#raidell

[laismoura-art]

PLEASE! PLEASE! PLEASE! DON'T BE SECRETLY EVIL! DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL!DON'T BE SECRETLY EVIL! FOR THE LOVE OF RAIDEN, SINDEL

DON'T BE SECRETLY EVIL!😭😭💜💜

[creamecream]

Been making my personal story characters in Custom Cast, and for some reason I want to share them? so I will.

Not exact, but close as I could do.

All made in the Custom Cast app.

Princess Ambrosia Fernheart

(deer, she/her)

Spymaster Callahan Rox

(dragon, he/him)

Ahriah Stonefang

(I don’t remember species, she/her/they/them/dae/daem)

Belongs to @berrisweet-panda

Valkyrie Raidell

(mostly human in appearance, she/her)

Mayweather Aribelle

(fox, she/her)

Bigsby Hover

(dragonfly, he/him)

Kanna Mclaira

(human, she/her)

Myst Aribelle

(dog, they/them)

Abigayle Cornwall

(cat, she/her)

I’m missing a few characters (I’ve posted Barren before, he’s clearly not here) these are just who I’ve made so far, and I like them.

[allfleetingdreams]

LORR RAIDEL

Lorr is an old OC of mine from 2010, a result of me being one of the biggest weebs back in the day lmaooo

I have not seen my old writing of his story for a decade now and so I barely remember his background, but!! He's supposed to be an assassin sent on a mission to take down 12 enemies - the Zodiac signs personified called the Brothers & Sisters - because they spread evil all over the land, but in reality it's to stop him from learning the truth that he is the 13th brother, the unspeakable one, Ophiuchus, the Serpent Bearer. Traitor of the family, but for good reasons. He can never do what he was told because that meant he was harming people. He was sent on this mission alongside an archbishop, a priestess, and another assassin he eventually becomes involved with but in reality he has fallen for the priestess - but he is avoiding her because he's involved in a dark past that caused the priestess to lose her family, although she doesn't know that.

I don't think this is a story I will revisit in the future because of how incredibly convoluted and downright ridiculous it is, but I love it despite its cringy nature, and I wouldn't be where I am today as a writer if not for this story! This is actually the second one I've finished. I've yet to talk about the first story I have ever written and finished - if I have the guts to reveal that much more preposterous mess 😂

But even though I may never rewrite the story again, I'd love to draw Lorr more in the future. Yes, his name doesn't make sense. Please forgive 14 year old me. They were just trying to have a good time even when they were bullied for being such a weirdo. Proud to say I'm still a big fucking weirdo.

[ao3feedsheith]

The Naked Truth

The Naked Truth https://archiveofourown.org/works/57028819 by raidelle Shiro couldn’t believe how he got into this situation—the “situation” being in the back of a paramedic van in the middle of the night, wearing only black silk boxers (and a thick blanket given to him by a kind EMT).   Well, actually he could. It’s because he liked to sleep naked. Words: 885, Chapters: 1/1, Language: English Fandoms: Voltron: Legendary Defender Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Categories: M/M Characters: Keith (Voltron), Shiro (Voltron) Relationships: Keith/Shiro (Voltron) Additional Tags: Meet-Cute, Alternate Universe - Modern Setting, SHEITH - Freeform, First Meetings, Shiro is a gay disaster, Keith is Confident via AO3 works tagged 'Keith/Shiro (Voltron)' https://archiveofourown.org June 30, 2024 at 12:35PM

[sociedadnoticias]

El cubano Martínez , otro buen relevo en béisbol japonés

Otro buen relevo del cubano Martínez en béisbol japonés SN Redacción | Prensa Latina Tokio- El cubano Raidel Martínez firmó hoy otro buen relevo con Dragones de Chunichi en la Liga japonesa de béisbol, aunque no se llevó el salvado porque el juego se fue a extraiinning. Como es habitual, Martínez lanzó el noveno episodio, sin imparables ni carreras con dos ponches, pero se mantuvo el abrazo sin…

[pelotacubanausa]

En este episodio de Pelota Cubana USA, se analiza si Livan Moinelo y Raidel Martínez están preparados para dar el salto a las Grandes Ligas después de su destacada actuación en Japón. Se examina su desempeño en detalle, desde su repertorio de lanzamientos hasta su capacidad para manejar la presión en el montículo. Además, se compara su ascenso con el de Yariel Rodríguez, quien ya está en las Grandes Ligas, discutiendo si se mantendrá como abridor o regresará al bullpen. Es un episodio lleno de análisis y pasión por el juego, explorando el futuro de la pelota cubana en el béisbol profesional.

