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|Cache||HP Tuners is currently seeking an experienced full time Graphic Designer to join our team in Buffalo Grove, IL. Experience with both digital and print output is required, as well as a keen eye for technical design and the ability to work on multiple projects at once while still meeting deadlines.Digital projects will include (but are not limited to), static social media content for various social media platforms and website asset creation. Print projects will cover collateral such as brochures, packets, posters, packaging, magazine advertisements, merchandise and apparel. Applicant must be interested in growing professionally, HP Tuners proudly fosters an employee-first work environment with a strong focus on developing skills and abilities. Essential Skills NOTE: Please provide a link to a current portfolio along with your resume and any relevant work references in your application. --- Proficiency in Adobe Illustrator, Photoshop, and InDesign. Additional Preferred Skills --- Social media design requirements and trends.--- Web graphic design and iconography.--- Shooting and editing photography. Candidate Requirements --- Proficiency in Adobe Illustrator, Photoshop, and InDesign.--- Strong understanding of the automotive aftermarket industry.--- Typography, layout design and brand identity management. Skills & Abilities --- Excellent oral and written communication and interpersonal skills.--- Ability to work autonomously on multiple simultaneous projects while still meeting required deadlines. --- Open to constructive criticism and make on-the-fly changes as directed.--- Attention to detail, ability to review own and others work. Position Incentives-- HP Tuners subsidizes Health Insurance for the employee. HP Tuners also provides for the employee at no charge Dental, Vision, Long and Short-term disability Insurance and $100,000 in life insurance. There is also up to a 3% match in our 401K program. HP Tuners offers a fun and family like environment. There is a yearly review and bonus program.|
|Cache||Tyrod Taylor was supplanted in Buffalo by Josh Allen, and Baker Mayfield took Taylor's job in Cleveland. The Chargers pursued Tom Brady before he signed with the Buccaneers. Taylor knows the drill. But he's hoping the Chargers give him a chance as the team's starting quarterback. “We have a lot of talent on our team,” [more]|
|Cache||Administrative Assistant / Buffalo NY -- Remedy is partnered with an established property management company in Buffalo to identify an Administrative Assistant to perform various clerical duties and provide administrative support to the Property Management Team including data entry, scanning of documents. -- Hours: 8:00AM- 5:00pm Monday-Friday -- Responsibilities: Data entry, scanning and distribution of materials Generating invoices and related documents (i.e. Maintenance letters, bids and form letters) Answering phones Handling tenant and vendor inquiries, placing service calls, and providing follow up Preparing lay outs and elevation drawings of signs for management approval Performing routine clerical duties including copying, filing, distributing mail and updating Excel spreadsheets -- Requirements: Previous Administrative/Office support experience MS Office proficiency (especially with MS Word and Excel) Good typing skills Strong communication skills, both oral and written Must be highly organized and detail-oriented -- Great opportunity with an established Buffalo company! Comprehensive compensation and benefits package available! Apply today! -- We welcome Veterans and active military members to apply! None|
|Cache||Business Job Title: Banking SpecialistLocation: Buffalo, NY 14210Job Duration: 3 Months Essential job dutiesPrimary focus is on execution within defined parameters with some expansion based on development. Roles at this level are responsible for routine operational and/or administrative work with little to no discretion and decision-makingAdministering defined procedures, analyses, tasks and report preparation while receiving explicit instructions for filing, recording, processing, servicing, recording, and/or organization of documentation associated with a product or process May assist in reviewing or ensuring proper documentation or procedures are used for basic activitiesThis role covers a combination of staff within the areas of credit cards, retail banking, small business banking, consumer lending, mortgage banking, collections, recovery, origination, or auto finance and cover a broad range of responsibilities and dutiesPerforms basic routine tasks assigned by manager with little autonomy. May provides service in relation routine billing inquiries, service requests, suggestions and complaints from customers.Completes work by following clear defined procedures Skill/Experience/Education0-1 years experiences with working knowledge of the business or general office skillsHigh School Diploma or GED equivalent. College degree preferredWorks well with others in a fully developed work team environmentOpen minded and adaptable to new ideas in a changing environmentExcellent customer service skillsProven excellent verbal/written communication and interpersonal skillsGood judgment and decision making abilityAbility to work under pressure and meet deadlinesAnalytical, research and problem resolution skillsProficient in 10-Key, able to perform with a high degree of speed and accuracy.Comfortable navigating multiple computer systems and applicationsProficient in Microsoft Office applicationsBasic understanding of accounting principlesBasic knowledge of banking policies, procedures, government regulationsBasic understanding of loan documentationProven ability to handle all monetary/ processing functions independentlyBasic knowledge/experience in multiple payment delivery channels; OLDS, Lockbox, ACH, wiresBasic knowledge of banking policies, procedures and governmental regulationsAbility to perform simple scheduled and non-scheduled maintenance functions --- Proven ability to handle high transaction volumes accuratelyAbility to meet production goalsProven ability to handle all customer service inquires and diffuse difficult customer situations independentlyExceptional attention to detail.Excellent customer service skills.|
|Cache||Top Performers only need to apply Average will earn $85K. Stars will earn $250K in the form of uncapped commissions. Due to growth and expansion in Buffalo, we are looking for an outside Payments Sales Representative. Experience in Outside Sales/ B2B Sales/ Business Development is a must. Documented top performers only. Honesty and Integrity and be willing to do the right thing when no one is watching. Advocacy for mid-size merchants. Tenacity to get out of your comfort zone. These are the core values of Heartland. You have to be able to handle a 'no.' You must know how to directly ask for business. You must be dedicated to building a professional network. Personal and financial fulfillment can be earned selling the truth for a company known for its integrity and merchant advocacy. Ranked the #1 Company to sell for by Selling Power magazine, we believe in empowering the sales professional and are the founders of the Sales Professional Bill of Rights (www.spbor.com). Compensation-Benefits This is a W2, full benefits position selling Payments, Customer Engagement, Lending, Loyalty and partnering with our Payroll Division to upsell our existing portfolio with HR, Time & Attendance and Payroll Solutions. First-year sales professionals can expect average earnings of $85,000 - $95,000+ in the form of uncapped commissions. Top performers earn more than $250,000. Compensation includes weekly commissions paid each Friday, monthly recurring income that pays starting the first month, and more... Selling Power magazine named us the #1 service company to sell for over three consecutive years thanks to our compensation, comprehensive 90 day ramp-up period, ongoing training with the Sales Technology Team, guidance from a designated Sales Mentor and support from our local management team. And with 5 years of double-digit growth, we offer career advancement opportunities that lead to long-term success and growth within our company and tend to promote hard workers quickly. Additional benefits include: -Semi-Annual Incentive Trips for top performers -Stock options and prizes available for Top Performers -Medical, dental and vision insurance -401(k) retirement plan with company match -Voluntary life and AD&D insurance -Healthcare savings account -Flexible spending, limited purpose spending and dependent care accounts -Voluntary accident, hospital and serious illness insurance -24/7 technical and customer support Exclusive endorsements for merchant services, payroll, and loyalty processing from over 250 local and national associations such as The New York State Restaurant Association, NRA (National Restaurant Association), New York State Tourism and Hospitality Association, Independent Pharmacy Alliance and American Hotel and Lodging Association. YEAR ONE: Average will earn $85K, stars will earn $250K in the form of uncapped commissions.|
|Cache||Loss Mitigation Underwriter |
Title: Loss Mitigation Underwriter Location: Buffalo, NY Salary: Market Rate DOE
What You Will Be Doing
Contact mortgagors on delinquent accountsTrack memo datesReview first time vacancy noticesReview borrowers financial information update to utilize loss mitigation programs whenever possibleMaintain loss mitigation file and commentsReview and prepare files for foreclosureReport delinquency status to various investorsFile loss mitigation claimsMonitor bankruptcy accounts and post bankruptcy paymentsAssist others in completion of miscellaneous projects and properly utilize individual timeComply with all company policies and procedures
What You Need for this Position
1-2 years of professional experience in Loss MitigationFully understand investor requirements with respect to collections, borrower financial requirements and qualifications for loss mitigation programsStrong PC, Microsoft Office, and Internet Navigation skillsExcellent organizational skills and attention to detailCritical analysis and problem solving abilitiesExcellent verbal and written communication skillsStrong customer relations disposition and interpersonal skillsKnowledge of mortgage bankruptcy process is preferred
So, if you are a Loss Mitigation Underwriter with experience, please apply today!
