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Anka Herbut
is a dramaturgist working in the fields of choreography and theatre, a playwright, scholar and curator. Working at the intersection of various art forms and combining artistic practice with theoretical reflection, she deals mostly with the dramaturgy of motion, the performativity of language and the relationships between art and politics. She works with young Polish choreographers and directors. She is a recipient of the Grażyna Kulczyk research grant in the field of contemporary choreography (2019), via which she is developing the project RESISTANCE MOVEMENTS. She is a regular contributor to the online culture magazine Dwutygodnik. She lives and works in Warsaw.
A Few Queer Choreographies and a Horizon Imbued with Potentiality
Języki przyszłości [Future Tongues], Ania Nowak, 2018, Nowy Theatre, Warsaw, photo: Maurycy Jan Stankiewicz
Read Abstract
Working on the premise that the body is a territory for bringing about social change, the article's author ponders choreography being a tool in activism. To this end, she analyses the work of several Polish choreographers: Ania Nowak, Alex Baczyński-Jenkins, Przemek Kamiński and Karol Tymiński. She references a number of queer texts and theses highly relevant to cutting-edge queer theory, by Jack Halbestram, Eve Kosofsky Sedgwick, and most-notably, José Esteban Muñoz, whose concept of queerness as a vessel of potential and futurity forms the backbone of the article.
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The assumption that bodies and their interrelations are socially generated, and at the same time that they themselves create the public realm, makes it possible to treat dance and choreography as partners to queer activism, which perceives the body as a crucible for creating social change. Queerness was born out of motion, action and protest, demanding a history that would challenge identity and existing sexuality theories. Choreography and dance, in turn, provide tools useful for public physical action to become an impulse for social change: in dance, queerness can change the trajectories and means of producing movement and meaning, institutional practices, and the way relations are nurtured.
Queerness is a compound and unstable phenomenon. It is the sum of myriad experiences, outlooks, and aesthetics. The understanding of the category is conditioned by who is speaking and the cultural and socio-political context they find themselves in. Any predefined, singular perspective would negate this instability. For this reason, I prefer to focus on what queerness does to and in specific choreographers, as well as on what kinds of challenges it presents, rather than on searching for distilled, catch-all concepts. Therefore, I can't say I really love the song 'Born This Way', released by Lady Gaga in 2011 and swiftly hailed as the unofficial anthem of the LGBTQ+ community ('No matter gay, straight, or bi | Lesbian, transgendered life | I'm on the right track baby'), because, particularly when it comes to choreography, I am interested in queerness being treated as a form of conscious political engagement and not as an existing status quo. I'd rather ponder the connections queer choreography has with crisis situations and with active defiance, and how this can give rise to potentially new means of self-organization and alternative forms of social bonds.
In the last decade, queerness moved away from criticizing normative, stable identities, and sexual models, and started to deal with how to queerify time and space, institutions, neoliberalism, and civil rights.1 José Esteban Muñoz unfurls a utopian queer futurism project (Cruising Utopia: The Then and There of Queer Futurity), Judith (Jack) Halberstam writes on queer defeat (The Queer Art of Failure) and on queer places and times (In a Queer Time & Place: Transgender Bodies, Subcultural Lives), and Lauren Berlant deals with optimism (Cruel Optimism). A decade earlier, stating that queerness ought to take a first-person form of speech, Eve Kosofsky Sedgwick argued for the need to place it in a specific body and in specific time-space circumstances.2 Today, queerness is associated with any expression of non-normativity – the kind that emerges on the level of gender and sexuality but also on the level of politics, history, memory, ecology, or even community-building strategies.3
So, in this context, how to think about queer choreography? About the relationship between the choreographer and the performer? About production methods? Must one be queer to make queer choreography? How do we queerify movement itself? What shapes the relationship between physicality and the potential inherent in queer choreography? And that of queer aesthetics and activism? And who has the right to decide on what is to be included in the realm of the queer, and what is to be left out? If queerness should be a first-person declaration, as Sedgwick argues it ought to be, does it make sense as an attempt at self-definition? And, in light of all this, what does my writing about queerness mean?
Language, politics, emotion
the tongue is a muscle
According to José Esteban Muñoz, when culture crosses time-space boundaries it invites the future, wherein lies its potential. Such is Ania Nowak's Języki przyszłości [Future Tongues] (2018),4 in which queerness arises as a figure mobilizing change and functioning in a future time as speculation or utopian vision. The choreographer draws out new, unstable identities that negate the network of binary, heteronormative models and impose alternative forms of communication that are not mediated by words and semantics.
The performance begins with a text translated by Google Translate projected onto the wall. We watch as original meanings become skewed and reveal the frailty of the message. Demystifying words at the very outset, Nowak queerifies language and initiates group corporeal communication – she choreographs bodies, glances, and affectations. First this happens in a closed constellation of five performers (joining Nowak are Oskar Malinowski, Ola Osowicz, Rafał Pierzyński, and Jaśmina Polak) in which one glance activates another, to a point where the spectator is caught peeping. Over time, contact comes in the form of not only glances but bodily orientation in space and tenderly initiated touch between bodies. Cultural gender and sexual identity are transparent here. The performers are clad in identical underwear and open-chested robes. They all wear red, bazaar-variety flip-flops on their feet. They have dark unibrows, and their mouths are painted with red lipstick overflowing the contours of the lips (a perverse 'gender fuck',5 rendering it impossible to determine gender on the basis of clothing). They communicate nonverbally, shying away from language, the Polish variety of which always betrays gender and limits the possibilities of identification strictly to categories of male and female. In Nowak's play, the tongue is a muscle that engenders direct physical contact. A foreign tongue is the tongue of a stranger, to be learnt organoleptically: through kisses, sounds passed from mouth to mouth, nibbles, tastes, spitting, gurgles, murmurs, rasps, and anything else that comes to mind.
In the play's finale, the performers, up to then confined to a platform covered with a rug displaying the words 'Mother Tongues and Father Throats', now move around it freely, mouthing single words, gesticulating and accentuating them as if on a political soapbox or in a street demonstration. The rug, made by the collective Slavs and Tatars, is inspired by the absence of the guttural kh sound in Western languages, an absence that divides East and West, speaking to the arbitrariness and politicism of cultural divisions and the violence thereof. After all, though the word halgorithm does not exist, it could easily fit into our cultural expanse. The same goes for harsenal. In this manner the performers begin to include particular words in language families they originally don't belong in. The same happens to sequences of words choreographed by Nowak: animal sociale homo, horror honor horror, henna gehenna past, opus magnum lelum polelum, or teatr teatrum linoleum. With dramaturge Mateusz Szymanówka, the choreographer intercepts words, transforming and regrouping them to test the ways their originally assigned sense can shift. They dismantle the cultural, national, and sexual identities artificially attached to language and speech. Here, sexuality is an empathic and vital force. Likewise choreography, which becomes one and the same with tenderness and empathy – equally on the level of the produced material and the production process.
Bez tytułu 3[Ohne Title 3], Ania Nowak, 2018, Warsaw, photo: Bartosz Górka. Courtesy: Ujazdowski Castle Centre for Contemporary Art
In another of Nowak's works, Bez tytułu 3 [Ohne Title 3] (2018), what is being queerified is theology, the notion of the Holy Trinity, and the normative system of oppositions. Here, Nowak deploys images, symbolic gestures, and signs, softening their contours, negotiating their meanings, and reassembling them into new formations. She begins her performance in drag makeup, a wig of long blond hair, and a robust pale beard. By relying on drag as a model for the performativity of gender, Nowak reveals in a very legible manner how gender and social roles are fabricated. On the visual level, early on she introduced the figure of God the Father morphing into a mother via a lip-synced rendition of PJ Harvey's 'I Think I'm a Mother'. Another transformation occurs with the arrival of another performer (Jason Patterson/Max Göran), who cuddles up to Nowak's body to create an image of the Pietà. The choreographer/performer rocks him like a baby and places a hand on his buttocks. The sense of the instinctively recognizable gestures and poses of motherhood soon begins to slip away. The subsequent image of the child suckling at the mother's breast gradually takes on erotic overtones. Via slight alterations to their movements, rhythm, or form, gestures associated with nurturing a child become ones of sexual play and pleasure.