[todocubaonline]

Ariel y Raidel Martínez jugarán en serie de estrellas del beisbol japonés

En el evento de dos partidos (19 y 20 de julio) participarán cuatro latinos.

Los peloteros cubanos Ariel y Raidel Martínez jugarán en la serie de las estrellas de la Liga Japonesa de Beisbol Profesional 2023. En el evento de dos partidos (19 y 20 de julio) participarán cuatro latinos. La serie se desarrollará en los estadios Vantelin Dome, de Nagoya, y Mazda, de Hiroshima. Por la Liga del Pacífico estarán Ariel Martínez, el mexicano Roberto Osuna y el dominicano Luis…

[rsun0525]

#rigatonivodka #italianfood #netde #igdelaware #foodporn #instafood #foodstagram #foodgasm #yummy #delicious #letsguide #followme #pennsylvania @favaitaliano — view on Instagram https://scontent-iad3-1.cdninstagram.com/v/t51.29350-15/339821596_994996221537831_5642610974239090969_n.jpg?_nc_cat=102&ccb=1-7&_nc_sid=8ae9d6&_nc_ohc=rAIDeL-QQXwAX9qBPvg&_nc_ht=scontent-iad3-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AfD3ka2qiX7w-KwNiFhL3DaACGSyPFpf4D7_KHdNadZ-4A&oe=6431BE8D

[goalhofer]

2023 World Baseball Classic Cuba Roster

Pitchers

#21 Naykel Cruz (Piratas De Campeche/Ciudad Matanzas)

#22 Frank Álvarez (Chunichi Ryū/Ciudad Pinar Del Rio)

#29 Yariel Rodríguez (Chunichi Ryū/Camagüey)

#45 Luis Romero (Las Vegas Aviators/Ciudad Guantánamo)

#53 Elián Leyva (Rakuten Hóuzi/Havana)

#55 Roenis Elías (Iowa Cubs/Ciudad Guantánamo)

#57 Ronald Bolaños (Omaha Storm Chasers/Santa Cruz Del Norte)

#58 Yoanni Yera (Olmecas De Tabasco/Ciudad Matanzas)

#82 José Rodríguez (Toros De Camagüey/Havana)

#83 Carlos Viera (Saraperos De Saltillo/Havana)

#89 Liván Moinelo (Fukuoka SoftBank Hōkusu/Ciudad Pinar Del Río)

#91 Yeudis Reyes (Indios De Guantánamo/Ciudad Guantánamo)

#92 Raidel Martínez (Chunichi Ryū/Ciudad Pinar Del Río)

#98 Onelki García (Leones De Yucatán/Ciudad Guantánamo)

Catchers

#2 Ariel Martínez (Hokkaido Nippon-Ham Faitāzu/Ciudad Matanzas)

#16 Lorenzo Quintana (Tigres Del Licey/Ciudad Pinar Del Río)

#17 Andrys Pérez (Cocodrilos De Matanzas/Havana)

Infielders

#5 Yadil Mujica (Cocodrilos De Matanzas/Ciudad Matanzas)

#8 Luis Mateo (Elefantes De Cienfuegos/Ciudad Cienfuegos)

#10 Yoán Moncada (Chicago White Sox/Abreus)

#42 Dayán García (Cazadores De Artemisa/Havana)

#47 Yurisbel Gracial (Fukuoka SoftBank Hōkusu/Ciudad Guantánamo)

#71 Bárbaro Arruebarrena (Cocodrilos De Matanzas/Ciudad Cienfuegos)

#77 Andy Ibáñez (Toledo Mud Hens/Havana)

Outfielders

#1 Roel Santos (Olmecas De Tabasco/Bayamo)

#7 Yoelkis Guilbert (Quebec Capitales/Havana)

#33 Yadir Drake (Leones De Yucatán/Ciudad Matanzas)

#52 Yoenis Céspedes (Águilas Cibaeñas/Campachuela)

#54 Alfredo Despaigne (Fukuoka SoftBank Hōkusu/Palma Soriano)