- Applicants must be authorized to work in the U.S.
CyberCoders, Inc is proud to be an Equal Opportunity Employer
All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, protected veteran status, or any other characteristic protected by law.
Your Right to Work In compliance with federal law, all persons hired will be required to verify identity and eligibility to work in the United States and to complete the required employment eligibility verification document form upon hire.
|Cache||IL-Buffalo Grove, Buffalo Grove, Illinois Skills : Quality Assurance,cGMP Description : Skill Sets: Quality Assurance experience with cGMP production environments; direct work experience with cGMP processes involved in manufacturing Understanding and proven real-life application of regulations in a cGMP Environment Strong interpersonal skills; comfortable communicating with both internal team and external clients R|
|Cache|| THiNKTaNK posted a blog post|
▼9 Security Trends & Predictions for 2020▼#iTHiNKLabs Threatscape 2020 (Guide 1) ⬆ Images Hyperlinked Due to heavy-handed Mainland Chinese censorship and cover-up, #iTHiNKLabs, like others, missed the COVID-19 (Novel Coronavirus) threat when the original Guide (see above) was drafted, — in, arguably, “the worst intelligence failure” and greatest strategic surprise since Pearl Harbor and 9/11.Speaking of Pearl Harbor, it is foreseeable that the U.S. Navy — currently the hardest-hit military service — may be temporarily weakened and distracted by aircraft carrier Coronavirus outbreak, which will spread to other armed forces and probably peak by summer. However, #iTHiNKLabs believes there's reason to believe that crisis will be resolved before or by year's end and will be monitoring it.Not Wearing Masks To Protect Against COVID-19 Is A ‘Big Mistake’ and the face-mask free bravado in the West in particular won't end well for thousands. The likelihood of a sizable number of Western leaders testing positive or even dying from infection due to their blasé attitude to the deadly virus is real. Hence, my publication of the below hours prior to this one, having survived over 2.5 months lockdown in China. Beware of face mask-free press conferences. Study the below:It goes without saying: If you can't completely self-isolate for (60 to 90 days), wear protective gear and face masks. And by all means, study the above (click/tap) to learn how others have survived.Indeed, as mentioned further below, even in China, the epidemic is far from over. And leaders and most of the public alike, are still visibly cautious, even afraid, when they venture out.However, with the CCP’s propaganda machine now weakened by the outbreak, despite efforts to rewrite the narrative, and with the U.S. now the epicenter, Guide 2 is here to offer a final, albeit belated and frenetic assessment for serious planners: COVID-19 Will Dominate & Expose Security (Under Performers) For The Rest of 2020Except for business continuity and disaster recovery/crisis response readiness, and other strategic investment, public health and market watch that requires up-to-the-minute update, the click-intensive resource above is enough for a robust and proactive coronavirus risk mitigation.Sadly, the great equalizer here is that InfoSec snobs treated (my) COVID-19 (early warning tweets and blogs) as non-computer security related until they, their customers and cliques had to work from home. This reflects a lack of risk maturity, shared with the C-suite that I've often warned against.IT Security that didn't factor in remote work challenges early on when #iTHiNKLabs started covering the Coronavirus outbreak because they assumed it was non-tech, just another — eye roll — political issue, rather than a health security issue with far-reaching cybersecurity implications, effectively losing time just like political leaders who squandered critical time. From Wuhan, to Beijing, Washington, Rome, Madrid, etc.Cybersecurity is not about the (late) conversation. It's about the proactive, holistic mitigation. Computer security is NOT just about tech. The Mainland Chinese get it. Smug Westerners just don't. There's a reason the Chinese say: “Talk doesn't cook rice.” The PRC doesn't have bisons. But having survived China's Coronavirus Lockdown, I'd say, foreign InfoSec needs a Bison mindset upgrade.Currently, millions of orders are being canceled in China and around the world. The Coronavirus pandemic will kill businesses, cost the world economy trillions of dollars,shift the global order, induce a global recession, already in progress — depression likely — and derail tech careers.Nevertheless, the net positive is that simultaneously, the pandemic will advance VPN Security (consumer AND enterprise), Zero Trust and Cloud Security generally as Microsoft Teams and Azure suffer over-capacity issues. Improved WiFi Security and the freeing up enterprise IT/cybersecurity budget are also likely positive consequences.Moreover, from a business survival standpoint, startups and small businesses are most at risk, although now is a good opportunity to stress test remote work feasibility across the board.China was already in hibernation when I first started working on this update/Guide from within the country.Over 70 days later, it's still struggling to return to normalcy, with many businesses still either understaffed or closed. So, your Risk/Crisis Team should make accommodation for individual employees with weak immune systems. Those who frequently fall ill. Teleworking or not.This is a risk management, supply chain (security), HR, business, public health security, global security, cyber security, strategic security, national security and executive issue. The first hyperlinked image (above) is business-focused. The more popular one directly above, personal health security. Ransomware Attack Tradecraft Graduates To: Your Data, More Than Your MoneyLast year by now, InfoSec prognosticators were, as the industry tends to do yearly, way ahead of themselves with fantastical new threats and technologies. But focused on the low-hanging fruit that is ransomware, I watched its steady evolution. Which is why I warned: Don't Buy Any 'Don't Panic' Bluekeep Assurances. Ransomware Attacks Have Only Spiked. See item #5 here, and click/tap (image) above for in-depth #iTHiNKLabs ransomware (solutions) coverage.Originally, I predicted: Whatever the variants — be they disguised as wiper viruses or not — ransomware will dominate cybercrime, state, national security, and, God forbid, election security in 2020. With COVID-19 changing the equation and BYOD out the window, focus on #1, file integrity, maintaining remote workforce data security and social media security fundamentals.Worst-case scenario, 2020 will prove to be the test run I suspect 2019 was. And what happens when you throw high-impact, high intensity ransomware at a divided superpower's general election?A cauldron of anarchy.You suddenly get a national security emergency that at least for anarchists and nihilists, must be fun to watch. After all wouldn't they love to show how ill-prepared America the great is. Ну, дава́й! Nu, daváj! Alright then. Or, come on! As Russians like to say in their language.High-impact Ransomware Attacks Among Chaos Ops (As New Election Interference Weapon)As the new election interference weapon of choice complementing rather than supplanting social media disinformation campaigns, we will see ingenious albeit depraved attempts not just t disrupt but sabotage elections as well as other democratic institutions. And for sure, businesses will get the special treatment too.That is what the many Ransomware incidents of 2019 including the ones that caused business, school, and medical facility closures, as well as ransomware-related hospital fatalities proved. Which is why if you haven't bolstered your recovery contingency plans, you have failed.With Donald Trump having survived Impeachment en route to Election 2020, expect 'Chaos Ops' from within and outside the U.S. likely leveraging Ransomware (as cover) to sow deep division in the U.S. electorate, with most targeting Joe Biden now that he's in the driver's seat.Of course, we know what happened with the Trump Impeachment farce trial.But more than 'clog the lines' operations that successfully and deliberately disrupted the disastrous Iowa caucuses, and its hotline for reporting results, the COVID-19 Election is here.#iTHiNKLabs Predicts: 90% of 2020 Election Security Threat Will Be DomesticThat is, self-inflicted. Albeit COVID-19 is here to change the equation.In Putin's Game of Death II: Dezinformacija & 2020 Election Security, I address the challenges of Fighting Fake News & COVID-19 in 2020. Most so-called cybersecurity pros can't enumerate the 7 tenets of fake news let alone connect the dots, if their lives depended on it. Nor are they interested.And going back to #1, that too is an added Election Security and National Security risk, with Western social media giants acting as vectors and "useful idiots". Although the CCP dislikes Nancy Pelosi, Joe Biden is China's choice for President (not that I support the National Review). But as one of President Obama's own former strategists will tell you, Joe Biden has (exploitable) problems.Content with an architecture of chaos whose henchmen, much like their boss (Trump), are known to flout basic security hygiene and national security best practices while blocking attempts (detailed above) to legally secure the 2020 Election, known agents of chaos such as Putin's Russia and other adversaries are ready to throw in a powder keg of both high impact and subtle attacks in a COVID-19 Election that is likely to see active Iranian, North Korean and Chinese interference. Not just Russian.Nevertheless, while Wired believes “Covid-19 will mark the end of affluence politics...reveal our inability to make and distribute the things people need—just in time for a presidential election” I tend to side with George Carlin. “Never underestimate the power of stupid people in large groups” intent on keeping America great again.Will a $2 Coronavirus Trillion Stimulus Package with "strong bipartisan vote" secure or buy the 2020 Election? We'll see. And, for whom. But for cybersecurity pros, your job is to exclude your users from the next victims list. 2020 Will Be More Of The Same Or Worse For The Retail Industry2019 provided conclusive and countless proof that mobile security is a myth. The Jeff Bezos hack too. With VoIP app flaws (WhatsApp, in particular) and sophisticated surveillanceware often leading the way, with the Coronavirus outbreak, heads previously buried in the sand will now be forced to take note. Because as retailers close their doors, hackers are open for business.