Joining the God/Mother hybrid at one point is the figure of Karl Marx, who, as a statue in Chemnitz, gives a speech via video projection. In Ania Nowak's voice, Marx asks: 'Do you not worry too much? Did you sleep well? Have you consumed anything lately (other than e-mails or hangnails)?' Initially signalling concern, the questions eventually begin to sound like instruments of control and to connote technologies for managing people's efficiency. Later on, Nowak constructs verbal threesomes in which the placement of a word between two others changes its interpretation: one person quickly and rhythmically reels off terms from the fields of socio-political studies, art, and economics, and the other chooses an arrangement that seems most obvious to them: terminological specifics vs. intuition and feeling. This verbal game is backed by a refrain of 'working, busy, broke, sexy', accentuating the increasingly fluid line between reason and hunch, fact and fiction, work and leisure, and communism and capitalism. Much like in Future Tongues and some of her other works, in Ohne Title 3 Nowak employs the handy practice of choreographed language, of navigating and transforming the meanings of words and phrases that have been permanently appropriated. Because of this, titles tend to be of particular importance in her case. In Offering What We Don't Have to Those Who Don't Want It (2016), three female performers read love letters in different ways and in varying formations, in doing so navigating the viewer's emotional engagement, and in a three-way motion sequence based on tender touching and narration unfolding around the repeating cue of 'imagine that…', time and space are disjointed into performing bodies and projections of intimate situations. Meanwhile, in the play Don't Go For Second Best, Baby (2016), alluding to the song 'Express Yourself' by Madonna and the pop star's controversial Blond Ambition tour, the artist worked with 'backup dancing', giving the floor to dancers typically used as complimentary pieces and, by extension, to all marginalized individuals.
Relationships, intimacy, clubbing
stranger intimacy
The American scholar Nayan Shah uses the term 'stranger intimacy' to describe close and intimate relations between people not linked by familial or institutional bonds. This is an area where space and desires are queerly negotiated.6 In the work of Alex Baczyński-Jenkins,7 the territory of togetherness and friendship is understood as a political act playing a significant role in terms of both the material being produced and the formation of close ties with other cast and crew members. In an interview with Mousse magazine, the choreographer asserts, '[W]ho you want to work with is who you want to share your life with. My works often become both an occasion and a means for relations to develop. The politics of friendship, desire, love, and community are as embedded within the choreographies themselves as they are in the processes that bring them into being.'8 For some time, the choreographer has been working with Krzysztof Bagiński, Ola Knychalska, Ania Miczko (the three of whom are part of the KEM collective with him), Agata Grabowska, Filip Rutkowski, Billy Morgan, Ewa Dziarnowska, and Rafał Pierzyński. Last year, as part of his residency at Ujazdowski Castle in Warsaw, he and fellow KEM members opened the Dragana Bar, envisioned as a safe space for queer togetherness and dancing.
all on the same roll
Is it possible to create societal and relationship paradigms by practising queer forms of togetherness? What role in the queerification of the world does improvised social dancing play, the kind that expresses the dancer's experiences, identity and sense of community? If the function of dancing for fun is more than just to release tension, if it's to express that tension and express its release, then what does this mean for using social dance as material in choreography?
One of Alex Baczyński-Jenkins's latest pieces, Untitled Dances, shown in March 2019 at Ujazdowski Castle Centre for Contemporary Art in Warsaw, deals with collectivity, desire, and queer corporality through clubbing culture and the Polish counterculture of the 1980s. Made in collaboration with Agata Grabowska, Małga Kubiak, Billy Morgan, Dawid Stan, and Strike, the choreography is driven by circulation of affect and the sharing of pleasure in dance. Prevailing here is a certain kinesthetic empathy9 rooted in the incorporation of the movements of others into one's own repertoire via borrowing and adaptation, with the individual's kinesphere constantly in dynamic conversation with the kinesphere of the group. It begins with whirling around your own axis – a technique that puts the mind into a trancelike or transcendent state. The whirling motif is repeated in different variations, as are some other elements, as the entire structure is based on borrowing movement phrases so that the material can freely circulate between the bodies. Through repetition and synchronized execution of formally constructed sequences, the whole thing can sometimes acquire a ritualistic character. Yet, sprinkled into the rigid forms are also ordinary, intuitive motions with their own qualities and poetics, arising from the capabilities and peculiarities of the performing bodies.
The performers have varying degrees of skill – there is a disabled body, there are young and old bodies, bodies with different levels of stamina. The framework for Untitled Dances is unencumbered by any overriding objective or any limitations on togetherness; it is simply a 'hangout' (the concept was already at play in Baczyński-Jenkins's performance XXXX, which dealt with social dance, discipline, and virtuosity, and negotiated physical condition and consciousness altered by psychoactive substances). Thus, the act of moving together may be treated as a queer strategy of defiance – after all, the dancefloor brings a welcome reprieve from life in sexist and heteronormative circumstances. A very interesting turn was to piece together the performance's backing music from the punk songs of Brygada Kryzys. This does not upend any connotations with techno and rave culture, a territory already quite broadly exploited in choreography, but it does accentuate the freedom element of the movements and establishes the queer dancefloor as a countercultural setting (as does the decision to invite underground legend Małga Kubiak to work on the project), a setting that guarantees a safe context for personal expression.
performing closeness by nurturing closeness
Nim zakwitnie tysiąc róż (z Warszawą w tle) [Unitil a Thousand Roses Bloom (with Warsaw in the Background)], Galeria Foksal Foundation in Warsaw, 2018, photo: Karolina Zajączkowska
While Baczyński-Jenkins operates on a macro scale as he works through the process behind social dance in Untitled Dances, in his earlier work Nim zakwitnie tysiąc róż (z Warszawą w tle) [Until a Thousand Roses Bloom (with Warsaw in the Background)] he took a micro approach to desire, to closeness, to the physical and emotional aspects of touch that allow intimacy to flourish. Presented over two floors of the Foksal Gallery Foundation, the durational choreographic exhibition focussed on the rituals of sexual encounters. Downstairs, performed in an empty room, were slices of first encounters, anticipation, longing, distance, and attempts at first kisses. This was interspersed with elements of clubbing footwork, slowed down to produce sensual movements of the hips, stomach, and arms. The upstairs was, in turn, a garden of pleasure inspired by the gallery's name, alluding to London's Vauxhall Pleasure Gardens, a known cruising spot. But Baczyński-Jenkins treats cruising not so much in terms of the fulfilment of male desires but as a context for erotic fantasy and queer fiction at large. Here, the fundamental element in the cultivation of contact is the act of watching and being watched – an act compounded by the presence of the spectators. The performers (Ewa Dziarnowska, Joseph Funnell, Agata Grabowska, Billy Morgan, Rafał Pierzyński, Filip Rutkowski, and Katarzyna Szugajew) pursue contact, touch each other, grasp each other's hands and legs, play with each other's hair, undress themselves and each other, embrace. They change with the material and the setting, repeating and looping the individual sequences. They come together to form a collective socio-political body (a part of which is also the audience) through which non-normative identities merge in a show of resistance.
What connects Baczyński-Jenkins's Until a Thousand Roses Bloom with Ania Nowak's Future Tongues is an ambiguous, flickering relationship between the performers' presence, representation, and the production of associations. In both works, the relationship between the performers themselves is also deepened by the intimate nature of the material played out in front of the audience. Or conversely, through the deepening closeness between the performers, the material being performed becomes increasingly intimate.
Space, time, colour
blue is darkness made visible10
Blue (ribbon dance), Przemek Kamiński, photo: Łukasz Brodowicz/BRATstudio
According to Judith (Jack) Halberstam, 'Queer subcultures produce alternative temporalities by allowing their participants to believe that their futures can be imagined according to logics that lie outside of the conventional forward-moving narratives of birth, marriage, reproduction, and death.'11 In his solo show Blue (ribbon dance), which premiered at Warsaw's POMADA festival in 2017, Przemek Kamiński12 treats the body, time, and space as sites where ideas are born, thereby chipping away at their boundaries. The work was inspired by Derek Jarman's Blue, one of the most radical pictures to come out of New Queer Cinema and the film industry at large, steeped predominantly in the colour blue. The retrovirus attacking Jarman's body gradually deprived him of his eyesight, and the last colour to go was blue. The director embraced art as a way of coping with his illness and coming to terms with his impending death. The film became an epitaph not only for the director but also for his many friends killed by AIDS. Blue has many connotations: it means sadness, a 'blue movie' is a pornographic film, and 'blue language' is profanity (Jarman wrote about this in Chroma). Blue evokes experiences connected with love being politicized: with non-normative desire, exclusion and illness, loss and grief. This melancholy thread is also very present in Kamiński's output. In his work, the colour blue is put into motion with the help of associations, contexts, and experiences borrowed from other artists. Blue (ribbon dance) thus becomes an archive of collective queer experience and a physical manifestation of shared cultural knowledge. The choreographer designs movement and physical and emotional states reflecting 'blueness', decorating the colour with linguistic, visual, poetic, and cinematic references.
