just go with the archived versions.

—

As of right now, that seems to be it! I’m sure that we’ll encounter something dumb along the way, where I’ll eventually have to update these rules. As of right now, I just want to keep it simple.

[DONT]

-Upload my content to pay sites, link it using spam links/scammy trackers/and anything that grifts a person ❌

-Act like my content is your own. Please credit me. Link my channel, tumblr, patreon, something. ❌

-Fry your computer trying to download the files, mainly the videos, from a shady website. Go check the archive, or email me directly. ❌

-DONT BE STUPID!!!

[DO]

-Ask if you’re unsure ✅

-Feel free to use my content for educational, personal, and/or FAIR USE, purposes. These are fine. ✅

-Ask for permission if you wish to upload something of mine. I will only allow this for true archival purposes. Email me for permission. ✅

EMAIL: myraelvirablog@gmail.com

[SOURCES]

chicago:

MLA: https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_other_common_sources.html

APA:

[vileart]

My Fanzine

The Vile Fanzine

This year, the Vile Arts will be producing some fanzines, with financial help from artists who will be featured. This page explains the idea behind the fanzine, and gives a rough idea of what it might look like.

Why am I doing this?

In the past, I have done a 'dramaturgy database' - free to be included, and all a company had to do was answer a series of email questions. It was a great success, allowing artists to speak on their own terms about their show, and giving me a really good idea about which shows were well-considered and vibrant productions, and those made by lazy chancers. I also found out that some PRs are really lazy and don't reply to theatre editors, despite claiming to represent clients. I've stopped that now, because it was too much work for no pay, didn't get used enough on social media by the artists (a few did, but it was obvious in the number of hits who didn't), and I don't need it for my research anymore. But I am keen to develop my publishing skills this year. So, the fanzine is a solution. I am giving artists a chance to support criticism, and possibly have a lovely souvenir of their time at the 'venal pit of depravity'. There are a few other reasons, but I'll get back to them. What will it look like? Each issue - I shall do up to four, depending on support - will be 24 pages long. The cover will be colour- and have a lovely illustration on it. The inside pages will be in black and white, to keep costs down. It will be the size of a comic book. Each issue will contain four articles of four pages about four companies. That gives me a spare page for a editor's note (by me or one of my critic pals), and sundry acknowledgements.  The articles will be a similar format to the old dramaturgy database: email interview, press release... and no critical comment from me. It has the same intention as the DD - to let artists speak in their own voice. There will be pictures, too, and probably some of my comic book detournements. The cost to contributors is in multiples of £130. For each £130, the contributor will get 90 copies of the fanzine, which they can distribute in any way they chose. They can sell it at their shows for a couple of quid or so, maybe £2.50. They can give them away in the street instead of flyers. And yes, they will be supporting themselves and the other featured artists. That is what I like: artists helping each other. The cash will go towards paying me a fee, paying other writers I ask to contribute and printing. I hope to give a contribution to Troy Deeney's Foundation, if it is still going, or another charity, but that will be small. I'd encourage artists who sell their copies to give the Foundation any profits, but only if they recoup their costs first.  It is about co-operation! I am not taking adverts, because they are better placed in The List. I won't be quoting other critics in the articles, either. But I like the idea that artists can make an effort to support a bit of critical experimentation, and get a nice thing to have as a kind of programme for their show, and can actually, by distributing the fanzine, show solidarity with other artists, whom they have probably never even met but with whom they will share the pain of the Fringe experience. The Cost I am worried about that - it might seem a bit steep. And I am not even doing much distribution myself (I might do a bit with the copies that I have myself, but it is not a skill I want to develop. It's the project managing and the design I am all about). But that's why I don't mind people deciding to sell them. That way, they can recoup their expenditure. But each £130 pays towards a print run of at least 400 copies. That means 400 issues featuring a four page (comic book sized) article about the show, and I reckon they are pretty rare in the Fringe. 

from the vileblog https://ift.tt/2t0kfTo

[dyspla]

DYSPLA International Moving Image Festival, 14th-18th March at The Crypt Gallery

DIMIF, with the support of Arts Council England, will exhibit the work of over 30 dyslexic and neurodivergent filmmakers from 14-18th March 2018 at the Crypt Gallery in Kings Cross, London, so do not miss your opportunity to witness the work and participate in the first-ever festival that will investigate the theme of the Dyslexic Aesthetic.