#iTHiNKLabs tracked several reminders throughout 2019 of mobile apps and other device and firmware flaws rendering “the best” and “most secure” or expensive smartphones along with much vaunted E2EE messaging solutions useless and vulnerable to hackers. And that trend is likely to continue in 2020.Yes, cash is king. Yes, I'm known to advocate cash only transactions as much as possible. Yes, cash IS a COVID-19 vector. But, precisely THAT is why tech-only solutions exposes users. After all (as above), I've already clocked over 70 days in Chinese COVID-19 lockdown. Which means, at some point, as part of my preparations, I stepped out to get self-isolation/social distancing supplies. With cash. Because I treat my data like cash.Speaking of which, Chinese hackers have weaponized coronavirus data for new cyber attack(s). We know Cyber criminals are exploiting coronavirus disruptions. And #iTHiNKLabs has covered various COVID-19 themed malware lures and scams. So the question is: Will you knowingly encourage your users to be overly dependent on mobile apps? Will 2020 be the year consumers and so-called security “experts” in the States go the pragmatic European and European Union way and be more open to being minimalist in their electronic payment enthusiasm, in the interest of cyber security?Consumers love their smartphones and generally don't care about the latest WhatsApp flaw or a million other attack vectors putting their data, privacy, or personal security at risk. Nor are they fazed by some rich crypto-investor they don't know who lost millions.Like the Retail industry and its constantly breached customer data, from the NSO Group to data privacy-Killing, Russian-made advanced mobile multi-use surveillanceware, consumers and in particular, North American so-called security experts alike have a choice. Like the Germans who are known to carry cash in their pockets or 'dumb phones', they can adopt data stinginess to protect their digital life, privacy and security. Or, they can go all-in with every new technology, oblivious of threats.With COVID-19 still playing out, 2020 may end with, so-called cybersecurity “experts” lacking elevated strategic thinking and in-depth security expertise (i.e., true risk maturity) and typically too emotionally attached to mobile devices — just like some CxOs who lack true risk intelligence AND maturity — beginning to acknowledge the seriousness of mobile as an attack surface too large to continue to ignore, whatever its benefits to enterprise. And with that reality check as data breaches pile on, reconsidering more secure alternatives discussed (in links) above.Remote Workforce & Small Businesses Now Hackers' Prime Targets; Just Don't Count On CxOsAs above (click or tap image), CxOs may tell journalists “...at least 50% of their employees are now remote... [and] that cybersecurity risks have increased as a majority of their employees work from home.” Except we know from the 2019 Marsh/Microsoft Study in 2019 that in many cases, “busy board members and senior executives...responsible for their organization’s cyber risk management” actually spend less than one day on cyber risk.In fact, securing the home business computer of a couple who were previously hacked and frequently receive spam texts and countless phishing and spook and fake site attacks in the States at the end of 2019, one can only imagine how smug CxO are about to add to the problem.Despite previously being victims, the family invoicing and business computer remained password-less until I secured it. Basic security hygiene or Cyber Security 101 (freely available on the web), would have taught them that for starters, the Windows Admin account needed a strong password, with regular activities left to Standard User account. Instead, the husband, a smug executive addicted to bluetooth pairing and disinterested in being threat smart — despite frequent call-drops and all — with mobile security apathy and disdain for both Faraday bags and cyber security experts in general (called me “paranoid schizophrenic”) was already exposing his family to jaw-dropping data leaks and threats the wife could only privately complain to me about.So while hacked small business entrepreneurs, owners, or executives with bad cybersecurity sometimes learn and change bad habits if not fired or blown out of business, only leaders and entrepreneurs already actively seeking robust radical solutions many InfoSec pros overlook — typically at the personal/home office/remote work level, and — with a clear head, will dodge pending 2020 cyber attacks.With or without COVID-19 based attacks.Coronavirus-related remote workforce cyber security tips abound and keep proliferating. But like the pathogen, hackers can choose to play the silent data exit game with low-hanging fruit. And neither the clueless user nor security team can do much about lost data. Put differently, good luck if you're one of those hoping to use this inopportune period to attempt to get cyber risk management right. COVID-19 Recruitment vs. Applicant Tracking System (ATS) Data GoldmineWith recruiters and organizations making a big deal about all hiring and interviewing being conducted online, hackers may soon turn their attention to another target-rich attack surface: Data-greedy ATSs I've been warning about for years (click/tap above).Applicant Tracking Systems ARE a security risk. And except for CHROs, leaders and organizations that haven't been tone deaf, or most European employers who keep both application and data collection lean and often reduced to half a page, recruitment industry particularly in North America, may be in for some rude awakening if depraved hackers decide to exploit the new COVID-19 remote workforce reality to make things messy.Even in China, the pandemic is far from over. Whatever your Disaster Recovery and Business Continuity Plan entails — and yes, I worked for DRP/BCP/BIA leader in the past — better think beyond the below.For consultation contact me here. 'Got good jokes or simply want to engage or follow? I'm here.○ ○ ○Images Hyperlinked○ ○ ○ Guide 1 Breakthrough Ideas for March 2020PEACETTF I N I SSee More
|Cache||Happy Birthday! :beers:
Many more you don't look day over 26.
That bag does hide it a bit.
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|Cache||Louisiana OG Robert Hunt said he had formal meeting with the Seattle Seahawks, Cincinnati Bengals, Cleveland Browns, New York Jets, New York Giants, Buffalo Bills and Tampa Bay Buccaneers at the 2020 NFL Scouting Combine.|
|Cache||Utah CB Javelin Guidry said he spent a lot of time meeting with the Miami Dolphins, Green Bay Packers, New England Patriots and Buffalo Bills at the 2020 NFL Scouting Combine.|
|Cache||Buffalo Bills QB Josh Allen had a league-high 7.2 percent of his pass attempts dropped last season.
Footballguys View: There's a reason why the Bills made a huge trade for WR Stefon Diggs. Allen should see more consistent help from his receivers this year, led by Diggs. |
|Cache||Team activities for many NFL teams are on hold during the COVID-19 virus outbreak. Players are taking different measures in order to hone their craft during this time away from team facilities. Sports Illustrated’s Albert Breer highlights that Buffalo Bills quarterback Josh Allen is engaging in a self-quarantine with New York Jets quarterback Sam Darnold, Washington quarterback Kyle Allen. The group is working with quarterback coach Jordan...|
Beverly and Dereck Joubert–explorers, conservationists, and filmmakers–represent the interdependencies of animals, plants, and landscape within Africa’s Okavango Delta–a UNESCO World Heritage Sight–in their newest film OKAVANGO: RIVER OF DREAMS. The documentary, which premiered at the 2020 Sundance Film Festival, took four years of intense filmmaking to shoot, including a freak accident that threatened their lives. At Sundance, we sat down with Beverly and Dereck to discuss the film.
Science & Film: In capturing footage for this documentary, what stories came most easily, and which were the more difficult to shoot?
Beverly Joubert: We’ve had the luxury of studying this area for forty odd years, so we could storyboard what we really wanted. Our wish list was large, but meant that we did need that luxury of time.
Dereck Joubert: There’s nothing easy about this kind of thing; I wish it were easy. Some things you don’t anticipate and just happen across, and they can be the real gems. We wanted to film in this style which was a hand-over–so one animal hands over to the next, to the next, to the river, back again. So, for example, we filmed some brightly colored carmine beetles–beautiful, scarlet colored–and then we were working with some lions and the carmine beetles flew right between us, so that’s a moment you capture, you don’t work on it for four months—it just happens and you never see it again.