Kamiński begins his solo with the words 'It's very nice to be here. Actually, it's very nice to be anywhere at all,' from the very outset negating the distinction between physical and virtual presence and setting the stage for imaginary times and spaces. Interestingly, the material at the heart of Blue (ribbon dance) arose to some degree through the animation of imagined pictures and the introduction of a parallel material reality. Thus, choreographic references are made to the wolf appearing on the tarot card for the Moon, and to the card for Death and the activation of the blue throat chakra. The entire space begins to flood with blue light, in which the body goes into motion in energetic amplitudes of ascent and descent. The vigorous hyperactivity of the performer's arms and legs, resembling classical poses with sharp geometric contours in an uneven broken rhythm, clashes with a body falling heavily to the ground, supported by the hands, elbows, and knees.
Arising in the textual layer alongside the words of Jarman are excerpts from Bluets by Maggie Nelson (the author of the cult book Argonauts), which conjure a vision of sexuality where queer sex is capable of liberating heteronormative sex from its constraints by a transplantation of homosexual models and a rejection of gender norms in favour of fluid gender roles ('it was around that time that I first had this thought: we fuck well because he is a passive top and I am an active bottom').13 In the show's closing sequence, Kamiński performs a dance with a ribbon (based on a routine by Frédéric Gies), a practice culturally connoted with women. The movements are thus queerified, avoiding easy categorization and landing in between what is male and female. Whereas typically it is the body that produces the dance, here the dance creates the body, projecting its non-normative image, wedging it between the binary categories and forbidding it to settle squarely in either.
Pharmakon (it radiates), Przemek Kamiński, photo: Maciej Zakrzewski for Art Station Foundation
Proving complementary to Blue (ribbon dance) is another performance by Kamiński which explores the colour blue phenomenon and the fluidity of boundaries, while employing a similar vocabulary of movements: Pharmakon (it radiates). In Bluets, Nelson explains that the Greek word pharmakon refers to a narcotic or drug without being exclusive to just one of the two categories, but both a poison and a medication. The piece's title alone imposes multiple meanings and challenges dichotomies that artificially classify reality. Also not without significance is the choice to soundtrack the piece with music by the queer icon Arca. In Pharmakon, the body becomes a site where notions are projected, an unstable, flickering screen. In fact, Kamiński performs the piece against a narrow blue screen cyclorama. Dressed in a blue costume with white sneakers, initially turned away from the audience, he himself is a screen on which images evoked by the choreography are projected. Images of the body are set into motion mainly by the surface of the back, by the bending of arms and shoulders, and by rhythmic syncopated steps, which the viewer's eyes follow with a slight delay, resulting in their registering as something like afterimages. Kamiński constantly negotiates the distance of his body to the wall of the cyclorama and its degree of immersion in the space: he makes use of the depth, in effect equalizing it with the front as he experiments with linearity and tempo. He works to accelerate and intensify the movement, only to slow it down or reverse it again. He produces impressions. In Cruising Utopia, Muñoz writes that we are not yet queer though we can feel queerness as a light on the horizon imbued with potentiality, because queerness is an ideal that can be distilled from the past and used to imagine the future.14 For Kamiński, the colour blue is precisely the tool to create such a potential.
Matter, desire, ecology
I give my body to the ocean now…
Ogrodnik [The Gardener], Karol Tymiński, Ujazdowski Castle Centre for Contemporary Art, photo: Bartosz Górka
In the choreography of Karol Tymiński,15 queerness also relates to non-normative modes of life. In this context, a particularly interesting piece is Ogrodnik [The Gardener], thus far presented as a solo post-residence show as part of the programme Sprzężenia zwrotne – nadawanie i przyjmowanie formy [Feedback: Assigning and Assuming Forms] at Ujazdowski Castle Centre for Contemporary Art in Warsaw. In February 2020, the Open Spaces festival in Berlin will host the premiere of the play Water Sports based on this material, in which Tymiński will be joined by Kasia Wolińska and Claire Vivianne Sobottke. In this project, Tymiński lays down the premises of queer ecology and intermaterial eroticism. Inspired by the still-rare phenomenon of objectophilia, meaning a romantic and/or sexual relationship with inanimate objects, he queerifies the turbo-anthropocentric connection between humanity and the environment. In this, he works with condoms filled with liquids (water, milk, and synthetic blood, sometimes with plant matter inside) resembling translucent oblong stones, which when put in motion are deformed by any external stimulus. Creating a web of horizontal relations between living organisms, organic objects, and inorganic things, the choreographer attempts to sensitize us to non-human matter. He is the empathetic caretaker of a floating ecosystem of his own design, of which he is also a component (as are the spectators, who must cross the object-strewn stage as they take their places to view the performance). Within such an arrangement, the body of the choreographer/performer is placed on equal footing with the other bodies: initially assuming the same position in the space and for an extended period declining to take a vertical stance, he mingles with the objects, assessing their properties as an animal might. After a while, though, the situation grows more complicated. The choreographer tests their durability, plays with them, establishing a hierarchical relationship based on the subjugation of matter. He possesses them, not only in the capitalistic sense but also in the sexual sense. He enters into a sexual relationship with the latex jellyfish, one that is at times governed by violence: he carries them with his teeth, hangs them on himself, hits and shakes them, presses down on them or smashes them against himself, causing them to rupture. All of this seems to bring him sexual pleasure. As the objects burst one after the other, the fluids mix on the floor and resemble a puddle of bodily secretions. Gradually, Tymiński's movements once again begin to mimic the movements of the objects: he slithers on the floor, contorting his body as if it defies precise control. In one of the final sequences, the performer smashes up several jellyfish/stones made of ice. The presence of a melting glacier onscreen further reinforces the point of the Anthropocene and its consequences. In light of this finale, the words 'I give my body to the ocean now' opening the performance, added by the choreographer to an excerpt from Virginia Woolf's letter written to her husband moments before she committed suicide, resonate as a warning of humanity's end, with the intermaterial sexuality on display in The Gardener becoming a proposal on how to reverse the destructive effects of our anthropocentric relationship with the world.
subject, object
This is a musical, Karol Tymiński, photo: Patrycja Planik
In one of his other works, titled This is a musical (2015), Tymiński treats his body as an instrument to generate samples of sound and motion. His body is at once the observing subject and the observed object, a situation in which the sensation of pleasure entails self-aggression and the experience of pain. The performer explores a body that is naked and full of desire, for which the equipment distorting and amplifying bodily sounds becomes something of a sex toy and pleasure conductor, as well as a speech transformer. In this piece, Tymiński does away with words, choosing instead to focus on direct experience, on expression and communication not mediated by any language code. In doing so, he evades normalization, whose vessel and tool is language. The video sequence closing the performance, which depicts an enactment of sexual intercourse with an implausible rainbow lover, conjures a vision of a different time-space dimension while also solidifying the image of the queer body as a territory of pleasure and resistance.
In the conclusion of Cruising Utopia, Muñoz talks about the song 'Take Ecstasy with Me' by The Magnetic Fields, which voices a yearning for a place whose borders are delineated by pleasure and progressiveness. The word 'ecstasy' here can be understood in a dualistic way; we find in it the promise of a better and more pleasurable alternative reality. In the performances and choreographic strategies discussed here, it is also possible to see a horizon brimming with potential; to imagine, and even taste, how things would be if violent, heteronormative structures were to disappear from view.
I have to laugh, it's so unreal
To lay and laugh under the northern lights
We've got a lot that others have to realize.16
This article is part of the Resistance Movements project carried out under the 2019 Grażyna Kulczyk research grant in the field of contemporary choreography. In her research project, Anka Herbut studies the tools and strategies of resistance used by Polish choreographers in their work. She ponders what bodies do and what kinds of movement and production practices they employ to express defiance. Working on the assumption that choreography deciphers social tensions, analysing and processing them to project alternative scenarios, Herbut's project also focusses on phenomena in contemporary choreography and public space protest initiatives with choreographic elements making use of resistance as an artistic strategy.
