earlier in the week i met with my production manager [jack spagnola] + assistant director [sassy oriana blum jensen] re: the start of the process. soon i need to meet with other members of the team such as the lighting|projection designer [josh oleksak] + stage manager [bexx merck] as well.
by next week i will have devised an artist statement, which is specifically different than a process plan. a process plan is more of 'what am i going to do this year?' versus an artist statement which is more of 'why am i making this work? what is my process? what am i dreaming?'
a big part of my process will be having showings where i can ask questions + receive feedback as the show is being put together. sooner rather than later, i need to talk to my father + decide whether or not the show will focus on my relationship w| him + our experience of his losing his law license + the financial crisis of '08, versus an inquiry into the impact of legislature on the community itself.
i also need to speak w| Julie Lichtenberg, the executive director|founder of The Performance Project + First Generation. it looks like First Generation may in fact be my cast for the show. sassy is working to figure out how we may obtain funding from CYL at Hampshire via Hampshire Youth Connect.
since CYL doesn't have that much $$ at the moment we were referred to Culture, Mind|Brain + Development [CBD], who have many available grants although the application deadline is October 3rd so i will need to complete my submit my application by then.
i sent a working-description of the show + publicity blurb to the production manager [jack spagnola], so that he can plan a showing of a documentary that covered the case entitled, 'Brick by Brick: a Civil Rights Story'. this will give the production team a little bit of context re: the show.
it will be important for me to discuss the total investment of j-term in terms of my cast + crew. especially w| regards to First Gen + school hours. i hope to have the play ready to go at least 2wks in advance so that we have at least 1 wk of just run-throughs before opening night. this means getting started now.
the production manager [jack spagnola] + i will work to figure out how to break-up rehearsal so that it is tolerable for both cast + crew. it is vital to me that my actors + production team understand my vision. Will asked me last week, 'Why are you doing this?'
i'm thinking, how can i make this work to everyone's schedule? what kinds of incentives for participation are available to me?
how can i let people know when + if they are needed well before-hand? how can i make classwork during my EPEC course relevant to subsequent rehearsals?
what ages are the First Gen-ners that i will be working w|? will they be in-school or out-of-school during Jan-term? will they be able to stay focused after a long 8-hour school day?
i am really set on having a police ensemble of ballerinas en pointe. the idea stems from a reading i did about the police|public space + the idea of circling.
the production manager [jack spagnola] met w| Amy this Tuesday re: trainings in the space for production team members, but i have not heard back w| him yet about Amy's availability.
Will asked me today, what aspects of the design are most important to you?
+ i said, 1| firstgen having a say in the design process + 2| the projection is the set --> i have to find out whether or not the lighting designer [Josh Oleksak] can both lighting design + projection design. i also need to get in contact w| a potential videographer|editor at Mt. Holyoke, who may work w| me to film site-specific films in Yonkers as part of the dramaturgical elements.
today i learned that there is a difference between responding + leading. i concluded that i have a vision for the end product + i plan to bring in materials + lead activities that will facilitate that vision. i hope to work w| a CEL-1 who will transcribe the interviews for me. as per Wills advice, i should google 'Transcriptions' + get some averages on Transcription times vs. text, etc.
i should also look at Liz Lerhman + Anna Halprin as pioneers of collaborative|participatory dance. i'm going to make an annotated bibliography, an artists statement + a process plan (+ timeline) by next week.
Will has also asked me to potentially submit something to the Money Play Reader, which i'd be super into.
most importantly is that i meet with the lighting designer [josh oleksak] technical director [riley] + stage manager [bexx merck] as soon as possible. i need to find out their skillsets. what are things that they already understand + what are things that they could use training on?
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Katie Martin is letting me audit her contemporary dance technique class on Mondays + i am so pumped. she's my dance hero + i've been working on a paper for her about postmodern dance in general, studying in depth her influences: Trisha Brown, William Forsythe + Susan Sgorbati. these influences will all greatly influence the movement-inspired rhythm of what i hope to be a truly collaborative + postmodern work.
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Notes on Money|Power + Wall Street [video]
CDOs turned into Credit Default Swaps.
Bankers were asking themselves: how to reduce risks? (credit risks)
credit became a more available asset. bankers thought to themselves, 'we are identifying a need!'
*risk can be traded. this led t a global credit boom_
derivates became a private market which was hidden from view (opaque).
'most people in banking assume risk can be eliminated... but all you can do is move it around from one party, to another.'
citicorp - reversal (repeal) of Glass-Steagal [depression-era reform]
'+ so Wall St. figured out the rewards of funding the American Dream'
*bundling mortgages
'sub-prime (lending) market'
- you could securitize --> you could sell it on Wall Street.
'predatory lending'
*Roy Barnes (gov't)
*Georgia Fair Lending Act
housing people think they'd bought protection through Credit Default Swaps.
'synthetic CDOs' - ppl could bet on a bundle of debt
- a pure debt in which the better has no economic interest in what they're betting on.