Beverly Joubert: When we first took on the project, we said it would take three years. And then, something unforeseen happened—we had a freak accident with a buffalo that hit Dereck and I, and so that took us out of action for nine months.
S&F: Injured you?
BJ: We were seriously injured, yeah. I was in the hospital for three months.
S&F: What happened exactly, if you don’t mind my asking?
BJ: It was a freak accident. The buffalo was wounded, he was walking in our camp, he was probably using the camp as a safe haven, and we walked from one tent to the other with flashlights, and it was quarter to eight at night, and he came out of darkness, gave us three or four snorts, but he just targeted us. He came straight for us and I just stood still and looked and said oh no, and Derek said go away or whatever he said.
DJ: I jumped forward and yelled at him…
BJ: And he went through us. Dereck was hit and went flying, and I was impaled seconds after that, and he ran off with me. So that’s why it was such a serious accident. Dereck then had to try and get himself up after being hit by a two-ton creature and run after and try and get me off. So, I don’t know how much time you’ve got, but…
DJ: I ran after the buffalo and he flicked Beverly off the horns and then she crumpled down and then the buffalo came back, and so I had to run at him and draw him off and carry Beverly halfway back to the other tent. But what was trickier was that we couldn’t get out, because it was nighttime, so for the next 18 hours before I could get her to a hospital, I had to administer first aid.
S&F: I’m glad you survived!
DJ: It was a big buffalo horn, and it went under Beverly’s arm, through her throat, into her cheek.
BJ: 27 bones broken.
BJ: I now live with seven plates and 44 screws and a big plate here [gestures].
S&F: I mean, I can’t see anything.
BJ: I had 7 different surgeons to save my life.
S&F: Did that shake your resolve in terms of making the film or living in the Okavango?
BJ: The process that the caterpillar goes through to become a butterfly, not to say that I’m a butterfly, but I went through a metamorphosis and I think we embraced our calling, or our cause, so much more strongly in every way. We had a lot more empathy toward the wildlife and what they experience, and we definitely have a better understanding about what’s happening to this planet right now. We almost look at what happened to us as a symbol of what’s happening to the planet.
DJ: I think it strengthened our resolve to do something about it, and to stop looking down, to look up. It wasn’t the buffalo’s fault, it wasn’t our fault, it wasn’t anybody’s fault, and Africa is gritty, bad shit happens. But it doesn’t mean that Africa is bad. One looks at that more philosophically, and we’re now using the time that we do have more intensely than before to try and save the planet before the next buffalo [laughs].
S&F: That is very remarkable, very impressive resolve. I think for a lot of people, you could imagine a different reaction.
DJ: The weirdest thing is we go off, we were in the hospital for all this time, I’m reading Dante, going to dark places–
BJ: In a dark place already.
DJ: –and within days of coming out, we ran into some buffalo and so we spent, strategically, quite a bit of time with the buffalo, in and out of the vehicle, getting our ski legs back. Just making sure that we didn’t feel anything. Through some of that time I questioned whether Africa was rejecting us, so I knew that I needed to get out and touch the ground and make sure that we were still friends, you know?
S&F: So, getting back to the filming process: When you’re thinking about what you want to capture, are you thinking about it in conversation with scientific research, or is it purely aesthetic? What is that balance?
DJ: With our films, we research, we look at the science, we read everything we can, and then we sort of push it aside. But one of the scenes in the film I had first heard of as a possibility of happening forty years ago maybe: we came across this big termite mound and den, and hyenas were digging in there and a warthog walks in. They shared this den. It was urban myth in many ways, and so now we’ve captured it on film.
Certain subjects—lions in particular, and all the big cats—we’ve researched it our whole lives, we’ve written papers on it. The conversation is between science that we know and nature itself. In all of our films in the past, we’ve discovered something that science up to that point did not know—lions jumping on elephants, for example. These moments just suddenly erupt, and nobody’s ever seen them, and suddenly you start seeing them. For us, it’s understanding the science, and then being open to the conversation [with nature].
S&F: Do you think you’ve been able to capture these moments that perhaps were not known of before because you’re filmmakers? Because you’re spending so much time looking?
BJ: Time is the ultimate… you couldn’t go for three months and expect to come up with OKAVANGO as we have it now, purely because many of the scenes are of different seasons. We wanted to have the water as one of the main characters—following the water and then going into the desert, into complete dryness, where animals like zebra migrate down to this very hot, uncomfortable desert, just as the rains hit. The area that we were covering, it must’ve been…
DJ: 15,000 square miles
BJ: It’s huge. We used every tool that we could– helicopters and drones–and it was a wonderful way to show this area and the patterns. Animals have become the artists, because in the desert, where there’s just a little bit of moisture, they’re creating different patterns, and it’s the canvas of the sand that’s the art. In the delta, elephants are masters of change there, and they’re important. Without them, channels would get blocked. But as they are masters of change, they also create these new intricate and unique patterns. And they’re opening it up for other animals. We were concentrating on that as well, because the whole concept of the film is: let’s look at this world heritage site, it’s one of the last pristine places on Earth, and it’s vulnerable. Ultimately, how can we protect it?
DJ: Time is our secret weapon. We don’t do films quickly. It takes us that long to get into the skin of it. To understand it.
BJ: Sometimes we have to go through the pain, the agony, of watching an animal go through their own traumas. And we love that. We do. We take it on, we love it, we feel it, and we try and bring that out at the end of the day with Dereck writing the script. But even in the edit phase, we look at those moments that are going to be the tender, moments that are going to get you as the audience to feel that emotion.
DJ: This film, more than others that we’ve done, is a mirror, both to ourselves and to the audience, because of the journey, which has a beginning middle and end: the river starts in the hills and ends in the desert, unlike many others that end in the ocean. So it’s got that journey, and that is a reflection of our journey that we had through this film.
S&F: You mean physically, following the river?
DJ: Yes physically, and emotionally, and after we had the accident with the buffalo–Beverly was in the hospital for all those months, I was really Dante, because Beverly died a few times and we got her back. I was reading Dante, to explore the depth of the darkness and the agony of life. When we were structuring this film, we parallel Dante’s journey in the Divine Comedy from purgatory into paradise which in many ways reflected Beverly’s recovery—the journey of the river from the desert and then making our way through paradise. There are many, many layers [in the film] and I’m hoping that audiences will understand, or at least be sensitized, to some of those. We say things in the script like, someone’s paradise is someone else’s purgatory. Little things so that you start thinking not so much about the lion or the elephant, but yourself.
Almost everybody in the world is waking up and rushing to the news, because we’re all caught up in this collective post-traumatic stress about what’s happening to the planet. To do a film about someplace where it’s pristine and whole and pure is an example. If everything else falls apart, we will have the Okavango.
S&F: Do you think it will survive if everything else falls apart?
DJ: I think it’ll survive longer.
BJ: Many of the African countries that have the last remaining pristine place get a huge income through safari tourism. That’s one way that it’s been protected. But there is an overwhelming swell of humanity and of course everybody needs space, so slowly that space is encroached upon. It happens little by little until you realize, oh my gosh, half of the park is gone. That is the danger. I’ve books like Jared Diamond’s Collapse, and he writes that we will have wildlife, but it will be in enclosed areas; it’ll be in zoos or theme parks and various places. We find that a bleak situation.
We started the Big Cats Initiative at National Geographic—we are trying to protect lions and leopards and cheetahs, and that’s in Africa, but then looking at all cats around the world, and, yes, it is important to protect all of them, but each initiative we take on is really about protecting the wilderness for them at the same time because without the wilderness, then we really should just be putting them in zoos right now. How do we protect the environment and protect the delta so that safari hunting doesn’t go into it? We took 25 years of working with the government in Botswana just to advocate against hunting and they eventually stopped hunting in 2014.
And now it’s being reopened in 2020 in April because of a new president. We find that devastating. In our opinion, it’s the wrong decision, but that’s a decision that’s been made, and it’s a decision that we have to look at and how it’s going to affect the area.
DJ: It’s easy to look at these places and say, this is 15,000 square kilometers, it’s huge. And then you step back and look at it, it’s basically in the palm of our hand, and we could crush it. The future of this place is entirely in our hands. Our fear is that we’re busy abusing it already, and like all addictions, the first step is to understand that you have an abusive relationship. This film is pointing out exactly what we will be losing.