The article is an extended version of a text published in the 263rd issue of Dwutygodnik, https://www.dwutygodnik.com/artykul/8432-choreografie-queerowych-utopii.html, [accessed 10 September 2019].
Translated by Szymon Włoch
Baczyński-Jenkins, Alex, 'A Queer Politics of Entanglement: Alex Baczynski-Jenkins', interview by Eliel Jones, Mousse, 68 (2019), http://moussemagazine.it/alex-baczynski-jenkins-eliel-jones-2019/ [accessed 10 September 2019]
Blom, Lynne Anne, and L. Tarin Chaplin, The Moment of Movement: Dance Improvisation (Pittsburgh: University of Pittsburgh Press, 1988)
Eng, David L., Judith (Jack) Halberstam, and José Esteban Muñoz, 'What's Queer about Queer Studies Now?', Social Text, 84–85 (2005)
Halberstam, Judith (Jack), In a Queer Time & Place: Transgender Bodies, Subcultural Lives (New York: New York University Press, 2005)
Jarman, Derek, Chroma: A Book of Colour (London: Vintage, 2010)
The Magnetic Fields, 'Take Ecstasy with Me', Holiday (Feels Good All Over, 1994)
Muñoz, José Esteban, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009)
Nelson, Maggie, Bluets (Seattle: Wave Books, 2009)
Sedgwick, Eve Kosofsky, Tendencies (Durham, NC: Duke University Press, 1993)
Shah, Nayan, Stranger Intimacy: Contesting Race, Sexuality and the Law in the North American West (Oakland: University of California Press, 2012)
1. See David L. Eng, Judith (Jack) Halberstam, and José Esteban Muñoz, 'What's Queer about Queer Studies Now?', Social Text, 84–85 (2005), p. 23.
2. 'A hypothesis worth making explicit: that there are important senses which "queer" can signify only when attached to the first person. One possible corollary: that what it takes – all it takes – to make the description 'queer' a true one is the impulsion to use it in the first person.' Eve Kosofsky Sedgwick, Tendencies (Durham, NC: Duke University Press, 1993), p. 8.
3. Eng, Halberstam, and Muñoz.
4. Ania Nowak's activity concerns the field of choreography in the broadest sense. She produces solo and collective projects exploring the tensions inherent in language and the subtleties and permutations of the body. Nowak researches love as a strategy for generating knowledge (http://technologiesoflove.tumblr.com), as part of which she studies affective economies and the unstable structures of care, as well as attempting to redefine sensuality. She studied choreography at HZT in Berlin, where she now lives and works.
5. A form of activism aiming to abolish gender differences and undermine rigid gender-based stereotypes and roles.
6. See Nayan Shah, Stranger Intimacy: Contesting Race, Sexuality and the Law in the North American West (Oakland: University of California Press, 2012).
7. Alex Baczyński-Jenkins works in choreography and performance art. He majored in Dance, Context, Choreography at Universität der Künste in Berlin and Aural and Visual Cultures at Goldsmiths, University of London. He was the winner of the 2018 Frieze Artist Award. In his work, he concentrates on the mediation and politics of affect, subjects of desire, and new forms of personification. He is a member of KEM, a space for choreography and performance art. He lives and works in Warsaw and London.
8. Alex Baczyński-Jenkins, 'A Queer Politics of Entanglement: Alex Baczynski-Jenkins', interview by Eliel Jones, Mousse, 68 (2019), http://moussemagazine.it/alex-baczynski-jenkins-eliel-jones-2019/ [accessed 10 September 2019].
9. Lynne Anne Blom and L. Tarin Chaplin, The Moment of Movement: Dance Improvisation (Pittsburgh: University of Pittsburgh Press, 1988), p. 23.
10. Derek Jarman, Chroma: A Book of Colour (London: Vintage, 2010), p. 114.
11. Judith (Jack) Halberstam, In a Queer Time & Place: Transgender Bodies, Subcultural Lives (New York: New York University Press, 2005), p. 2.
12. Przemek Kamiński is a performer and choreographer working mainly in Berlin and Warsaw. He is a graduate of HZT Inter-University Centre for Dance Berlin, majoring in Dance, Context, Choreography. He works in performance art and visual art. He is interested in choreography as a broad practice permeating many formats and media. He studies the poetics of the body in motion, its sensuality and sensitivity, queer intimacy, pleasure, and desire.
13. Maggie Nelson, Bluets (Seattle: Wave Books, 2009), p. 12.
14. José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009), p. 1.
15. Karol Tymiński is a choreographer and performer based in Berlin but also affiliated with the dance and choreography scene in Warsaw. He is a member of Centrum w Ruchu in Warsaw, a space for independent Warsaw choreographers. He is a graduate of the Performing Arts Research and Training Studios (P.A.R.T.S.) in Brussels and the Warsaw School of Ballet. In developing his choreography language, he avoids formal dictates. His choreographic explorations lead to in-depth observation of the body as a source of movement and its chief medium. In his work, he allows for the performer's work to be magnified to nearly the tissue level. The body, its structure and limitations, and the processes occurring in it, become his field for experimentation.
16. The Magnetic Fields, 'Take Ecstasy with Me', Holiday (Feels Good All Over, 1994).
Queerness; Choreography; Community
©POLISH THEATRE INSTITUTE AND THEATRE ACADEMY / ALL RIGHTS RESERVED


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ATTACK ON TITAN: The Final Episodes Of The Series Have A Brand New Trailer
The hit anime Attack on Titan is nearing its conclusion. Hit the jump to check out a new trailer showcasing the final episodes of the show.
ComicBrooks | 3/10/2021
Filed Under: "Attack On Titan"
View full post on AnimeMojo.com
The Attack on Titan anime has been airing since 2013 and is nearing the conclusion of its final season. The series is not only one of the best anime to hit the small screen, but it is also one of the best manga ever to be released. Since its first volume, the series has sold over 100 million copies and is a New York Times bestseller.
Attack on Titan Final Season has been a gripping collection of episodes set to culminate in an all-out war to decide the fate of humanity. With only a few episodes left, anything can happen. The final season has been streaming on Crunchyroll and is animated by Studio MAPPA, the same studio that brought the Crunchyroll Original, JUJUTSU KAISEN, to life.
To celebrate the show's final episodes, a brand new trailer has been released, reminding fans that there isn't much time left before the final episode begins streaming. The trailer shows off nonstop action and a showdown that can't be missed.
All roads lead to the end of this genre-defining series and is looking to be well worth the wait. We would love to hear your thoughts on the show in the comments below, and don't forget to check out the new trailer.
It's been four years since the Scout Regiment reached the shoreline, and the world looks different now. Things are heating up as the fate of the Scout Regiment—and the people of Paradis—are determined at last. However, Eren is missing. Will he reappear before age-old tensions between Marleyans and Eldians result in the war of all wars?
Attack on Titan Final Season is streaming now on Crunchyroll, and the season finale is airing on March 28th.
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ATTACK ON TITAN Gets An Action-Packed Trailer For Part 2 Of Its Final Season
New ATTACK ON TITAN Poster Has Hit Ahead Of Part 2's January Premiere
ATTACK ON TITAN - The Final Season Part 2 "Danzai" Will Begin Airing In January 2022!
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Radio Advertising In 2015: What Trends To Expect
by Sara Sisenwein , February 2, 2015
It came as no great surprise to the industry when advertising budgets allocated to radio continued to fall in 2014. The industry has been constantly threatened by new media that entices advertisers with expanded metrics, optimization capabilities and geo-targeting. So what does this mean for radio advertising in 2015?
First, let's take a look at what happened in 2014.
Last year, despite the fall in overall radio ad revenue, the medium was able to secure a larger share of the local ad revenue, demonstrating that radio is still a valuable resource for local businesses. While digital media spend continued to increase, standard digital banner ads showed lower clickthrough rates,falling behind mobile, rich media and video. Finally, mobile app usage grew 76% last year, making mobile the new desktop.
While many predict that radio advertising budgets will continue to fall, new technologies inspire optimism for the traditional medium. Through geo-targeting, interactive mobile apps and advanced analytics, radio can optimize its large and diverse audience to compete with digital advertising.