*risk flaws to the person who least understands it.
*Goldman Sachs - bet against their own clients so that they profit from borrower's failures.
its not easy to hold these things w| your heart.
2009 IKB German Bank - 1st to fail
'financial shell game' - 'the risk was not leaving the banking system'
rise in vacant + abandoned properties --> loans lost in a huge financial crisis
'the greed of wall st. broke main st.'
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last Friday i went to my co-chair [Will MacAdams] presentation in Franklin Patterson Hall. he often asked during his creative process, 'What is my voice? What are the steoreotypes of young people? What are the stereotypes of police?'
i was really inspired by some images he showed us of his adaptation of the play 'Our Town', as well as the character of 'Naomi Wallace': a little girl who's hiding. the set for that show had no walls + a dusty floor [so Pina Bausch]; the plot encountered a boy counting bodies alongside teenage sexual exploration in a set intertwingled w| feathers and lightness.
i was happy to hear that Will is very inspired by Anna Deveare Smith's 'Fires in the Mirror'. i watched that performance during 2011|fall in Performing Identity: Race|Gender + Sexuality w| Jaclyn Pryor + was exteremely inspired by Smith's performative interpretation + redistribution of ethnographic research.
during the talk someone noted the interesting realization that African-American people of color play non-POC roles all the time, however the reverse of these circumstances often cause much distress in non-POC young actors|theatrical ensembles.
i was also really inspired by the elements of Will's work that signified class differences w| design. for example in one production all of the wealthy characters had red on the bottom of their shoes.
Will spoke of that moment in time where its just 'electric', + you're like 'oh! that's community!' -- i hope to acheive this moment in my process.
script adaptation is never something i have really thought about but definitely something i need to consider in the future.
cool idea from Will: perform the piece every day, somewhere, for someone -- in order to develop it.
audience participation?? how can i do it? --> i want to look at more Jean-Luc Godard films + experiment w| the ways in which he fools w| spectatorial desire + point of view.
song needs to be a part of my show. also three ideas:
fireflies | butterflies | itch.
NEW QUESTION: what does it mean to be 'First Generation'?
i need to see footage of the performance that Will directed where all we know about one character is that her arms are covered w| wild flowers, the wind says 'Speak', there are 6 dancers, and said character doesn't speak until the end.
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last Friday night i stumbled upon an article about Badiou, a French Marxist whose philosophical texts i was only exposed through as a result of my TA'ing the course: Occupy Wall Street: History|Theory + Practice taught by Michele Hardesty + Margaret Cerullo.
this text, catching my eye: quoted French activists of the 1960s:
'c'est interdit. c'est interdire' as: the idea of Revolution.
it went on to say:
'Sartre's 'les mots' "he found words, often beautiful words, w| which to pick out + dramatize the elusive 'thisness' of modern life, to show what it is like to be living now + thereby in some way that was hard to express in other words - which in any case were not needed, since he gave us words enough - to capture + make sense of the extraordinary metaphysical loneliness which haunts the world in which we live.'
+
'they offer tantalizing linguistic constructions that suggest meanings too deep for words, + hide their god in the realm of the indescribably. the name of this god is Revolution. however, that is all we know about this god, + the time has come, surely, to own up to this, + to say, borrowing Wittgenstein's words, that a nothing would do as well as a something about which nothing can be said.'
- 'A Nothing Would Do as Well'|Alain Badiou - The Adventures of Fr. Times Literary Supp. 8|31|2011
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so today i figured out how to apply for the Institutional Review Board [IRB]:
(application process)
step 1| complete CITI training.
- i registered online but i need to start reading the Belmont Report so i can take the 1st quiz.
step 2| read 'terms of review'.
- what type of review process will my proposal require?
ex: exempt|expedited|full?
step 3| submission form.
'IRB Application Form'
- also list faculty supervisors [e.g. div 3 chairs] as investigators, along w| any other students who will be assisting you in data collection.
step 4| consent +|or other forms [refer to 'Informed Consent Guide']
- include a copy of each consent|asset form or a copy of the language of your oral consent in your proposal.
step 5| to conduct research of campus or commmunity organizations, i need to attain a 'Site Authorization Letter'
step 6| include additional materials (e.g. sample interview questions, survey items) in proposal.
step 7| submit IRB application w| 'IRB Application Cover Sheet' to faculty advisor for review + signature --> div 3 chair must review before submission.
step 8| submit to the IRB secretary @ cole science (dean of faculty office)
*Questions? jcaska@hampshire.edu
Note: allow 1-3 wks prior to the IRB meeting date for IRB review. you will receive an IRB approval letter by mail. you must not initiate research until you have received written IRB approval.
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IRB for research w| human subjects:
- subjects must be aware of their rights, as defined in Title 45, part 46 of The Code of Federal Regulations.
- subjects must be aware of their rights, as defined in Title 45, part 46 of The Code of Federal Regulations.
- obtain informed concent from participating.
*'IRB Guidebook from the Department of Health + Human Services'
- Contact Talya + Michael Drucker for more information.