S&F: Was your main impetus for making the film to try and show that we have this beautiful place and that it needs protecting?
DJ: Yes, definitely. I think that there are some fundamental problems with our relationship to nature, and one of them is ignorance: we simply do not understand the impact that we have. The other [problem] is greed, and the other is necessity. We destroy it if we have to, to eat. With greed, we will destroy it. But if you’re aware, people at least can’t unknow something. The start of the film was to shine a spotlight on how pristine but also how intricate this place is. Now that you know that, you shouldn’t be participating in destroying it. It’s more fragile than you think, even though it’s big.
S&F: The film is so beautiful and so expansive, and then looking at the credits it’s really just the two of you who did everything. Is there anyone else who you want to mention, who was a key collaborator?
DJ: We brought in a high-speed cameraman for a couple of weeks, an underwater cameraman, and that sort of thing. But not enough can be said about our partners on the film: Terra Mater in particular. One year into the production, we had this buffalo accident that put me out of action, put Beverly in the hospital, and the production schedule was floating. They had made commitments to get the film out, and I phoned, and I said, this is going to set us back a year. And there was not a moment of: oh dear, let’s adjust the budget. All that I got from them was, don’t even think about that. You guys stay in hospital, get yourselves sorted out, we’ll put a freeze on the production and revisit later. That sort of compassion was embedded in the entire film.
BJ: Absolutely, they’ve been phenomenal, in every way. On the creative side, we’ve all had the same agenda which is, how can the film speak globally about the environment and conservation ethics? Often, broadcasters are shying from that. So it was really wonderful that we didn’t have to fight for that.
The other person worth mentioning is our editor Jolene van Antwerp. She truly was phenomenal. She put herself in our shoes, in the story’s shoes. She really loved the film through the whole period. We brought her on very early because we wanted her to be able to edit scenes as we were shooting them instead of just, here’s all the footage, and let’s see what we can make. And I believe that made the film better. The other two people are the two music composers. We had to share the music because of the volume of material, but also, we finished the film late so we didn’t have enough time for one music composer. Also, we wanted the yin and yang and so we brought Sarah Class on, who is a woman composer, and JB Arthur, who is a male composer, so that was great. They worked exceptionally well together. They worked a little bit like Dereck and I you know, being partners and just absorbing it and taking the ego out of it.
It was great apart from the little accident.
OKAVANGO: RIVER OF DREAMS (Director’s Cut) is directed and produced by Dereck and Beverly Joubert. Dereck Joubert also wrote and served as cinematographer, and narrates the film. Beverly Joubert did the sound design. The couple are each National Geographic explorers-at-large, and have made over 40 films together, received eight Emmys, a Peabody, and many more awards, and in addition to publishing over ten books and numerous articles.
Pixar’s latest film, THE GOOD DINOSAUR, has a scientifically improbable conceit. The film posits: what would the world be like if a meteor had not struck earth 65 million years ago, and dinosaurs roamed the earth with humans?
This is a paleontologist’s dream. THE GOOD DINOSAUR features several kinds of dinosaurs including a Tyrannosaurus rex, a Pterodactylus, and a Velociraptor. There are also humans in the film. Actors who voice the characters include Frances McDormand and Jeffrey Wright.
The L.A. Review of Books recently published a review that explores the intersection of science and film in THE GOOD DINOSAUR. It is written by University of Chicago professor W.J.T. Mitchell whose book The Last Dinosaur looks at dinosaurs in the culture. His review is republished with permission below:
“What is the big deal with dinosaurs? The surface of our dinosaur fanaticism is barely scratched by Jurassic Park or the archaeological revivalism of Jurassic World, which rendered the 1990s theme park as a kind of Mayan ruin hidden in the vaster landscape of a whole world of dinosaurs. It is not enough to look at our long-standing craze for the age of reptiles on television from The Flintstones to Barney to Dinosaur Train. Or the cinematic tradition that originated with one of the earliest animated films, Winsor McCay’s Gertie the Dinosaur, and has evolved through innumerable lost worlds and time travel films through King Kong’s decisive battle to protect white womanhood (a.k.a. Fay Wray) from the dinosaurs right down to Adam Simon’s Carnosaur, a masterpiece of bio-horror featuring a mad woman scientist who is cloning predatory saurians in the fast-food chicken joints of America. No, it is even deeper than that, going back into the exhibition of the first dinosaur models at the Crystal Palace exhibition of 1851 (visited on opening day by Queen Victoria) to the failed attempt by Waterhouse Hawkins, the world’s first dinosaur artist, to create a Jurassic park in New York City’s Central Park in the period after the Civil War. Toys, prints, paintings, dioramas, sculptural models, and whole dinosaur environments have been created with increasingly elaborate realism over the last century and a half, making the dinosaur the most famous animal in the world. The fact that these animals only exist as images, and have never been seen in the flesh by a living human being, only seems to make them more attractive, various, and lively in the human imagination, a phenomenon that defies national boundaries, making them popular in every country in the world.
Stephen Jay Gould explained the dinosaur’s attraction as based in the fact that they are “big, fierce, and extinct.” He thought that size and ferocity made them fascinating but dangerous, while extinction made them safe. But this explanation seems conspicuously partial; plenty of dinosaurs, from Barney to the appliances and vehicles of the Flintstones, are none of these things. And if one relies on the evidence of The Good Dinosaur, the latest release from Pixar, one could hardly imagine a more emphatic counterexample. Arlo, the hero of The Good Dinosaur, is the runt of the litter. When his shell cracks open, he can hardly be found inside it. And he is anything but fierce. He is afraid of everything, and like the Cowardly Lion of Oz, he must undergo a whole series of ordeals in order to prove his mettle and make his mark. The entire premise of The Good Dinosaur, moreover, is an alternate history in which the extinction does not take place. The film opens with the fatal asteroid just missing the earth 65 million years ago, allowing the dinosaurs to survive, evolve, and (best of all) coexist with our human ancestors.
But this coexistence is not what we would expect from the precedent of earlier lost worlds in which humans generally engage in mortal combat with the monstrous saurians. In a clever reversal of expectations, The Good Dinosaur presents its titular creatures as smarter and more highly evolved than their human counterparts. The herbivores (Arlo’s family) are frontier farmers, cultivating their pastures and tending their very aggressive chickens. The carnivores, specifically the T-rexes, are herdsmen, or, more precisely, frontier cowboys herding “long-horns,” which are a hybrid creature confusing longhorn cattle with buffalo. The only other dinosaurs are that other fixture of the western frontier, murderous bandits and cattle rustlers played by vicious, treacherous pterodactyls with the voices of redneck hicks.
And it is the voices that play the most important role in the film. As far as I know, this is the first dinosaur talkie in which it is only the dinosaurs who do the talking, while the humans are treated as mute savages who can only roar, bark, and growl. Everyone who watches a trailer of The Good Dinosaur will come expecting a buddy film in which a little boy befriends a big dinosaur who will carry him through amazing adventures. But this little boy is pre-human, definitely not Homo sapiens, and not even Homo erectus — call him Homo canis. He is a feral boy, an orphan “critter” who believes he is a dog and behaves like one. He is an excellent companion for the intelligent but rather clueless Arlo, because he has learned to survive the wilderness on his own, so he can find berries, climb trees, and catch small animals. Arlo’s role in this friendship is to carry his proto-human buddy on his back when long distances need to be traversed; our Homo canis, on the other hand, is an agile, fast-moving partner, darting about like a combination of squirrel, monkey, rat terrier, and border collie.
With these rather original premises established, The Good Dinosaur proceeds to recycle some of the most durable plot devices of the American Western from Ford and Wayne to Disney and Pixar. Arlo, like Bambi before him, has to lose a parent, get separated from his family, and find himself alone in the wilderness, relying on his Toto-substitute to help him survive and find his way home. Adventures ensue, including a close shave with the vicious pterodactyls, and new friendships with the family cowpoke T-rexes who need help with their cattle drive. The deep western drawl of Sam Elliott (narrator of The Big Lebowski) provides an iconic voice for Butch, the poppa T-rex. But arguably the weirdest and most interestingly self-reflexive character in the entire story is the “Pet Collector” played by a deeply insecure triceratops with a generous array of extra horns festooned with a whole array of critters who serve as his friends and helpers. He explains that all these nonspeaking animals serve him as aids and protectors from scary things in the night and the dangers of unrealistic expectations. He tells Arlo that the key to having animal pet-helpers is to give them a name, and so Spot is given his identity. The idea that a dinosaur would have a human pet is perhaps the most mind-boggling reversal in the film.