Here are the top radio advertising trends anticipated for 2015:
Cross-Platform: Taking it a Step Further
Radio isn't just facing the threat of Pandora and Spotify any longer. There are a plethora of other media now competing for the same advertising dollars, including other Internet radio offerings and mobile ads. Radio has one of the largest and most diverse audiences of any medium, so by leveraging the size with a cross-platform interactive experience, stations can compete in a more meaningful way.
Cross-platform advertising is even more important since a recent study by Google reported that many digital ads are never actually seen. With the amount of funds allocated toward digital advertising, the fact that 56.1% are actually not seen by a humanmakes buyers very uncomfortable.
Ad/Promo Testing and Optimization
New mobile technologies integrated with radio will advance the methods by which real-time testing of ads and promotions aired on radio stations are conducted. This is key for stations to measure the popularity of new music and preferences of the listeners and for advertisers to gauge the efficacy of special offers and creative in real-time. These insights will allow advertisers and stations alike to quickly optimize campaigns to produce the greatest response. This testing is done best through a mobile app because it is the quickest way for the audience to respond.
Advertisers Demand Engagement and ROI Data from Radio Campaigns
With new mobile technologies tied to the broadcast, advertisers can measure, track and optimize radio campaigns just as they do with digital. Advertisers are quickly seeing the value radio offers and the direct results tied to it. We predict that these capabilities will have radio dollars moving from digital to radio as a result.
Drive to Retail: Both Online and Offline
In 2015, we predict that radio's integration of more sophisticated location technology with their mobile app will help stations prove ROI to skeptical advertisers. Geo-targeting and location-based marketing was a notable trend in 2014, so we anticipate that in 2015 the trend will be taken a step further, demonstrating that these targeted ads are not only reaching the consumer, but also driving them into the store.
Mobile will continue to be a major player in 2015, but in a more strategic way. Smartphones and tablets are how many people stay connected and, accordingly, most advertisers are dramatically shifting their strategy towards mobile (46%).
As such, radio stations that leverage mobile strategies will be better positioned to reach their total listening audience — broadcast, online and mobile — driving more revenue to the industry as a whole.
advertising, mobile, radio
SARA SISENWEIN , Sara Sisenwein, VP of Marketing, Clip Interactive
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The search of Roc Thomas's apartment reportedly happened one afternoon on a day in mid-January. Reports indicate that the search may have been prompted by complaints from neighbors about smell. In the search, law enforcement officers claim they discovered over 140 grams of marijuana in addition to marijuana wax, approximately $16,000 in cash and drug paraphernalia.
Reports indicate that Thomas informed officers that the drugs were for his personal use and that he did not sell them. In Minnesota, possession is only legal with medical permission, and possession of more than 42.5 grams is considered a felony. If convicted of the felony possession of marijuana charge, Thomas could spend up to five years in prison and face a fine of $5,000.
Criminal charges can have financial, legal, personal and professional ramifications; in fact, Thomas could face suspension under the NFL's drug policy. Unfortunately, the criminal justice system can seem overwhelming for those facing charges in Minnesota. Often, they are who confused about their options in addition to being unsure of their ability to carefully examine the details of the case and take appropriate action if they were the victim of unlawful treatment. Most defendants feel more confident in their ability to respond to the charges against them with the help of an experienced criminal defense attorney.


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[Lacquer]
NEW YORK, NY, August 10th, 2016 — Ippodo gallery is pleased to hold an exhibition of lacquer works by Jihei Murase III. Murase is a third-generation lacquerware artist, with the Murase family traditions dating back to the Edo period (1603-1868). Seeking inspiration for the original work of his grandfather honoring the tea ceremony, the objects are created in the style of Negoro, named for the 12th century temple which originated the design. The Negoro design is a simple, Zen, modest style, where black reveals itself through vermillion over time, and Murase's work is well known for its expertise in this longstanding tradition. Beyond reverence for the past, the works speak to the changing tides of art and lifestyle in modern society. Delving into form and meaning, works intermingle value of nature, tradition, and harmony in innovation, ultimately challenging conventional tea ceremony with precision and artistry. Tea caddies, scoops, water jars, vases, vessels and trays are all on display at Ippodo Gallery, with 30 items in all.
Whether in vermillion red, silver or black, Murase emphasizes the harmony in form. Although all works can be used in traditional tea ceremony, Murase is foremost a sculptor, paying careful attention to his golden rule of shape down to minutia. Murase's tea wares pays reverence to contemporary Mingei style. Translated as the beauty of functional things, Mingei is known as the art of daily life. Viewable as art objects, they are intertwined with the everyday.
The Murase family perfected their technique over the centuries for top clientele among dilettantes and top restauranteurs. Rosanjin Kitaoji (1883-1959) loved Murase's lacquerware, and was celebrated in Mingei as a chef, potter as well and painter. The Murase family was originally from Nagoya, tea-ceremony was a daily occurrence, necessitating the precision and artistry of top quality objects. In 1952, the family moved to Tokyo and produced tea ceremony utensils under the direction of the tea master Soho Suzuki, connecting with tea ceremony aficionados Jian Matsunaga and Fujio Koyama. Their informal monthly tea ceremony in Tokyo has now endured for almost six decades.
Murase works with a very delicate, sharp chisel he uniquely handcrafts to align the lid and body of his pieces perfectly. The effect is a smooth finish, and a thinned and precise base. For more traditional symmetrical items, he selects trees grown in straight, severe environments. Murase works with timber dried over a hundred years, prized for its delicate, thin grooves. The result is a subtlety shaped by a century of preparation, effortless in its smooth and seamless serenity. Items are hatched from a single slice of wood, a strong and high-quality type called keyaki (or zelcova). Keyaki is naturally curved, thus preserving the line and texture for a natural form. The technique has been perfected since Murase's father began the process.
Lacquer is secondary, intended only to coat form. Murase repeatedly coats the items in black so as not to distract from nature's creation. The silver occasionally oxidizes over time, growing cooler over time.
Two layers coat container inside the tea container and on the outside cover, demonstrating dedicated and beautiful craftsmanship, even as the mastery is understated.
Ippodo Gallery continues its mission to present works in harmony with the natural world. As old-growth forests gradually disappear, incorporating precious woods optimizes nature, and pays homage to the natural splendor of Japan.
1957 Born in Tokyo as the grandson of the first generation
Jihei who was a craftsman working with the wooden
base and lacquer coating under the direction and
patronage of Kitaoji Rosanjin.
1975 Graduates from Tokyo Metropolitan High School of
Music & the Fine Arts
1980 Graduates from the Sculpture Department of Tokyo
Zokei University.
In the same year, joined the long-standing family
lacquerware wooden base and coating business.
Receives instruction in the Way of Tea from Suzuki
Sokan of Hibi-an, a Master of the Urasenke School of
2001 Inherits the name, Jihei III, and the position of 7th
generation lacquerware base maker.
Thereafter, exhibits his work widely.
Public collections:
・Philadelphia Museum of Art / Philadelphia, Pennsylvania, USA
・Yale University Art Gallery (Asian art collection) / New Haven, Connecticut, USA
・The National Museum of Modern Art, Tokyo / Japan
Jihei Murase - The Technique of Lacquer from Shoko Aono on Vimeo.
A third-generation woodworker and lacquer craftsman, he performs every stage of the production himself, from turning the wooden bases to applying the natural urushi lacquer. He inherited his grandfather's close association with the tea ceremony and carries out research into tea-ceremony utensils. Using his skill with the lathe, he creates superb forms and also demonstrates outstanding lacquering finish. He produces unique Negoro-style works that are ideally suited to the twenty-first century.
1957 Born in Tokyo as the grandson of the first generation Jihei who was a craftsman working with the wooden base and lacquer coating under the direction and patronage of Kitaoji Rosanjin.
1975 Graduated from Tokyo Metropolitan High School of Music & the Fine Arts.
1980 Graduated from the Sculpture Department of Tokyo Zokei University.
In the same year, joined the long-standing family lacquerware wooden base and coating business.
Received instruction in the Way of Tea from Suzuki Sokan of Hibi-an, a Master of the Urasenke School of Tea.
