Search results for

Vikings were ruthless warriors, but also preserved art. This has inspired a new album of Lullabies for Piano and Cello from composer Gabríel Ólafs.

A former Venezuelan political prisoner got the idea to create a virtual reality tour from the Anne Frank museum.

When a group of startups set out to solve an age-old problem with new technology, they met unexpected resistance from conservationists who saw the idea as misguided at best — and dangerous at worst.

Katie Crutchfield's gorgeous sixth album affirms that real lives are lived not in clear chapters, but as a zig-zag of pitfalls and revelations one can only hope to learn from.

The Suraj Israni Center for Cinematic Arts is pleased to invite you to the Memorial Lecture on Saturday, Jan. 21, 2023 at 5 p.m. at the Mosaic 113 Auditorium in the North Torrey Pines Living and Learning Neighborhood. RSVP NOW Abstract A flurry of articles appearing shortly after Black Panther’s release proffered different, even opposed, readings of its politics, all of which centered on its “villain,” Erik Killmonger. To understand the movie’s politics, it seems, one had to understand Killmonger — the pervading question was: Should Killmonger be regarded as representative, and if he is (or if he isn’t), what is he representative (or not representative) of? To think this through, though, one has to move beyond the script (what the movie says) to think about Black Panther as an aesthetic, phenomenological, and rhetorical experience (what it does). Identification is crucial to cinematic rhetoric, and performance is crucial to identification. T’Challa and Killmonger don’t just espouse ideological positions, they struggle to articulate or understand their place in the world, and Chadwick Boseman and Michael B. Jordan contribute mightily to our awareness of their struggles. Here and in his earlier roles, Jordan gives us gentle, fundamentally decent characters who can hardly catch a break, in stark contrast to the regality of Chadwick Boseman’s characters, who are confident, entitled. The first half of Professor Bukatman's talk will focus on these two performances and the ways they complicate simple dichotomies of meaning. Then, to fully appreciate Boseman’s contribution, Professor Bukatman will explore the body of Black superheroes historically, as well as the projection of presence that Boseman brings to the screen. The quest for role models that “look like me” usually refers to moral rather than physical strength; physical strength is generally valued as a manifestation of moral strength. But it’s possible to skip the “moral” part and still have something to identify with: a corporeal rather than a moral identification. There’s more at stake than “balanced” representation and moral positivity in the intersection of Black (and other Other) bodies with superhero bodies. There’s also the ability to display power in what might seem like the least radical of terms: the power to be seen, to be seen as you choose to be, the power to fight, the power to fight back, the power to imagine alternative ways of being, and embody new ways of belonging in the world. “As you can see,” T’Challa announces to Killmonger, “I am not dead!” Bukatman's talk will explore the stakes involved, ideologically and performatively, in that affirmation. Biography Scott Bukatman is professor of Film and Media Studies in the Department of Art and Art History at Stanford University. His work has long explored the alternative bodies popular media has produced in droves in comedy, animation, musicals, and superhero media. His books include Hellboy’s World: Comics and Monsters on the Margins (University of California Press) and, most recently, Black Panther, part of the 21st Century Film Essentials series (University of Texas Press). Location: The Mosaic 113 Auditorium is located in the Suraj Israni Center for Cinematic Arts at UC San Diego (Mosaic Building). Parking: The closest visitor parking is located in the Scholars Parking underground parking structure. Weekend parking is $2/hour. Questions: Email surajisranicenter@ucsd.edu. By registering for this event you agree to receive future correspondence from the Suraj Israni Center for Cinematic Arts, from which you can unsubscribe at any time.