The Pet Collector reminds us of the most fundamental role of language: the ability to name things, and by doing so, to make them belong to us, and we to them. (The naming of and “dominion over” animals are central to Adam’s role in the Garden of Eden.) But the Collector doesn’t just take possession of his adopted family of animals; in his excessive abundance of attachments, he is clearly also possessed, and appears to be a fearful hoarder of living things. Arlo, by contrast, only needs his one companion, Spot, and he is comfortable with letting Spot go when he finds a human family to join at the conclusion of the film.
All this reeks of what anthropologists used to call totemism, the adoption of natural things (animals and plants) as kinfolk and symbols of kinship in so-called primitive cultures. The problem is that dinosaurs were unknown to primitive cultures; they are a thoroughly modern discovery, never named, classified, or adopted until the British paleontologist Richard Owen proclaimed their existence in 1843. Could it be that modern cultures need totemism too? Freud’s Totem and Taboo argued that totemism was obsolete in the modern world, while taboos still abound. But he failed to consider the possibility of a distinctively modern totemism, in which the animal counterpart and companion to the human species is an extinct family of prehistoric animals discoverable only by modern science. Dinosaurs provide the perfect Darwinian allegory for the human race — namely, the possible (or should we say highly probable) prospect that human beings could wind up just like them — extinct. That, it seems to me, is the best explanation of the strange array of contradictory attitudes toward dinosaurs as popular icons. They are friends and companions, on the one hand, and feared enemies, on the other. They are ferocious wild animals and domestic pets, vicious predators and peaceful vegetarians. In short, they are a mirror of all the varieties of our own human species, distributed across a genus of extinct animals that exist only in the realms of unbridled imagination and biological science — a perfectly modern combination.
The word ‘totem’ comes from the Ojibwe language and means literally “he is a relative of mine.” Relatives and relationships, born or adopted, provide the fundamental social thematics of The Good Dinosaur. Perhaps that is why it so emphatically restricts the social groupings to nuclear families and their adopted kinfolk. Arlo’s family, for instance, despite having achieved independence through subsistence farming (they are busy stocking up food for the winter), seems quite alone in the world. There are no neighboring farmers much less villages, and we never see any other Apatosauruses in the entire film. It is as if they are one of those lonely frontier-farming families in the American West who have completely lost contact with civilization. The same is true of the T-rex cowboy family; it is not clear what the destination of their cattle drive could be, or that there are any other cowboys in the world besides them. It is a very strange world in which no societies or civilizations exist, just isolated families in a rather cruel and beautiful North American wilderness.
And this strange dissonance between the figures and the landscape is the key to the peculiar cinematic style of The Last Dinosaur. The mountains, forests, and raging river that plays a central role in the mise-en-scène are rendered in hyper-photorealistic style, so that when the camera turns away from the characters, one could be in a classic Disney True Life Adventure set in the Pacific Northwest. But when it returns to the characters, their figures are highly schematic, almost cookie-cutter stereotypes. At one glance the film reflects the latest in animation; at another it seems to throw us back to the hand-drawn figures of Gertie the Dinosaur (whose favorite trick of pulling up trees and throwing them around is repeated by the Apatosaurus family). It is as if the filmmakers wanted to remind us at every turn of the peculiar stitching together of fantasy and reality, imagination and natural science, that constitutes the whole world of dinosaur fictions. Perhaps the point of this is to signal that this is emphatically a movie for children. Arlo’s rubber-like body is buffeted by violent falls and collisions throughout, but it scarcely shows a bruise. In contrast to Jurassic Park, where the dinosaurs are rendered with an exquisite realism that is completely at one with the environment, The Good Dinosaur never lets its dinosaurs become flesh and blood. The hysterical parents who fill IMDB reviews with complaints about the film’s violence and cruelty are no doubt the very same ones who like the pablum of conflict-free television where everyone is nice and no one ever gets hurt. Fortunately, these folks can watch reruns of the awful Barney, without question the most soporific contribution ever made to the genre of dino-fiction. For discerning parents and grandparents, however, I recommend The Good Dinosaur, which, despite its title, offers a strong dose of realism, an encounter with death, fear, and violence, coupled with amazing feats of animation and a very smart story that links it to the worthy tradition that runs from Winsor McCay to Steven Spielberg. This film (and a large box of popcorn) held my two-year-old grandson’s rapt attention for a whole hour. Not quite enough to last the whole film, but not bad for the first visit to a movie theater this boy has made, and pretty satisfying for grandpa too.”
THE GOOD DINOSAUR was also reviewed by Reverse Shot, which is a journal published by the Museum of the Moving Image.
In addition to Particle Fever and I Origins, which have been discussed here previously, at least seven additional films that have received Sloan support will be released into theaters or will have their premieres in 2014. Decoding Annie Parker, the Sloan Feature Film Prize winner from the 2013 Hamptons International Film Festival about Mary-Claire King’s discovery of the BRCA1 gene responsible for many breast and ovarian cancers, will be released into theatres and VOD by Entertainment One Films in summer 2014. Two films supported through Sloan’s film development pipeline–A Birder’s Guide to Everything, directed by Rob Meyer and featuring Sir Ben Kingsley, and Musa Syeed’s film Valley of Saints, an environmental film shot in Kashmir–have had successful runs at festivals and had their theatrical debuts in spring 2014. 2030, about the impacts of climate change in near-future Vietnam, which received a Sloan development grant from Tribeca Film Institute, is directed by Nguyen-Vo Nghiem-Minh of Buffalo Boy–an Oscar contender in 2006–and premiered at the 2014 Berlin International Film Festival and has plans for a release in Vietnam in 2014. Basmati Blues, a Bollywood-style musical about genetically modified rice starring Brie Larson and Donald Sutherland, was also developed through Sloan’s film pipeline and is currently in post-production for release in 2014.
The first of three films supported by the Foundation about James Cameron’s historic Deep Sea Challenge dive to the Mariana Trench is complete and will hit theaters in 2014. In addition, the Sloan supported documentary about the making of the avant-garde opera Einstein on the Beach from director John Walter aims to premiere at festivals in 2014. This bumper crop year is a testament to the efficacy of Sloan’s film development pipeline at getting science films into production and onto screens and for the range of projects the Foundation has been supporting.
When Steve Kurtz, an associate professor at SUNY Buffalo, discovered that his wife and collaborator, Hope, had died of heart failure in her sleep, he called the paramedics, who discovered bacteria cultures in his house and called the Joint Terrorism Task Force. Kurtz, the subject of Lynn Hershman Leeson's new film Strange Culture, had been using the benign cultures as part of an art exhibit that would raise issues about the biotech industry. After the bacteria was legally declared to carry no health risks, Kurtz was arrested for defrauding the bacteria’s online retailers. In the wake of his wife’s death, he suddenly found himself being questioned about having Arabic literature around the house and being a potential sexual deviant. He’s currently awaiting trial for fraud.
Strange Culture combines documentary, staged fiction, and footage that falls somewhere in between—actors stepping out of their roles to give their own opinions, real people playing themselves—to offer a collision of opinions, stories, and speculations in which no single perspective is privileged. The result is a mood of paranoia: as Kurtz is hounded for crimes that aren’t crimes that he didn’t commit, the film questions even its own fabrications.
Hershman Leeson, a Sloan award winner for Teknolust, once again uses a scientific angle as a way to look at the larger sociological implications of an issue as well as a more intimate human-interest story. While the science initially seems to only be part of the premise, the cultures are eventually shown to be crucial to the film’s central argument: it’s not men like Steve Kurtz but the government that is cavalier about human life. Late in the film, the actor Peter Coyote reads a testament from retailer Dr. Robert Ferrell, his character's real-life counterpart: “All the citizens of the United States have been turned into unwitting experimental victims of the mass-marketing industrial phenomenon which has no regard whatsoever for their health.” Sloan Science and Film interviewed Hershman Leeson via email about the case, the science, and her own techniques.
When did you first hear about Steve Kurtz? Just after it happened, most of the people in the art world knew—it was kind of underground information.