2001 Inherited the name, Jihei III, and the position of 7th generation lacquerware base maker
2010 Exhibited at About the Tea Ceremony: A Viewpoint on Contemporary Kogei held at the National Museum of Modern Art Crafts Gallery, Tokyo, Japan
2014 Exhibited at Kogei and the Tea Ceremony held at the National Museum of Modern Art Crafts Gallery, Tokyo, Japan
2016 Solo exhibition Lacquer Forms: Modern Negoro at Ippodo Gallery New York
Solo exhibition at Ippodo Gallery Tokyo
Philadelphia Museum of Art / Philadelphia, PA
Yale University Art Gallery (Asian art collection) / New Haven, CT
National Museum of Modern Art, Tokyo / Japan


Eugene Paul Wigner was born n Budapest, Hungary, on November 17, 1902. In 1921, he graduated from the Lutheran Gymnasium and went on to study at the Technische Universitat Berlin, receiving his Ph.D. in chemical engineering.
In the late 1920s, Wigner explored deeply in the field of quantum mechanics, devoting himself to physics. He laid the foundation for the theory of symmetries in quantum mechanics. In the late 1930s, he extended his research into atomic nuclei and developed an important general theory of nuclear reactions. He was brilliant as a theorist, brilliant in the laboratory and had a deep understanding of engineering as well.
In 1930, Princeton University recruited Wigner and von Neumann. When Adolf Hitler came to power in Germany in 1933, Wigner and von Neumann found safe haven in Princeton, N.J., thought they still spent half the year in Europe, traveling, studying and teaching. During that time, Wigner also spent time with Einstein, who had come to Princeton to join the Institute for Advanced Study.
In 1936, Princeton did not rehire Wigner, and he moved to the University of Wisconsin. There, he met his first wife, a physics student named Amelia Frank. Sadly, she died in 1937, the same year Wigner became a naturalized citizen of the U.S. Princeton invited Wigner back based on his reputation as a superb young physicist, and he accepted, rejoining the Princeton faculty in the fall of 1938.
With the discovery of fission, Wigner began working with Enrico Fermi on the problem of determining whether a fission-induced chain reaction was possible. He worked with Fermi at the Metallurgical Laboratory from 1942-1945. By the time Fermi's reactor actually went critical, Wigner and his team had completed the task of almost unbelievable proportions: the design of the full-scale Hanford production reactors. He then continued to assist in their construction.
In 1946, Wigner accepted a job as director of research and development at Clinton Laboratory (now Oak Ridge National Laboratory) in Oak Ridge, Tenn. Not an administrator by background or temperament, Wigner left after a year and returned to teaching and research at Princeton University.
Official recognition of his work in nuclear research includes the Enrico Fermi Award in 1958 and the Atoms for Peace Award in 1960. In 1963, Wigner received the Nobel Prize in Physics, along with American physicist Maria Goeppert-Mayer and German physicist J.H.D. Jensen, for work on the structure of the atomic nucleus.
In 1992, at the age of 90, Wigner published a memoir, "The Recollections of Eugene P. Wigner." He died in Princeton on January 1, 1995.


Why does monitoring plants matter?
In the western U.S. rangeland plants provide the foundation for a healthy ecosystem. In turn, this ecosystem provides the livelihood for hundreds of thousands of farmers and ranchers, and supplies food and resources for millions more people.
It's important to efficiently and effectively monitor vegetation changes over time to ensure rangelands are productive and that we conserve these valuable resources.
For instance, it's really critical to know if ranches or public lands are transitioning from nutritious forage like native perennials to annual invasive grasses that don't sustain livestock or wildlife.
How do we collect information on rangeland vegetation?
For the last several decades, field technicians from the USDA Natural Resources Conservation Service (NRCS) and the Bureau of Land Management (BLM) have collected on-the-ground data on the type and abundance of plants at tens of thousands of field plots across the West.
While these field plots are critical for monitoring, they are only a snapshot and do not provide a big-picture view of overall vegetation cover through time. Until recently, it's been a challenge to monitor vegetation over multiple years and across large landscapes—including the sizable ranches managed by many western agricultural producers.
Is there a better way to monitor rangelands?
Yes! It's called the Rangeland Analysis Platform (RAP), a free user-friendly web app that—for the first time ever—allows anyone to quickly see trends in rangeland vegetation over both time and space.
RAP utilizes a combination of innovative technology to provide annual percent cover maps at 30m resolution—roughly the size of a baseball diamond—and depicts changes in vegetation over time. This revolutionizes our ability to monitor and manage valuable grazing lands.
RAP is the only platform that provides a view of vegetation across space, from the Great Plains to the Pacific Ocean, and time, from 1984-present, all at a resolution useful for monitoring and management. For every 30m pixel across the West, RAP shows the percent cover of five different vegetation types: annual forbs and grasses, perennial forbs and grasses, shrubs, trees, and bare ground. People can see vegetation cover at a broad watershed scale, or zoom into any area of interest, such as a ranch or pasture.
RAP and the land cover maps are a huge leap in technology. Before this free, easy-to-use tool, we only had cumbersome categorical static maps of vegetation for certain areas, which were produced every five years, not annually. While valuable those maps didn't provide the mix of vegetation types over an area—a critical component if you want to see if conifers were taking over a ranch, or if annual grasses were beginning to invade your pasture.
Now RAP now gives everyone all of that information in less than one minute with a couple clicks on the computer.
Top: Aerial photography shows tree cover in the Loess Canyons of Nebraska in 2014 (Image: Google Earth) and 2016 (Image: USDA NAIP). Middle: RAP-produced maps calculating the percent cover of trees pre- and post-burn within the treatment boundary (red polygon). Lower: Time series of mean perennial forb and grass as well as tree cover from 1984 to 2017 within the burn boundary (gray bar in 2015 denotes treatment year).
What technology does the Rangeland Analysis Platform use?
Working with the NRCS and BLM, we created RAP by using over 30,000 field plots and over three decades of Landsat satellite imagery, gridded climate data, and other land surface information like elevation and soil types.
In order to process and analyze this massive amount of information—the Landsat data is comprised of over 231,000 images alone!—we're using the geospatial cloud computing power of Google Earth Engine.
Until now, gathering and processing an amount of data that large was simply not feasible, but with this new cloud computing technology we were able to harness all that data and make major strides for mapping rangeland plants.
To make the maps, we used a well-established machine learning algorithm—known as Random Forests—to make sense of this large collection of data. Random Forests examined the patterns, trends, and relationships between all of the data to create a model, or equation, that makes predictions of vegetation cover in areas where no field plots exist.
The result: online maps of five different types of land cover from 1984 to present.
Maps produced by the Rangeland Analysis Platform show the percent vegetation cover estimates of five different types of ground cover, as well as a composite map for three vegetation classes.
Why is this monitoring technology helpful?
By pairing the maps and time-series charts produced by RAP with local on-the-ground knowledge, ranchers and land managers can quickly see outcomes of past land management actions to help inform future decisions.
For instance, you could compare the impacts of a drought year and a wet year on perennial forage. Or you can evaluate how much cheatgrass expanded after a wildfire. Or you could plan future conifer removal projects by checking out where trees have encroached into shrublands over the last decade.
In a nutshell, RAP can help all of us sustain or improve the plants that are the backbone of America's rangelands.
How reliable are these maps?
First off, any sort of model is going to have errors associated with it, since it's making predictions. However, the maps and charts provided through RAP have comparable or lower error rates than any other vegetation maps created to date.
When using RAP, people should think of the percent cover values as best estimates. So, if you're looking at your pasture's cover for 2017 and RAP calculates it was 35% annual forbs and grasses, then you should use the mean absolute error for that type of cover as the range around that estimate. In other words, annual forb and grass cover has a mean error of 7.8%, which means you can be confident the annual forbs and grass cover in your pasture was between 27.2% and 42.8% (35% plus or minus the 7.8% error).
Check out this RAP User Guide to learn more.
The errors in Table 1 provide an assessment of accuracy. For instance, if the vegetation cover value of a mapped area is 35% annual forbs and grasses, then there is confidence that the annual forb and grass cover of that pixel is between 27.2% and 42.8% (35% +/- the mean absolute error of 7.8%).
Will the Rangeland Analysis Platform be expanded?
We'll update the online app every year with the new land cover maps…the 2018 maps will be available by approximately February 2019.
We're also working on incorporating plant productivity data into RAP. This would combine percent land cover with the plant productivity of that pixel, giving estimates of the amount of growth of each type of vegetation during any given year within your area of interest.
This has never been done before and will be another huge leap forward in monitoring technology. Plant production is the basic building block of ranch planning across the West. Our goal is to empower land managers with even more information for planning effective conservation projects.
Why did you choose remote sensing science and ecology as your career?