#88 Luis Robert; Jr. (Chicago White Sox/Ciudad Guantánamo)

Coaches

Manager Armando Johnson (Beisbol Cubano/Isla De La Juventud)

Bench coach Germán Mesa (Beisbol Cubano/Havana)

Hitting coach Orestes Kindelán (Beisbol Cubano/Santiago De Cuba)

Pitching coach José Elósegui (Cocodrilos De Matanzas/Havana)

Assistant pitching coach Pedro Laza (Veguero De Pinar Del Río/Ciudad Pinar Del Río)

1st base coach Armando Ferrer (Cocodrilos De Matanzas/Ciudad Matanzas)

3rd base coach Rafael Munoz (Beisbol Cubano/Havana)

Assistant coach Humberto Guevara (Beisbol Cubano/Havana)

[el-cortadito-web]

El mundo del deporte extremo en Cuba lamenta la pérdida de Raidel Cobas El paracaidista cubano, Raidel Cobas, ha fallecido mientras practica...

[crosscountryrally]

Adrien van Beveren gana el Abu Dhabi Desert Challenge y se mete en la pelea en el Mundial de Rally Raid

El piloto francés Adrien van Beveren fue el claro dominador del Abu Dhabi Desert Challenge 2023 y después de alcanzar los primeros puestos en el día 2 jamás miró atrás y logró comandar las acciones los días siguientes. Van Beveren consigue así la victoria seguido por Luciano Benavides a 4 minutos y 18 segundos y Toby Price a 5 minutos y 13 segundos.

Con los resultados, el Mundial de Rally Raid FIM W2RC queda comandado por Price, que lleva dos podios en 2023, con 46 puntos seguido por van Beveren con 42.

“Se siente muy bien ganar, para mí como piloto y también para el equipo que invirtió en mí. Fue un poco frustrante no estar en el podio en el último Dakar estando tan cerca. Ahora venir aquí y ganar el Abu Dhabi Desert Challenge solo unas semanas después del Dakar es una gran sensación. Esto es muy importante para mí y para el equipo para mantener la motivación. Seguro que seguiré trabajando para conseguir más victorias, pero ahora es el momento de saborear y disfrutar el momento. Realmente feliz con la atmósfera y el espíritu del equipo, es fantástico cuando puedes ganar y divertirte al mismo tiempo” declaró Adrien van Beveren.

La lucha con Pablo Quintanilla quedará para otra oportunidad, ya que cuando las cosas estaban más apretadas una falla mecánica en la Etapa 4 dejó al chileno fuera de carrera y sin puntos en esta ronda del Mundial.

Nacho Cornejo tuvo una buena actuación en el último día terminando P2 pero Toby Price fue todavía mejor y le arrebató el podio por apenas dos segundos. El chileno termina cuarto y suma buenos puntos para el Mundial.

El W2RC volverá a la acción entre el 22 y el 28 de abril en México para el Sonora Rally.

Clasificación Final

Adrien van Beveren (Honda) 17:13:39

Luciano Benavides (Husqvarna) +4:18

Toby Price (KTM) +5:13

Nacho Cornejo (Honda) +5:15

Ross Branch (Hero) +6:17

Skyler Howes (Husqvarna) +6:23

Ricky Brabec (Honda) +10:05

Tobias Ebster (GasGas) +1:28:11

[444names]