Trinity Theatre Company continues their 11th Grown Up Stage (GUS) season under the guidance of Artistic Director, Sean Boyd with their first New Works Festival. The New Works Festival celebrates the works of 10 Emerging New Playwrights from across the county. TTC received 400 submissions from across the country. From those they chose 25 finalists and ultimately 10 new plays that are produced as staged readings using local talent from San Diego’s vibrant arts community. Trinity Theatre Company performs in Community Actor’s Theatre space. The 10 New Plays Showcased in Trinity’s New Works Festival are: "Mama, It's Me" Written by: Sharonfaith Horton (San Diego, CA) Directed by: Austyn Myers "Lobster Man" Written by: Jonathon Cook (South Carolina) Directed by: Cody Bray "Fireworks" Written by: Ross Tedford Kendall Directed by: Erica Kahn "The Unicorn Horn" Written by: Mike Byham (Dallas, TX) Directed by: Tyler Hewes "SAA (Not That One)" Written by: Luis Roberto Herrera (South Florida) Directed by: Jaeonnie Davis-Crawford "Give Up the Ghost" Written by: Andrew Martineau (Springfield, VA) Directed by: Hannah Meade "My Dad Was Kinda, Sorta in the Mob" Written by: Lauren Miller (Cape Coral, FL) Directed by: Bobby Imperato "Bovine Existential" Written by: Brian C. Petti (Hudson Valley, NY) Directed by: Courtnee Dempsey "Lady in the Moon" Written by: Tom Chin (Ocean City, NJ) Directed by: BJ Robinson "Spit in Your Face" Co-written by: Paul Heller (San Francisco, CA) and Alberto Lomnitz Directed: Estefania de la Torre Local Directors Include: Bobby Imperato, Courtnee Stagner, Hannah Meade, Estefania de la Torre, Tyler Richards Hewes, Jaeonnie Crawford, Austyn Myers, Cody Bray, Erica Kahn, and BJ Robinson Local Actors Include: Phoebe Appel, Charlotte Baltzer, Marley Bauer, Connor Boyd, Joshua Christopher, Gretchen Conrad,Andy Elden, Zahara Farrar, Abi Hood, Sharonfaith Horton, Arturo Ibarra, Angelina Janelle, Wes Jensen, Sashank Kanchustambam, Ellen Kaz, Valentine Marie, Alana Marshall, Melanie Mino, Amy Oliverio, Bruce Dylan Patton, Kayla René, Ruth Russell, Steve Schlam,Samantha Schmidt, Jonny Taylor and Kimmy Weinberger

On National Chocolate Day, learn how to make and decorate chocolates from premier chocolatier, Jim Lantry of Seabreeze Craft Chocolates. San Diego’s own Willy Wonka is offering celebratory Chocolate Truffle Making classes on Saturday, October 28. Chocolate lovers will learn how to create decadent chocolate truffles in the hands-on class. The class covers every step of the time-honored process from making and flavoring ganache, decorating the molds, crafting and filling chocolate shells, capping the truffles with chocolate, and tapping into artistic talents to decorate the truffles. The best part is taking home ganache and 21 truffles to eat all by yourself or share with friends. All materials including a gift box for the 21 chocolate truffles and a container for the remaining ganache are included. The adult classes are scheduled for 3:00 p.m. and 7:30 p.m. and are limited to 15 guests per class. Seabreeze Craft Chocolates is the only place in San Diego where you can watch cacao beans transform into chocolate celebrations of flavor before your eyes. Chocolatier Jim Lantry uses cacao straight from the highest quality farms from across the Western Hemisphere and then small-batch roasts, enrobes, blends, and hand-prepares every piece of chocolate from an open workshop so guests can see and smell the delicious story behind every bite. Seabreeze offers weekly group classes and private classes— perfect for families, date nights, girl’s nights out, corporate team building, and anyone looking to have fun with chocolate! For more information visit: seabreezechocolates.com

The Anyone’s Guess Band sources only the finest cross-genre musical materials from the 80s, 90s, 20s and Today, handcrafts them with unique style, packages them into bespoke ever-changing set lists and then delivers these fine quality tunes to their audiences wrapped in a sonic experience not often found. Their portfolio of songs has one theme in common: They must be great tunes that everyone knows, which aren't played by every other band out there. Genres: Rock, Country, Dance Pop, Southern Rock, Dance Rock, Classic Rock, Hard Rock, New Wave, Funk / Disco, Indie, R&B Stay Connected on Social Media! Facebook & Instagram

The Anyone’s Guess Band sources only the finest cross-genre musical materials from the 80s, 90s, 20s and Today, handcrafts them with unique style, packages them into bespoke ever-changing set lists and then delivers these fine quality tunes to their audiences wrapped in a sonic experience not often found. Their portfolio of songs has one theme in common: They must be great tunes that everyone knows, which aren't played by every other band out there. Genres: Rock, Country, Dance Pop, Southern Rock, Dance Rock, Classic Rock, Hard Rock, New Wave, Funk / Disco, Indie, R&B Stay Connected on Social Media! Facebook & Instagram

The Anyone’s Guess Band sources only the finest cross-genre musical materials from the 80s, 90s, 20s and Today, handcrafts them with unique style, packages them into bespoke ever-changing set lists and then delivers these fine quality tunes to their audiences wrapped in a sonic experience not often found. Their portfolio of songs has one theme in common: They must be great tunes that everyone knows, which aren't played by every other band out there. Genres: Rock, Country, Dance Pop, Southern Rock, Dance Rock, Classic Rock, Hard Rock, New Wave, Funk / Disco, Indie, R&B Stay Connected on Social Media! Facebook & Instagram