The combination of remote sensing (using satellite or airborne imagery) and ecology gives a comprehensive view across space and time that you simple can't get with ground observations. And over the last decade, with advances in remote sensing and processing technology, our understanding of natural systems has evolved as never before. This type of technology allows everyone—even those who aren't able to get out on specific parcels of land—to see how ecosystems are faring as well as determine the effects of our actions across the landscape.
How else have you applied your skills?
Just out of college I learned how to use airborne imagery to track the spread of blister rust on whitebark pine trees in Yellowstone National Park, which got me hooked on using remote sensing for ecology research. After getting my Master's degree, I went on to work at Carnegie's Department of Global Ecology where I used remote sensing to track invasive species and canopy biodiversity in Hawaiian rainforests.
I also worked as a member of the Landscape Ecology Team at the National Marine Fisheries Service, where I helped monitor the landscapes that influenced salmon runs. I then returned to the University of Montana to earn a Ph.D. in Systems Ecology by focusing on using remote sensing data to monitor and model vegetation.
In addition to serving on the USDA-NRCS Working Lands For Wildlife science team, I'm also a science advisor to NASA and NEON (National Ecological Observatory Network) working groups.
I enjoy the outdoors in Missoula, Montana where I live by fly fishing, hiking, biking, snowboarding, and playing soccer. At least I try to do those things as much I can, given that now much of my time is spent playing games in the backyard with my three and five year-old kids. Luckily, I've already got my five-year-old fishing and skiing, so that's a start!


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There have been 2 times so far I've gone watched the google play store ad for 5 stamina bonus and then not received the stamina reward.
On one occurrence I hit to watch the video when there was about 1 second left in my stamina refill timer. I don't know if the fact it was about to increase by 1 caused a glitch with receiving the bonus.
The other time there was nothing out of the ordinary to note. I simply did not receive the bonus.
This time had 0 stamina, didn't give me reward.
Possible other reason for glitch - whatsapp was running in background and messages were popping up over the game.
This has happened to me a numerous amount of times as well.
Agree, seems to happen on Android and iOS alike, if I remember correctly.
Edit: I think I never had it before launch, but since the app has been updated.
I have it both now and before the release.
Both times I've watched the video on android I have not received the stamina.
this. a thru d happen. then e-f do not.
I'd say it works 80% of the time. I tried to provide possibilities why it may not have worked in my original post.
3) Whatsapp was running in background and messages were popping up over the game.
For me e and following were not working.
Any resolution to this yet?
I have had this occur 6 or 7 times, and I don't play often. I imagine this is happening a lot more to others.
once you close the video there is no message saying you received the stamina and you dont receive any stamina.
This hasn't happened to me in the past few days. I guess just luck of the draw.
There should be no draw. It tells you if you want to watch for the stamina. Used to work better in the beta version.
I also do not get rewarded the stamina around 50% of the time after watching the video and closing it. The last time after closing the video I got an error, something like "Java Exception. Concurrent modification exception."
I've noticed @Nicolas Sierro if you sit on the ad too long without closing it, you don't get the reward. I don't receive it at least once a day, getting really annoying.
I know, I had it 4 times successively this morning (without waiting to closed the video ad window). I forwarded it to the video ad provider system that we integrate.
It might be nice to have an in game way to report when this happens. At least you might be able to gather or count pings from us when the application fails. I don't know if there is a log or other information that can be captured when we issue an alert.
Is it possible to give players the ability to turn on debugging or error reporting? Say we have this happen to us several times over a period of days. Can you give us a HELP | DEBUG ON switch? Normally this would be disabled but when we want to try and track an intermittent problem we can enable this which adds a option on the button which allows us to FLAG an issue. It might give you a real pia if we are all having problems ping ping ping but at least you would feel our pain. Capture what information you can, part of a log, user info, time of day, previous video, whatever you can gather. Bind this to the CR form we discussed earlier and allow the user to easily report by clicking a button the most frequent or repetitive errors we are trying to capture, diagnose and repair.
Okay I have lost my reward for the last four tries. IOS 6+ iPhone. The video plays, the transition screen at the end of the video that allows you to go to the App Store or exit out by selecting the x in the top right corner does not load. The frame loads as a black screen and just sits there. If I use the home button to minimize the app and then return to the app without hard closing it, the play area returns with no rewards given.
We transmitted our problem analysis for this. Today again, as there was another type with Vungle for SimCity /Electronica Arts.
The video never started, you have to bring up the bottom menu, then go to the download section, and here only you have an option to go back to the game Spells of Genesis, without your reward (as the video was not seen).
But this option is not easy to process. Alternative: you close your application and relaunch it (but again without your reward of 5 stamina).
We asked the video ad publisher to control the quality of the video/app and the process to indicate us in SoG app that the video ad was correctly seen completely.
Yesterday I was playing with taking video of my battle with "The Purple Dragon." I wanted to try and post examples of game play for newbies but the file does not even mail because it is over 20 Mb. I maybe able to trim it to fit but that is not the important thing.
I happened to be recording when the game offered to shell out to the advertisements. I didn't think anything about it at the time. When the application returned control to SoG no payment confirmation window was offered. I thought the handshake went bad. Hey, if the Presidents of France and the United States can't get a handshake figured out what chance do the test of us have.
It sounds like you are on the scent. A flag that lets the app know we have successfully watched the advertisement. I wondered if the x button in some videos was too small. I wondered if my phone sleep was kicking in and messing up the works. I am sure once you get them to fix the success flag it will behave as expected. Thanks to the players who take time to report issues, keep it up.
The video worked when the SoG app was running. Add was missing and stamina payment was missing as well. It was like it never happened.
If we can help run another diagnostic in the background and send you all log files when it fails. Let us know.
On the first, I may say, 10 days of game ad rewards worked fine, then it started happening quite frequently, in my case the daily frequency was 33% or 66% as it happened 1/3 or 2/3 times a day, I even remember it happening three times in a row.
This kept going on until a week ago (+ or -) so I'd say that in the previous game time I may have easily lost 200+ hearts in rewards.
Anyway... it keeps happening, as a proof I attached a video from an Android 6.0.1 device.
I also have its corresponding debug log, but I'm not sure to attach it as I don't know if it may have sensitive information, if you want it don't hesitate telling me and I'll send it to you.
Just to add debug info and to fix some english typos and grammar... I'm not an english native speaker.
I just wanted to report back on the stamina payout after watching the video clips.
I don't want to jinx it. The shelling out and back into SoG for Stamina reward seems to be working for me on the android, as of 6/5/17.
I read about the advertisement providers potential issues. Mentioned in another post.
All the exit buttons in the apps seem to be larger circles (with the x inside) now. NO little teeny tiny ones that I have seen.
It has been pretty consistent, no drops for the last few days. Will keep fingers crossed.
To be on the safe side we have now the Sim City ad blocked for our game, but it was a special case.
For video ad "running" correctly, but the stamina reward is not done (no popup message indicating that the 5 stamina were added), it is further good to indicate us: which ad (e.g. Clash Royale served by Vungle), and the date & time when the problem occurred.
How do I see the add provider? I can easily start writing a list of adds and times where it did not work.
On a side note, I have also noticed that sometimes, there is no pop up, so I e.g. use my 6 stamina to play "Prince of the Ice". However, after I played it I see I have 5 or 6 stamina left. So it mast have been added, but without indicating it neither as pop up nor in the stamina bar.


axel - this is a jump on which the skater takes off from the forward inside edge and lands on the back outside edge of the opposite foot. There are single, double and triple versions.
camel - a spin performed on one leg while the skater's other leg is extended in the air and parallel to the ice. The body remains in this spiral position while spinning.
counter - a turn where the skater changes direction by going from a forward outside edge to a backward outside edge (or inside to inside) on the same foot. the turn is made "against" the curve of the skating blade.
edge - each skate has two edges, the inside edge and the outside edge and they are on each side of the groove in the center. The edge is divided into two sections forward and back. On most maneuvers specific edges are supposed to be used.
factored placements - these are numerical values given to placements in the short and long programs. When multiplied, they determine a skater's final placement.
free - at any given moment, a skater is usually skating on one foot and the other is called the free foot. By extension every other part on that side of the body is called "free" as free shoulder, free hip or free side etc.