female portuguese forenames

Adeirle Adele Adelia Adréia Albeca Albel Albia Albiana Alemí Alemíone Alena Alenarla Alexanda Alfona Alfonce Alfoncia Alfone Aliana Aliance Alina Alisca Alvia Alviceda Alódilete Alódita Amana Amanedia Amorala Amálica Amântina Amântônia Améliana Amélina Amélissa Anana Anaíntia Andalia Andalote Andra Andrisa Andrise Andrélia Antia Antilda Antilica Antina Antinha Aparilena Arlana Arles Arlexana Armarola Arnéliol Atera Auguela Augunção Aurde Barla Beana Berenica Beriles Berna Bertina Brana Brunda Bríciete Camina Camonsa Camonsta Carana Carbara Carbaria Carda Carde Caria Carilma Cassa Casta Catia Catásinha Celeia Cesside Cibel Cibete Cilaisca Cilda Cilde Ciloís Claisa Clemana Clomena Clomila Clota Clotina Cloísa Cláucide Conaliana Conca Concis Consa Corandria Corena Criana Crine Crinha Crisana Crisanuel Céliana Cínta Cíntana Dafigna Dafina Dalanolis Dalda Deiandana Denélia Denéloísa Desálixta Digéliete Digélina Domila Domina Dominha Dorança Dorde Dorina Dorineda Dorna Dornaelda Drícista Drígia Dríona Dulcedia Déboranca Débores Déboreza Edilda Edina Edita Editórisa Elais Elina Elixta Elmana Elsabe Elsabela Elsabele Elzia Elziana Elzielia Elziete Emana Emilia Emina Emíli Emílvodia Eneditar Erinietia Ernéliana Esmenda Evana Evança Fabela Febela Febelia Febra Febria Felia Felívia Ferma Filata Filvânica Flária Fláucia Frandalia Fábiança Fábina Fátia Fátina Fátine Gabela Galda Galentina Galessa Galina Galma Geiandra Gemana Gendita Gereza Gertia Gilina Gilma Gistásida Glávia Grana Grantinae Graziete Grisana Griselia Guilia Guiza Helarina Helda Helia Helieta Helina Helissina Helícia Hereza Herna Herônida Hilda Héliana Ifigna Irido Irila Isilia Jacia Jacimonsa Jacisela Jaelara Jaelete Joane Joselisa Josia Josário Judita Judorda Julia Justásine Jéssa Jéssida Jéssiline Júliana Júlixta Júlixtana Júnisa Katilda Katinia Katrido Katrígina Katríope Larcia Larcina Larotanda Laula Laurote Lavína Lavínta Laélilda Laínica Laínta Laísa Leataria Lenalde Lendita Leodo Leodora Leodorde Leona Leone Letina Lianuela Lilaida Lildada Lilia Loraciela Loracis Lorafne Lorda Lorintina Lorolica Lorote Luceia Luceição Lucia Lucianca Lucianda Lucieteis Lucilda Lucina Lucinica Lucéli Lucélina Lucéline Lucíline Ludia Luida Luile Luina Lurda Lídita Lígonora Lígonsa Lílvodo Lívica Lúcianca Lúzirga Madade Madadesia Mantia Manuela Marda Marde Margia Mariol Marmilda Marotina Martia Martriana Matriana Matrudo Matríope Matásina Melia Melpômena Merene Mertina Merténisa Merônia Milaida Milenessa Milia Máriana Márica Máris Mônia Natrunça Nefelope Neusabe Neusanca Neustia Nevessa Noemíope Núrida Núrina Núrinica Núrio Ofélisa Olgina Olária Oláudeta Oláudovia Olícina Ondreside Ondressia Ondreusa Ourde Parina Parlexane Paroana Paterna Patália Paulia Paura Prina Priseta Quila Quintine Quizana Radela Raida Raidel Raista Ramirenda Ramonsida Raquela Raqueli Rebrica Reguna Regusta Regustáli Ronsa Rosel Roselia Roselma Rosemeia Rosárise Ruteissa Ruterna Sabelia Salmane Saloís Sange Sança Sermí Serna Sertipar Severa Shirgia Sibela Sibelina Sibeta Sibina Silina Simena Similina Simora Sofigna Sofina Solia Solinha Sueda Sílina Sílvânia Sônica Sônida Taisa Tatana Tatipa Teodia Teodita Teona Teressia Termina Thaida Tingélota Tinia Trindra Tálica Tálilucia Táliselda Tálixta Valda Valdalia Valinaela Valise Vandia Veres Vilete Viodorole Violana Violia Vivia Vivicido Vivicila Ximilda Xândreca Xânicieli Águna Ângénissa Úrsulieta Úrsuna

[haitilegends]

Watch "Fòs" on YouTube

FÒS CREDITS:

Paroles et musique

Emeline Michel

Arrangements Harold Saint Louis / Emeline Michel

Strings arrangements

Tom Cabanniss

Piano Harold Saint Louis

Bass

Andy Anrianstialonina

Violon et cello ARKAI

Drums

David Chiverton

Recorded at Boomtown and Greenvines

Engineers

Eric Elterman and Ludas Charles

Back up vocal Emeline Michel

Mix and mastered

By Cedric Louis

FÒS Video

Film By Lamont Burrel and Adolfo Mena Cejas

Edited and color correction by Adolfo Mena Cejas

Locations:

Film at All Angels Episcopal church

Duane Park

Special guests :

ARKAI

Arielist: Onyx Noir

Abigail Williams-Joseph

Wardrobe: Passe-reine

Make up Jolie artist MakeU jolie Jolie by Jolie

Conception and production Emeline Michel 4 Production cheval de feu🔥

A Huge thank you to Melike and Gashford for introducing me to Abigail.