Human rights violations and personal tragedy are at the heart of the story, but of your three features, this is the third to prominently involve science, particularly biology and DNA. Is there something about the science here that relates to the science of your other movies? Perhaps a bit, but what was most interesting was the fact that Steve and Robert [Ferrell] were giving information that apparently people did not want known. My other films were more about discoveries and credit.
Was there something familiar about the scientific aspects of the case that gave you a grasp over this larger story of political abuse? It was more an issue of freedom of expression, consequences of repression, and censorship. The scientific aspects were secondary, yet important because it applies to the scientific community as well.
There's a fascinating scene toward the end of the film in which a doctor begins railing against the genetic modifications of the food industry... That was Peter Coyote, who researched this extensively.
Ostensibly this scene is related only tangentially to the main story, but did you mean something deeper by it, by providing a parallel example of another large institution's abuses of those whom one character calls "unwitting experimental victims"? I think it is precisely the heart of the story because that is what Steve and Robert [Ferrell] were saying in the work that was exhibited.
Were the scenes in which the characters and people talk as themselves scripted? No, we shot quickly—Peter Coyote [for] 40 minutes, Tilda [Swinton for] 40 minutes total, and kept the cameras rolling. They were so smart and interesting [that] it was more vital and lively to keep the improvised conversation in the film, and they agreed to it. Steve helped me write the scenes with Hope.
Were the re-stagings and the interviews with the actors meant to provide some speculation that Kurtz couldn't provide himself, or were they meant to go in the opposite direction, and try to reveal the solid truth of the matter? Both; the challenge was that since Kurtz could not talk about the events of the day, yet we needed to have them known to the audience, the only way to do it was through a second Steve Kurtz and reinterpretations. But then that touches on how media creates identities we have to live with whether they are true or fabricated. They become manipulated truth.
Kurtz himself compares the film to the prosecution of the case, as though everything on both sides is completely fabricated, and it seemed like that was something you were trying to get past. Yes, and I was also trying to mirror the work of the Critical Art Ensemble itself.
There's a scene I was trying to make sense of early on in which a teacher (Josh Kornbluth) refers to noirs as depicting a time in which everything was clear-cut in black-and-white. Was there something in particular meant by the scene? It seemed to me like the facts of the case were in black and white, but were you trying to draw attention to the compromises and equivocations of the students caught in between? Yes, but I had to cut a lot out. The attorneys were very careful so some things may not make sense. There was a scene of shadows where a student left the room that got cut, but in general it was comparing the McCarthy hearings to present day repression.
Were the sequences involving the students scripted, or were those based on actual hesitations of Kurtz's students? This was absolutely true, but it happened to me, not Steve. Steve’s students were very much behind him. This was at the University of California, Davis, where students were afraid of the consequences.
Did you do any scientific research? Always. My Undergraduate research was in biology, my mother was a biologist, my father a pharmacist, my daughter and brother medical doctors. Science to me is like art, it is about discovery. I also discovered through science, I guess, things like touch screen, the first interactive laserdisc, Lorna [a choose-your-own ending movie Hershman Leeson made from 1979-1983], virtual sets, artificial intelligence bots. I love mixing it up.
Was Kurtz's art exhibit, or any variation, ever allowed to be shown? No.
Has the scientific retailer been forced to stop selling cultures? No, but Dr. [Robert] Ferrell had to retire because he had a stroke after all the pressure. No one thought they were defrauded.
Has the film had any effect on the Kurtz case? I think it is making people aware of it. That’s why I wanted to do it now, prior to the trial.
What's been Kurtz's reaction to the movie? He likes the movie, but cannot sit through it because it brings up too many memories.
David Pratt-Robson blogs at videoarcadia.blogspot.com and is a contributor to Slant and jacques-rivette.com.
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A communal space where creatives of any discipline can work on their projects. The creative residencies program is an opportunity to live and work in the town of Messejana for a period of up to three months.
A retreat/residency hybrid offering the chance to slow down and refocus in New York's Catskill mountains.
The iteration lab is a short, intensive session aimed at exploring what happens when a performative structure repeats and evolves with repetition.
The Vermont Studio Center was founded by artists in 1984 with the intention of fostering creativity through community, collaboration, and quiet reflection supported by the unspoiled beauty of the northern Green Mountains. Various fellowships for multiple disciplines are available.
The Anderson Center’s residency aims to uphold the unique arts community in the Minnesota region; to develop, foster, and promote the creation of works by artists of all kinds; and to provide leadership and services that help to insure a stronger arts community and a greater recognition of the value of the arts in society.
The Kamiyama Artist in Residence (KAIR) Program is an independent project organized by volunteers who share the desire to develop art and culture in the town of Kamiyama, Japan. The program was established in 1999 to provide artists with the opportunity to experience Japanese small-town life while working together with local people on artistic projects.
Dedicated to integrating culture and agriculture, the Wormfarm Institute is an evolving laboratory of the arts and ecology and fertile ground for creative work. The institute explores links between urban and rural communities within and beyond the food chain, creating opportunities for cross-sector collaboration.
Every year, the Millay Colony for the Arts host 6–7 creators each month from April–November to come to Steepletop—the historic home of poet/activist Edna St. Vincent Millay. Residencies during April–November are offered free of charge and include private bedrooms and studios, groceries and chef-prepared dinners.
The Ucross Foundation invites national and international artists, writers, and composers in all stages of their professional careers to work on individual or collaborative projects.
All Is Leaf offers retreats that focus on creating a socio-ecological understanding within its artists’ creative process.
The name Akademie Schloss Solitude unites the belief in artistic, scientific exchange with the notion of a refuge, a credo which underlays the construction of the Schloss Solitude from the very beginning. Residencies at Akademie Schloss Solitude enable fellows to devote themselves to their research projects under favorable material and intellectual conditions.
Residencies are awarded at no cost to national and international artists and scientists in the disciplines of choreography, literature, music composition, visual arts, media arts, and science. Those selected are offered living and studio space for one of the six sessions from mid-March through mid-November.
NES Artist Residency was founded in March 2008 in Skagaströnd, a small town in Northwest Iceland. As one of the largest residencies in Iceland, NES currently hosts between 90 and 120 artists per year and provides artists with a workspace and living quarters and the freedom to create as they wish.
The Alfred and Trafford Klots International Program for Artists provides time for uninterrupted work in an inspiring and historic setting made unique by Brittany's extraordinary light, distinctive landscape, and rich cultural traditions.
The Elizabeth Murray Artist Residency (EMAR) program by Collar Works is designed to provide a diverse group of emerging and established artists an immersive, supportive, productive and communal atmosphere for art making and dialogue on a 77-acre farm in Washington County.
Vector Festival is an annual media arts event dedicated to showcasing experimental art works that engage critically with digital technologies. The festival is participatory and community-oriented.
The Neon Museum National Artist Residency (AIR) is designed to expand the interpretive potential of the museum collection while providing artists the opportunity to create new work in an unconventional setting and to create a coinciding public program. The selected artist, working in the fields of digital, performance or visual arts, will be sponsored and supported by the Neon Museum and will reside in Las Vegas, Nevada, for eight weeks over the summer.
A ceramics residency tailored to artists whose primary training and focus lie outside of ceramics. UARK Ceramics is a thriving community of ceramic artists, educators, and students with an interest in fostering a rich dialogue about clay’s role in contemporary art. Clay Break is an opportunity for us to open our doors and share our facilities and expertise with artists who are clay-curious.
Squeaky Wheel Film & Media Art Center focuses on innovation in media arts through access, education, and exhibition. Their residency is a project-based program for artists and researchers working in media arts.
The Center for Book Arts is seeking solo project exhibition proposals from artists working within the book arts. Artists are to submit a project concept experimenting within the book format. The selected Featured Artist Projects will be given access to the center's resources to support the production and curation process of the exhibition. The artist will be awarded a $1,000 stipend, an honoraria budget for a public programming, and a budget for production, including a brochure.
Session supports the creation of new work by giving artists a project stipend, artist’s fee, technical support, mentorship, and approximately 2 months to transform Recess into a hybrid of a productive studio space/dynamic exhibition platform.
The Swatch Art Peace Hotel artist residency is designed to bring together artists from around the world to experience a unique cultural environment dedicated to contemporary art in Shanghai.