Triple Jumps: Salchow - 6; Triple Salchow - 6; Triple Toe Loop - 6; Triple Loop - 8; Triple Flip - 8; Triple Lutz - 8; Triple Axel - 10.
mohawk - a turn going from one foot to another where the skater changes directions by going from an outside forward edge on one skate to an outside backward edge on the other skate, or an inside forward edge to backward inside edge on the other skate. Where does the name "mohawk come from?
"In the 1800's the British were fascinated by stories of American Indians. A few American Indians had been brought to England to entertain the British with war dances. Some skaters who saw them thought that the spread-eagle pose done in Indian ceremonies resembled the turned-out position of a turn they did on ice. the tracing made by that turn resembled and Indian bow, so they named the turn the "mohawk" after the visiting tribe from New York state. This analogy fits the inside-to-inside mohawk. Skater practiced mohawks in repetition on a circle 8. Maxwell Witham and H.E. Vandervell compiled the rules of English style in the first comprehensive study of figure skating in any language in their book, "A System of Figure Skating", first published in 1869n and revised in 1880. In the 1880 version they illustrated and described the outside-to-outside mohawk as done in the Foxtrot today: "A very pretty combination of the outside forward with the outside backwards has lately come into vogue and it can be skated by every one who is capable of turning out his toes sufficiently so as to get into the 'Spread-eagle' position. This figure was last year introduced into the Club figures on ice and christened by the name of Mohawk." According to Earnest Jones, writing in, "The elements of Skating", in 1931, the name "mohawk" for this turn was derived from a cut-like step used by the Mohawk Indians in there war dances. Two editions later, Max Witham described the choctaw, named for another Indian tribe: "A variation of the Mohawk has lately been introduced and is called a "Choctaw"....the skater goes from the outside forward of one foot to the inside back of the other".
throw - a pairs move where the male lifts his partner and throws her away from him. She continues the move with a mid-air spin landing on one foot.


text:
Published On: Wed, May 28th, 2014
Fort Lauderdale Strikers / Sports | By Online Staff
Strikers three-game win streak snapped in Minnesota
The Fort Lauderdale Strikers (4-0-2, 12 pts) lose 3-1 to Minnesota United FC (5-0-1, 15 pts) and fall three points behind first place with just three games remaining in the short NASL Spring Season.
The first half saw the Strikers fall behind early as the loons went ahead 1-0 on a penalty kick by Minnesota United after Darnell King was called for a handball inside the box. Simone Bracarello put the ball in past Oka Nikolov's reach to give the home team the early lead.
An early injury to Marius Ebbers forced the Strikers to use a substitute and bring in Aly Alberto Hassan in the 9th minute. Ebbers jumped up for a ball in midfield and bumped heads with Cristiano Dias. Dias stayed in the game, but was replaced in the 29th minute after complaining that he wasn't feeling well.
The rest of the half saw plenty of action as both teams had numerous chances but were unable to find the back of the net. The Strikers best chance came in the 44th minute as Carlos Salazar received a great cross from Hassan but put the ball just wide of the net and the Strikers went into the locker room down 1-0.
The Strikers came out of the locker room and quickly tied the match on Martin Nuñez league leading fourth goal of the season and his fourth in four games. Fafa Picault back-heeled the ball to Shawn Chin who crossed the ball to Nuñez, who didn't miss from close range.
Christian Ramirez put the home team back on top in the 58th minute on a spectacular goal from about 30 yards out into the top right hand corner of the goal, just out of Nikolov's reach giving the home team the 2-1 lead.
The Strikers had a chance to tie it back up as Brian Kallman received a yellow card after fouling Nuñez just outside the box, giving the Strikers a free kick in the 67th minute. Unfortunately Salazar duplicate his goal from last week and instead kicked it right into the wall.
The game took a slight turn in the 70th minute when Christian Ramirez received a ball behind the Strikers defenders and the assistant referee signaled for on offside, but the head referee didn't see it the same, allowing the play to continue. Miguel Ibarra received a pass from Ramirez and struck the ball into the back of the net. Several Strikers players rushed the head referee in protest and the referee booked Martin Nuñez and Carlos Salazar.
Just three minutes later Nuñez fouled Daniel Mendez and received his second yellow card, resulting in an ejection. Darnell King then received a yellow as well after protesting.
Being a man down didn't slow down the Strikers, though, as they continued to push ahead and attempt to close the gap. The Strikers had several chances late, including a shot by Hassan in the 83' minute after receiving the ball inside the box. Hassan turned quickly and took the shot but Matt Van Oekel was able to stop it. The Strikers continued to press all the way to the end, taking several shots in the 90th minute, including a chip shot from King that hit the post and bounced out. A few minutes into extra time, Guerrero took a free kick and crossed the ball into the box where Chris Nurse headed it, but Van Oekel once again was able to stop the ball from going in.
Online Staff -
Boca Raton Public Library Hosts Mayors' Chess Challenge
NFL Super Bowl LIV Opening Night


text:
A Healthy Curiosity: Should you have your eggs counted?
Peta Bee 22 September 2015
More and more women are opting to have their egg count checked and their eggs frozen. So should we all be doing it? Peta Bee reports
Your weight, your height, BMI, even your cholesterol count are figures that most of us have come to take for granted. Yet another statistic is cropping up with alarming frequency among women: their egg count. Anyone in their thirties or early forties is likely to have been party to conversations with female friends about the state of their ovarian reserve. Tests to count their egg supply – a marker of fertility – have become de rigeur among women who have put motherhood on hold to focus on careers, travel and relationships.
I have friends for whom it is of palpable relief to learn through private tests that they have not left it too late to have a baby and can freeze eggs if they choose to; others who are distraught to discover that their egg supply is so limited it severely reduces their chance of conceiving.
They are not alone in clamouring to know where they stand. According to Dr Amin Gorgy, a fertility consultant at the Fertility and Gynaecology Academy in London , such tests are soaring in popularity. "Five years ago we had very few enquiries about egg freezing," Dr Gorgy says. "And we had very few patients coming for egg count fertility checks – mostly due to lack of awareness about their biological clocks."
What's also changed is the age at which women are seeking to find out their egg count. Overall, enquiries about egg freezing and the number of women opting for egg checks has increased by 200 per cent in the last 12 months. But the sharpest rise is among younger women aged 25 to 30, among whom the trend has exploded by 300-400 per cent in a year. In fact, says Dr Gorgy, the average age of women opting for an egg count has dropped from 37 to 33.
Increased awareness about fertility issues has, he says, played a part. Surveys conducted by private clinics suggest that most women considered fertility checks purely based on medical reasons five years ago. But there has been a significant shift. Around 70 per cent of Dr Gorgy's clients want to find out more about their fertility because of social reasons such as "their careers, or the fact they're not confident about their current relationship".
According to Dr Gorgy, the average woman's egg count is in steady decline from childhood which means that, although she can be born with a supply of two million eggs, there are only around 300,000 left by the time she reaches a child bearing age. And the older a woman gets, the more likely it is that her remaining eggs are damaged or abnormal.
Keeping a check on supplies "is a good thing", according to Dr Gorgy, who says his tests are two-pronged and involve a vaginal scan and a hormone assessment. Indeed, the latest 'fertility phenomenon' has been fuelled by companies in the US like Google, Apple and Facebook who are considering the controversial possibility that young female employees might be offered the novel perk of freezing their eggs.
For some women, though, the results can be devastating. "I met my husband when I was in my late thirties and we were desperate for a baby," says 44-year-old Sara from London. "We went to a private clinic where they told me my egg count was low for my age and it prompted panic. Despite having IVF twice, we failed to conceive and I am convinced it is partly due to the stress of my egg count."
Bodies such as the British Fertility Society say it is important for women to realise that egg counting is not an exact science, that an estimate is the best women can hope for – whatever their age. And, just as a low egg count doesn't mean you can't get pregnant, so freezing your eggs is not the same as freezing time. It won't necessarily result in conception.
So is it better not to know? Some, like Sara, might argue that is the case. "It can bring an overwhelming sense of hopelessness before you start," she says. "There's something to be said for putting your faith in nature and not knowing."
Dr Gorgy thinks otherwise. More women becoming aware of their "fertility potential" can only be a good thing, he says. "Many women are still coming in when it's just too late," Gorgy says. "If women want to freeze their eggs, they need to start thinking about it when they're about 25 not 35. Medically speaking, younger eggs are better."
Dr Amin Gorgy practises at the Fertility and Gynaecology Academy in London where they offer a range of fertility services including egg freezing and IVF.
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