Abby you are such a blessing Thank you for personifying with eloquence the warrior in all of us.

Profound Gratitude to my amazing collaborators Harold Saint Louis, Tom Cabaniss Jonathan Miron, Philipp Sheegog for sharing with me Their God given virtuosity.

My forever dream team Adolfo Mena Cejas, the Liquid director.

Eric Elterman, Francois Parmentier, Gahri Lubin, Raidel Perez,

In my book of best men alive, for always giving your very best.

I have made it all stand rock solid!

Love and Gratitude

~ Emeline Michel

[lca-portfolio]

Lucia Conde Arenas

Of Haunted spaces and ghost cities: the artistic research in filmmaking - Ella Raidell

What?: In the artistic research project ‘Of haunted spaces’ by Ella Raidell, Chinese ghost cities are researched through factual documentation as well as artistic visual means. Raidell researches cities in China built for millions but not lived in, ghost cities. She researches this practically, through visits to the actual locations reported to be ghost cities, creates maps and documents of these places. However as Raidell states in the opening of her research “These places are indicated on a map, but what counts in this research is neither this fact nor the ghost city index, nor the amount of concrete and steel that is used to build these places, but how these sites are affecting the body and living conditions.”. Furthermore the majority of Raidels research consists of the interpretation made or what she does with the footage of these locations. She states the aim of this project was not only to document these locations, rather to play with the locations through performative acts. She states that the aim of this process of research was to create the narrative for an essay film. An essay film that included performative aspects as well as critical information, the mixture of these two aims to tap into the fictional or haunting aspects that cognitive capitalism brings to the ghost cities. This duality and multidisciplinary aspect to Raidell’s work is at the core of what makes this work have multifaceted dimensions to the understanding of a ghost city. Raidel not only researches and comments on the political implications of the ghost cities, but also researches the visceral psychological feelings of a ghost city. Through the more abstract research of the ghost cities, Raidell opens up a research into the fictional/ fantastical existence of these ghost cities in the minds of governments and companies. This means of multifaceted research opens up many different lines of interpretation of the ghost city, through the fantastical and the realistic. 

Why?: In the case of this artistic research, the why is clear yet also somewhat vague. Clear in the sense of its political purpose or awareness/ documentation of these ghost cities. Through the newspaper and the written text Raidell clearly explains her research around urban space and its rapid development. The impact of this development on cities torn down  “Yomi Braester phrases the phenomenon of urbanization as ‘monuments of the forgetting, a space of consumerism and speculation, a metropolis in the process of being demolished and reconstructed, a city that burns down and leaves room for neither personal memory nor collective identity”. For Raidell this research is necessary not only for opening conversation about the  politics of urbanization and ghost cities, but also simply for the documentation of stories of the rapid shifts of development. Which otherwise will only exist as small memories left eventually to be forgotten. “It is necessary to put together these hidden stories scattered in our literatures, visual cultures, daily routines, urban legends, and so forth as a way to cope with a global scale of shifting politico-economic power distilled into the haunted places of ghost cities.” 

Through this Raidell explores further the haunting effect of memory on these ghost cities, “the mental effects of erasure”.  The erasure of the past is used to escape identity and the burden of history. These ghost cities are built with the aim of creating a superficial new european style of identity. They have no history and can be renovated at any time. These aspects of the ghost city is what I believe Raidell is referring to when talking about this haunting aspect. It is referred to many times in writing, in the title, The Haunting of Ghost cities. This haunting is referred to as the  fantasies and dreams of governments/ real estate/ urban planning. It is this aspect that Raidel refers to that is the somewhat unexplained or unexplainable aspect of the why. The unscientific aspect of ghost cities, the memory and imagination present at these sites is researched by raidell in other means. The presence of imagination/ dreams for urbanization and the lack of life/ forgetting in ghost cities. This aspect is precisely what Raidell aims to explore through multidisciplinary research. Raidell creates performative actions to respond to these haunting actions, and creates a documentary mixed with fantasy and reality to further emphasize the haunting.  