The New York Art Residency and Studios (NARS) residency supports emerging and mid-career artists and curators working across all disciplines through three and six-month residencies. The program is open to both international and US-based artists, creating a shared space for artistic dialogue and international cultural exchange for an extended period of time.
The Center for Fiction NYC Emerging Writer Fellowship offers grants, editorial mentorship, and other opportunities to early-career New York City-based practitioners who are at a critical moment in their development as fiction writers.
The Philip Roth Residence in Creative Writing offers up to four months of unfettered writing time for a writer working on a first or second book of fiction or creative nonfiction. The residency provides lodging in Bucknell’s Poets’ Cottage and a $5,000 stipend.
Co-presented with AICA USA (the US section of International Association of Art Critics), the Art Critic Mentoring program provides seven writers annually the opportunity to work with an established art critic appointed by AICA to compose a long-form critical essay on one of CUE’s exhibiting artists. The program is open to writers of any age in the early stages of their careers. The writer selection process consists of a nomination and open call hybrid.Writers are awarded a $510 honorarium.
Offers writers and researchers an opportunity to pursue a creative project in Paris for a month or longer while participating actively in the life of the American Library. Applicants should be working on a book project, fiction or non-fiction, or a feature-length documentary film, that contributes to cross-cultural discourse. Poetry projects are not being accepted at this time.
The Mastheads is a public humanities project that seeks to connect residents to the literary history of the region, create a forum for thinking about place, and support the production of new creative work. The physical spaces that comprise The Mastheads are five sculptural studios, each the architectural interpretation of the original structure from which one of five American Renaissance authors wrote while in Pittsfield: Herman Melville, Nathaniel Hawthorne, Henry Wadsworth Longfellow, Oliver Wendell Holmes Sr., and Henry David Thoreau.
This annual competition sponsors the publication of a poetry collection by a woman who has yet to publish a full-length poetry book. The winner receives an advance of $1,000 and publication of her collection by Persea.
Rockvale Writers’ Colony exists to support, promote, and educate writers of all backgrounds who write in any genre.
Baltic is the host of five residencies that take place around the world: Stockholm, Sweden; London, England; the village of Brora on the eastern coast of the Scottish Highlands; Blackacre State Nature Preserve & Historic Homestead in Kentucky; and a residency devoted to underrepresented writers takes places in either the Old Louisville neighborhood of Louisville, KY or in the woods of Asheville, NC. Both emerging and established writers are encouraged to apply.
|Cache||March 28, 2020 Native Roots Radio I’m Awake Live 1pm-3pm central time Joining Robert Pilot (Ho Chunk) Welcomes: Jon Greendeer (Ho Chunk) Ruth Buffalo North Dakota House Rep Honor The Earth Winona LaDuke Nancy Beaulieu Bemidji 350 Hour 2 Wendy Pilot HSUS Rep. Mary Kunesh-Podein candidate for State Senate District 41 (Standing Rock) Barry Hand…|
It was Viva Las Vegas in 2019 for Canisius grad Fran Riordan, now awaiting another season – Buffalo NewsCache
|It was Viva Las Vegas in 2019 for Canisius grad Fran Riordan, now awaiting another season Buffalo News ...read more|
Colorado Buffaloes head football coach Karl Dorrell faces the challenges of building his football team with limited contact. By Jack Carlough
The post Karl Dorrell continues to develop socially distant Buffs appeared first on .
DETROIT (AP) - The Detroit Lions have agreed to contracts with linebackers Reggie Ragland and Elijah Lee.
The Lions confirmed the deals Friday.
Ragland started 32 games over the past three seasons with the Kansas City Chiefs. He was drafted by the Buffalo Bills in the second round in 2016, ...
|Cache|| The Ithaca Voice breathlessly reports Trader Joe's is coming to Ithaca, probably, sometime. For all who made fun of Cornell Daily Sun writing in years past, this is quite the story: self-referential about the IV site crashing if it ran such news because of its momentous impact, the challenges tracking down the story, the aha! moment when the scribes realized the 774 South Meadow Street address on an application is non-existent, but a site check found an empty, nearly new, 15,000 SF building (TJ-sized) that shares the site with a former Hobby Lobby.
This is the work of not one but two writers and a photographer.
There are already TJs in Buffalo, Rochester, Syracuse and Albany.
We're enveloped in the global Covid-19 crisis, so it may seem like an odd time to go off topic.
But I've been thinking about my environmental journalism colleagues in the same way we're thinking about healthcare workers these days: They're unappreciated, they're battling often-lethal phenomena, and they deserve more respect than they usually get.
This is on my mind because in the past month, two of my most respect-worthy colleagues no longer have jobs at two key regional newspapers.
Last week, the Tampa Bay Times took a chunk out of its own newsroom. Craig Pittman, who has focused on Florida's fragile environment for most of his three decades at the paper, was among the layoff victims.
Late last month, as I wrote a few weeks ago, Ken Ward Jr. resigned after nearly three decades as Big Coal's watchdog at the Charleston WV Gazette-Mail.
Pittman was the journalistic authority for Florida's myriad challenges—the Everglades, sea level rise in (or over) a pancake-flat state, and more.
His most recent book, Cat Tale: The Wild, Weird Battle to Save the Florida Panther, was released in January.
After 21 years covering environmental issues for #Florida's largest and best paper, the @TB_Times, I was laid off today. It's been a great run. Watch this space for my next adventure. pic.twitter.com/7HOktgooaG
Ward was the conscience of West Virginia's environment, drawing both praise and threats. He received a MacArthur Genius Grant and his unique status in journalism was featured in the Columbia Journalism Review in 2011. His resignation came on the heels of the abrupt departure of his boss, Gazette-Mail Executive Editor Greg Moore, whose job was eliminated.
Both Pittman and Ward were gracious toward their former employers. To be certain, their departure from the newspaper trade won't be the end of their contributions.
Ken Ward Jr. (Credit: John D. and Catherine T. MacArthur Foundation)
All of which argues for more formal recognition of the beat's longtime stellar performers. Their common bonds are not just consistent, prescient and often brave reporting, but skin thick enough to endure scorn and political pressure from powerful interests—some within their own newsrooms.
Mark Schleifstein, longtime reporter for the New Orleans Times-Picayune, says his editors derisively termed his cautionary stories as "disaster porn," until Katrina took his house and much of his city. Schleifstein has shared in three Pulitzers as the state's preeminent disaster pornographer.
Phil Shabecoff upset his New York Times editors because his coverage of a mass slaughter of dolphins by Japanese fishermen used the word "slaughter."
Ward was one of many journalists sued by excitable coal baron Robert Murray. Dozens of journalists have endured relentless harassment by climate deniers and fossil fuel interests.
So why not take a page from the Oscars and recognize ink/electron-stained reporters with an annual Lifetime Achievement Award? Lesser callings have no problem with this: The Willie Nelson Lifetime Achievement Award honors a country music singer-songwriter each year and has nothing to do with the other thing Willie Nelson's famous for; the Mickey Rooney Award honors former child stars who avoided ruining themselves in adulthood (Jerry "The Beaver" Mathers is a Rooney Laureate); and the Bram Stoker Award is given to high-achieving horror writers.
Pittman and Ward are not the only professionals with three or more decades on the beat. Casey Bukro toiled for years at the Chicago Tribune; Rae Tyson was the charter environment reporter when USA Today debuted in 1982 and previously reported for the Niagara Gazette as the Love Canal story broke; Charles Seabrook at the Atlanta Journal-Constitution; the late Paul MacLennan at the Buffalo News; Dennis Dimick at National Geographic; Marla Cone did groundbreaking reporting on toxics at the Los Angeles Times and later edited these pages.
These are just a few among the dozens of environment reporters deserving of some respect for careers well spent.
So consider this and hug an environmental reporter for me.
Not now, but maybe in a few months, when it's once again safe.
Peter Dykstra is our weekend editor and columnist. His views do not necessarily represent those of Environmental Health News, The Daily Climate or publisher, Environmental Health Sciences. Contact him at firstname.lastname@example.org or on Twitter at @Pdykstra.
|Cache||b. 20 Jul 1926, Buffalo, New York|
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10 more coronavirus cases reported in Douglas County; Buffalo, Kearney Counties also report new casesCache
Officials anticipated an increase in cases as testing has become more available, Douglas County Health Director Adi Pour said in a press release.
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