CLICK TO BUY TICKETS

We are very excited to welcome our incredible DIMIF filmmakers and our Award Winners. The work they produce is a massive contribution to the dyslexic/neurodivergent creative community.

We are proudly celebrating not only neurodiversity, but also other types of diversity:

Researchers on the AHRC-funded project ‘Calling the Shots: Women and Contemporary UK Film Culture’ have found that women made up just 14% of directors and 7% of cinematographers on UK films from 2003-15.

Of those women, only 10% of directors and 4% of cinematographers were of Black, Asian, or Ethnic Minority identity, making only 1% of all directors and only 3% of all cinematographers BAME women.

*Thank you to WFTV for providing an article on this research.

In the light of these findings, DYSPLA is proud to celebrate the fact that 2/3 of our award-winners are representatives of the BAME community, and that one of these is a woman.

The festival itself is a novelty, presenting the films in a way that will blur the lines between traditional film festivals and the art gallery experience. DYSPLA loves to challenge their audiences and this festival will challenge how the films are experienced and how the audience can/will interact with the films.

The Themes 

Our films explore themes of birth, life and death, and the fight for existence. 

How do we as humans deal with tragedy, corruption, inequity, prejudice, moral issues, ethics? 

These are the universal questions in all of DYSPLA work and in true DYSPLA fashion, we echo the stories of under-representation in our society.

MEET THE AWARD-WINNING FILMMAKERS

Mike Forshaw - Saturday (2015)

“As someone who was only diagnosed with dyslexia whilst at university, I strongly believe that open conversation is vitally important to raise public awareness and understanding for a condition that many people still do not fully understand. This event will hopefully provide an excellent opportunity to discuss how my dyslexia has shaped me as a director and why my diagnosis was so liberating.”

Born and raised in Liverpool, Mike studied film at Northumbria University before moving to London to study Fiction Direction at the National Film & Television School. His graduation film premiered at the BFI London Film Festival, and his shorts have screened at the numerous UK and international film festivals.

In 2013, Saturday was awarded a top prize during Nisi Masa’s European Short Pitch, and the film premiered at Sundance Film Festival in 2015. In 2014 Mike was selected for TorinoFilmLab’s AdaptLab workshop and is currently developing his first feature, King of Grain, with Agile Films.

Featured Film - Saturday (2015)

“A fictional account of how the Hillsborough stadium disaster – which claimed the lives of 96 Liverpool supporters – unfolded for one family back home in Merseyside.”

Although Saturday is very much linear and lucid in its style, director Mike Forshaw manages to incorporate some non-linear and dream-like, subtle, foreshadowing elements into the story. The film offers a fresh view on a well-documented national tragedy, by placing the focus well away from the actual event - creating emotional microcosms representative both of the direct violence of Hillsborough and the ignorance that led to it, as well as of the massive impact the tragedy had on its community.

MEET THE AWARD-WINNING FILMMAKERS

Emma Allen - Ruby (2013)

Emma Allen resides between Sri Lanka and London. She’s an internationally recognised artist that is entirely self-taught and produces work in a broad range of different mediums.

A maker at heart, and combines painting, body-painting, animation, sculpture, sewing and even light in her work. Despite such breadth her work has a clear focus on the human condition, and how it interacts with nature.

She’s best known for her body-paint animation work which has been exhibited all over the world, received millions of views online, and press coverage in print and online and featured as TV news stories in 12 countries.

Her work manages to combine critical acclaim with mainstream appeal, attracting audiences in many countries around the world. Emma is not afraid to tackle big issues with her work and through the course of it has helped a number of charities, worked with refugees, prisoners and founded her own arts charity for disadvantaged children in Sri Lanka.

Featured Film - Ruby (2013)

“An animated self-portrait exploring the idea of rebirth and illustrating the transfer of energy from one incarnation to another.”