How? One of the aspects I find most interesting about this research is how the multi disciplinary aspects of research are made specifically to suit the topic of ghost cities. Raidell presents the research process through a newspaper publication, Ghost Paper, a reference to the traditional Chinese joss paper that is burned as an offering to the dead. “The ghost paper as visual mediation underlines the fable of the excess that demands constant progress and growth by an invisible force.” Raidell explores different aspects of the research through appropriate means. When researching the graphics of ghost cities raidel makes a topographical map in order to understand the scale. When researching the haunting and surreal aspects of the ghost cities, Raidel uses performative or artistic techniques as a method of researching its effect. 

Raidel explained how this research of the fictional reality of capitalist societies is approached through the staging of questions in the form of performative acts. Through the development of an appropriate/ specific methodology the haunting of the ghost city can be expressed. It is through these performative acts that Raidell plays with the sites, adding character and story as a means for inquiry. Raidel researches the performativity in the everyday, “the slogans of real estate agents, the movements in emptiness, the sounds of destruction, or the silence of the eerie places.” In documenting these sites, the signs of life and people are the performers: construction workers, security guards, people on the street involved in maintenance or promotion of real estate. The act of making these people performers, protagonists who are playing the site, embodies the idea of performing as an act of staging questions, opening the documentation to be a stage for inquiry. Rather than a more straightforward approach of research in finding facts, documents or explanation, Raidel uses the site and characters as a means to raise questions in filmmaking. Through this staging of questions in the form of performative acts Raidell is able to tap into the fictional reality of capitalist societies. “How can we interpret the urbanscapes affected by the consequences of global capitalism in terms of the cinema experience?” The process of research creates the narrative for a film, A Pile of Ghosts, as a performative documentary, combining acting and reenactment, reality and fiction, revealing the process of its own making. “Together, the maps, the performances, the short films, and the commentaries show the ‘making-of’ the research as much as the presentation of the research process” These techniques are used as a means to express the effect of cognitive capitalism, urban and social realities. 

So What?

One of the most interesting aspects for me about Raidells work is a new approach to research through the process of artmaking. Raidell's multidisciplinary approach to research uses performance, short films and written text in order to delve into specific aspects of the research that can be better explored through different means. Raidels artistic means of research exploring the notion of Haunting in Ghost cities describes something about the haunting aspect to the research that cannot be explained through other means of research. Ghost cities can be researched by other scientific means, statistics, topography etc. However the haunting aspect that Raidell depicts as essential to understanding the ghost city is only expressed through artistic forms of research. I feel this is essential to the understanding of the ghost city as an outsider reader as I can understand through research the general politics of the ghost city. However with the artistic forms of the film or performative acts, I feel I can get a much better understanding of the feeling of being in a ghost city. Moreover I will take away from this research project the relevance of a multifaceted approach to research, having specific research techniques relevant to the topic itself. As well as the idea of answering a research question through the process of making art.

____________________________________________________________________________ 

Corpus Delicti by Coco fusco

(you can read the full PDF of book here:https://b-ok.cc/book/966177/a6a728 )

What?: The book Corpus Delicti by Coco Fusco is a comprehensive collection of performance art in Latin America. The essays in this book (contributed by artists and scholars) bring up a historical and critical study of the socio-political background of Latin American culture that is reflected in its performance art. The social and historical contexts  shape the way that artists respond to the environment.  The book discusses several topics with live art from the 60s to the present day, inlcuding: body art, carpa, vaudeville, staged political protest, tropicalist musical comedies, contemporary Venezuelan performance art, the Chicano Art movement, queer Latino performance. This book provides a new perspective unifying the ideas of practice and theory. I think through this book Fusco redefines the contexts of performance art and the lense through which we view them, changing the stereotypical narrative surrounding tropical art and the  preconceptions brought to latino performance art. Moreover this book opens up what it means to be a Latin artist and presents a wide array of artworks that do not restrict Latin artwork to the western lens through which it is generally studied, as serving a political agenda, feminist, politizing the underpriveled. “The Caribbean, the cradle of New World syncretism, I decide, is the perfect place from which to reflect on the significance of performances that evoke multiple forms of latinidad.”