Next Proposal Due Date: 10|9|2012
IRB Meeting Date: 10|16|2012
* 3:30PM in the Dean of Faculty Office
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on Monday at 11:00AM i am going to get an eye exam at Health Services because i can't sign up for defensive driving w| an experied out-of-state license.
---
today we had a really great interview talk w| will. i am now considering allowing cast members to write their own monologues for the performance.
we discussed Anna Deveare Smith at length + the ways she sees character as being embedded in language + the way in which she sees speech more generally. when Smith works she cuts things out of the interview transcriptions but doesn't re-arrange the order. another interesting fact is that she always sees herself as the writer, although she is often quoting verbatim the words of others.
a question i now have to ponder is: 'am i using the community to make my own voice be heard?' according to Smith, 'the inability to articulate is when identity happens'.
Will noted some artists who have acted as muses to his work. the first was Joe Corson, a southern theatre-maker, who just told the stories that people told. he wrote books on how to collect stories such as one who's title begins w| 'Spider Speculations. Joe Corson had this idea about the 'Dragon Passage': a ritualized transformative process that the play could be built through|a moment that cound act as the foundation to one's creative process.
John O'Neill was a part of the Free Southern Theatre during the SNCC|Civil Right's Era. creating a persona inspired by w| African folklore, he used the 'Story Circles' technique as a device to democratize performance, + remind people of the act of telling. it works simply by a facilitator asking a question, which a group then goes around in a circle + answers one-by-one.
Will then spoke of The Civilians, a New York based performance company that would interview people without recording or taking notes in the hopes of creating what Will calls a 'fusion of me + you'. although they did not taperecord at first, the collective has since begun audio recording in order to maintain levels of legality + accountability to their fieldwork communities.
we spoke of the Laramie Project's successful ability to showcase the voice of the interviewers simultaneously to the voice of the community.
things i need to investigate:
For Colored Girls|Alice Lovelace|Testimonios.
what do i do about this notion of *Anonynimity?
* How are you introducing yourself in the process?
How much verbatim text is in the play? [Credit]
Feedback Process
cornerstone --> series of readings of the script.
i need to get a copy of Will's poem!
*Resource Generation.
i want to learn 26 hour day by ear.
NOTE: the audience should know what's verbatim text + what's writing|transparency.
'Do you hear yourself in this?' - SHARE IT!
PENNYSAVER! [YONKERS] | 'it could be you' - Miranda July
Tumblr! networking
- call for participants?
what does it mean to use the word 'Parent'?
words: gay|queer, assimilation|resistance [via M. Drucker]
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by noon on October 3rd, i need to turn in my CBD funding application to the CBD coordinator in ASH 100.
* it must engage two out of three of the following components: culture, mind|brain + human development.
* full proj. budget + potential resources.
+ Denise O'Neill Scholarship Fund:
- proposed research or project must relate to one of Denise's passions: medicine|anthropology|health care or child studies.
- award range: up to $1500
faculty contact: cynthia gill, x5358 | pam stone, x5775
thefprorg.wordpress.com
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Notes on Matt Taibbi, Griftopia [for the OWS class]:
"it is, he [Alan Greenspan] would say in 2002, 'very difficult to definitively identify a bubble until after the fact - that is, when its bursting confirmed its existence.'" (58)
"there was still some 'bubble around'." (58)
"'[...] the bubble for all practical purposes had been defused'." (59)
*Y2K|2000 (63)
glass-steagall act: a Depression-era law that barred insurance companies, investment banks + commercial banks from merging (65)
--> designed to prevent the dangerous concentration of capital in the hands of a single megacompany, creating potential conflicts of interest in which insurers + investment banks might be pressed to promote stocks or policies that benefit banks not customers. (65)
the Commodity Futures Modernization Act [2000]: deregulated the derivatives market.
"'to spot a bubble in advance'" (70)
*the Credit Union National Association Confererence? (72)
2007 = the collapse of the real estate market (74)
from 2001-2006, the dollar lost 24% of its value. (74)
America's international debt is somewhere around $115 trillion, w| our debt will over 50% of GDP. this is debt on a level never before seen in a modern industrial country. (74)
by October. 2008:
1| Bear Stearns, Lehman Bros + AIG Collapse
2| Massive Federal Bailouts (76)
the story of the Greenspan Era is not one of economics... it is a crime story. (77)
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RSA - crisis of capitalism video:
1| human frailty
2| institutional failure
3| obsessed w| a false theory
4| cultural origins
5| failure of policy
*systemic risk.
---
PBS frontline|the warning.
- Alan Greenspan
'the less regulation, the better'
- Ayn Rand:Libertarianism
over-the-counter (OTC) derivates were unreglated.
Brooksley Born|Community Futures Trading Commission wants to regulate the derivatives market.
- Proctor & Gamble case - the Bankers Trust Tapes
- the concept release (CFTC document)
- Hedgefund LTCM (Long-Term Capital Management)
- Russia's financial crisis.
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