Ruby is a stop-frame mixed media short film which encapsulates our festival’s themes of birth, life and death in a literal way - depicting the process of ageing, dying and being born again in a series of representative face-paints. It explores the wider context of how we as humans fit into nature and the universe. It also touches on ideas of belief and religion, spirituality, the supernatural, and life after death.

MEET THE AWARD-WINNING FILMMAKERS

Lemohang Jeremiah Mosese - Behemoth: Or the Game of God (2015)

Lemohang Jeremiah Mosese is an award-winning Lesotho/South African filmmaker and artist. He has worked as writer, director, cinematographer and editor since 2007, and currently spends most of his time between Lesotho, South Africa and Berlin. His work ranges from feature length to short films and image films to music videos.

Two of Mosese’s short films, Mosonngoa (2014) and Behemoth: Or the Game of God (2015) have been screened at over a hundred film festivals, including: Clermont Ferrand International Film Festival; Raindance International Film Festival; Kinodot Film Festival; Festival del Cinema Africano; d’Asia e America Latina; as well as the Durban International Film Festival and L’Étrange Festival.

Mosese is also an alumnus of the Berlinale Talent Campus (2011) and Focus Features Africa First (2012), as well as the Realness Screenwriting Residency (2017).

Mosonngoa won him the ‘Best Short Film’, as well as the special award ‘Premio Associazione Sunugal’ in Milan in 2016. Behemoth: Or the Game of God has won ‘Best Short Film’ at the Kinodot Film Festival in 2016; the ‘Signs Award’ at Festival International Signes de Nuit Student Jury Prize in 2016; and the ‘Special Jury Prize’ at Moscow International Experimental Film Festival in 2016.

In January 2013, Mosese co-funded Mokoari Street Productions - a film and video production company, working on projects in Lesotho, South Africa and Berlin.

Featured Film - Behemoth: Or the Game of God (2015)

“An itinerant preacher declares to his followers: their God is in the coffin he is dragging along.”

Mosese manages to convey a very strong political rhetoric into Behemoth that touches upon themes of corruption, poverty and power - symbolised by a key referent in the film - money; and the control that it holds over people. Biblical language is used throughout; “I am the javelin in the hand of Cain”, shouts the preacher; “And I have come to bring you either life or death”. The apex of the film serves to illustrate the people’s hypocrisy and greed, which go against the very tenets of the religion they seek to protect so fiercely: “Have you lost your souls?” - cries out our preacher.

                       Stan Brakhage (Special Mention)

James Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film. His work is often noted for its expressiveness and lyricism.

Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality, and innocence.

Featured Film - Window Water Baby Moving (1959)

“The film documents the birth of the director's first child, Myrrena, by his then-wife Jane Brakhage.”

*Image Courtesy of the Estate of Stan Brakhage and Fred Camper.

The graphic imagery of Window Water Baby Moving carries with it a shock value which makes the work frank, honest and powerful. The non-sequential, non-narrative style of the film instead offers us something very visceral, instinctive and primal in conveying the miracle that is childbirth. Expectation, pain, joy, wonder and love all intertwine on screen in scenes leading up to, during, and after the birth.

*Many thanks to Lux, for their support and co-operation in providing us with the footage of Window Water Baby Moving.

      ALL FILMS WILL BE SCREENED CONTINUOUSLY                                       THROUGHOUT THE FESTIVAL

TICKETS ARE LIMITED - BUY YOUR TICKETS NOW!

Listing Information*

Awards Ceremony, Gala & Gin Reception: 14th March, 7:30 PM - 10:00 PM, £30.00

Industry Panel Discussion: 15th March, 7:30 PM - 9:30 PM, £10.00

Daily festival screenings: 15th March, 1-7 PM; 16th-18th March, 1-8:30 PM, £5.00

*All tickets will include £1 booking fee. Tickets are an extra £5.00 on the door.

The Crypt Gallery, Euston Rd, King’s Cross, London, NW1 2BA Closest national rail and underground stations: King’s Cross & Euston