Why?: I think this book is essential in redefining the ways we analyze and theorize Latin American art, changing our instinctual colonial ways of thinking, and giving a platform for Latin American artists to discuss their own work.  Fusco explained, during a conference with scholars and artists who presented their views on latin american performance, it was clear that people lacked opportunities to discuss their work with each other and to  see performances from other Latin countries. In response to that, Fusco decided to edit this book in order to unite the creative and scholarly, bringing together perspectives on performance to be able to compare, contrast and open discussion on these artworks. “I wanted to present an array of artists working in a variety of styles and strategies—first because I liked the work; and second because I wanted to break the tropicalist stereotypes about Latin American performativity and to unhinge the tokenistic approach that characterized much “cultural diversity” programming, limiting it to the repeated presentation of one or two “name” artists.” Moreover Fusco discusses the heavy reliance of twentieth century European and American avant garde theater taken from non western performance. And how contrastingly Latin American artists tend to look into their own culture, catholicism, rituals, african and indegenous tradition for their art. 

How?: I think one of the most essential aspects of Fusco’s methodology in this book is giving a voice to artists themselves. As Fusco states in the introduction, the lack of research into any Latin American art that is not socially or politically relevant to western conceptions of colonialism. The lack of opportunity for Latin American artists to discuss their work and view other Latino works. “I have never understood why some scholars of performance seek to keep artists out of academic discussions of their work, preferring instead a formalist approach that privileges the written text or visual document. This seems peculiarly ironic, given how much effort has been made in the field of performance studies to analyze the power dynamics of conservative anthropological approaches that suppress, marginalize or objectify the subjects of study, or that replace the fluidity of time-based cultural forms with a fixed, static script.” It is evident in Fuscos practice how important it is to have an opportunity for discussion. Simply by reading the index one can see the wide range of artists given the platform to express their work theoretically. Fusco asks artists to explain what they do and why they do it. This is quite unique when looking at the usual expressions of analysis for Latin American art. 

So what?: There are many things that make this book critical for anybody interested in performance art. The many political aspects that Fusco discusses on how Latin American performance art is typically criticized. Bringing up systemic political, colonial, social means of viewing art. The lack of research, or one sided research into western relevant latin art. Opportunity for latin american artists as a collective while under the power of their governments. For art markets in Latin America, the state continues to be the most important sponsor, controlling the network for exhibition spaces, collections, and awards. “Too many Latin Americans have suffered at the hands of authoritarian systems that reduce all forms of expression—public, private, religious or aesthetic—to a certain political value or meaning for there not to be an enormous amount of skepticism about such approaches to culture. Other interpretative models and performance strategies are just as relevant to understanding Latin American performance art. On the other hand, much Latin American performance art that engages with the social does address traditions and themes that are not taken seriously by conventional theater scholarship in Latin America. As is explained in several of the essays in this volume, a good deal of Latin American performance recuperates and revindicates “low” theatrical forms such as teatro frivolo, cabaret and carpa to use them to address social and political issues from authoritarianism and censorship to sexuality”

Other relevant artists/ researchers I am looking into:

 Baz Kershaw 

Practice-as-Research: In Performance and Screen

Robin Nelson

Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistance 

[ao3feedsheith]

The Naked Truth

The Naked Truth https://archiveofourown.org/works/57028819 by raidelle Shiro couldn’t believe how he got into this situation—the “situation” being in the back of a paramedic van in the middle of the night, wearing only black silk boxers (and a thick blanket given to him by a kind EMT).   Well, actually he could. It’s because he liked to sleep naked. Words: 886, Chapters: 1/1, Language: English Fandoms: Voltron: Legendary Defender Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Categories: M/M Characters: Keith (Voltron), Shiro (Voltron) Relationships: Keith/Shiro (Voltron) Additional Tags: Meet-Cute, Alternate Universe - Modern Setting, SHEITH - Freeform, First Meetings, Shiro is a gay disaster, Keith is Confident via AO3 works tagged 'Keith/Shiro (Voltron)' https://archiveofourown.org June 30, 2024 at 12:35PM

[artiststoolbox]

Hey, I thought I'd let you (and by extension your followers) know that Clip Studio Paint EX is on sale for about 60% off (was $209, now $87). Sale lasts until August 3rd!

Thank you!! Here’s a link to the sale for anyone whos interested :)