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An upcoming exhibit at UC San Diego’s Gallery QI, “Biosphere Dreaming” explores the “Dream Diary” of Mark Nelson, a participant in the closed-ecosystem experiment Biosphere 2. RSVPs for opening night can be requested through here by 12 p.m., Thursday, April 27. Summary “Biosphere Dreaming” is an audio-visual installation based on the “Dream Diary” of Mark Nelson, one of eight people who lived inside Biosphere 2, a closed-ecosystem complex located outside the little town of Oracle in Southern Arizona, from September 26, 1991 to September 26, 1993. The installation features excerpts from Nelson’s diary and logbook, as well as a series of photos documenting life inside the complex. The material is presented as a 30-minute montage through three projections (two with texts from the diaries and one with the photos) and is accompanied by an exclusive music score written by Michael Garfield. In the hallway outside the gallery, a series of large photos of Biosphere 2 set the stage for the material presented inside. As the first public presentation of Nelson’s diaries, “Biosphere Dreaming” offers a unique perspective on one of the most visionary ecological experiments of the 20th century. Revisiting the experiment more than 30 years after it ended, the installation explores how inhabiting an ecosystem as Mark Nelson did is both an intimately physical and imaginary experience that opens up critical and inventive rethinking—through dreaming in the widest sense of the word—of how we humans are deeply connected to nature. Moreover, in the context of the contemporary climate crisis, “Biosphere Dreaming” engages with questions of new ways of inhabiting the Earth—“Biosphere 1”—that offer more hopeful futures for life inside it. Biosphere 2 was built between 1987 and 1991 by the Institute of Ecotechnics. From 1991 to 1993, this large, green-house-like complex served as an experiment in engaging with ecosystems through science and technology, and gaining new insight into their care and care for the life they hold, including humans. The structure hosted seven different biomes, including a rainforest, an ocean with a coral reef, mangrove wetlands, a savannah, a fog desert, an agricultural area and a human habitat. Though its original plan was to run “missions” inside Biosphere 2 for one hundred continuous years and generate deep data sets, the experiment was terminated less than three years after it began. Yet it still stands as one of the most visionary attempts to rethink the relationship between humans and nature for the better. Bios Mark Nelson was part of the first crew of eight “biospherians” who lived inside the Biosphere 2 for two full years. He is an engineer and the founding director of the Institute of Ecotechnics. He has published the books “Pushing Our Limit: Insights from Biosphere 2” (2018) and “The Wastewater Gardener” (2014). He lives in New Mexico. Michael Garfield writes music for which new words must be invented. Simultaneously tender and apocalyptic, intensely technical yet vulnerable, his tunes marry the singer-songwriter and electronic live producer, updating “solo artist with guitar” to suit an age of planetary renaissance. Committed to adventurous venues and collaborations, Garfield has played everywhere from Portugal to Australia, Canada to Costa Rica, Arcosanti to Moogfest, Synergia Ranch to Meow Wolf to the Chapel of Sacred Mirrors. His experience includes residencies in Austin, Santa Fe, and Black Rock City; concerts at the Dallas Museum of Nature and Science, the Santa Fe Institute, and the MAPS Psychedelic Science Conference; and features on PBS and in numerous acclaimed documentary films. Jacob Lillemose is a writer and a curator based in Copenhagen, Denmark. He recently curated the Danish pavilion at the Venice biennale and published the novel “Architecture Zero” (2022) which incorporates references to Biosphere 2. “Biosphere Dreaming” will be on display in the Gallery QI from Thursday, April 27 – Friday, June 9, noon to 5 p.m. Monday through Friday. Stay Connected on Social Media! Facebook | Instagram | Twitter

The Republican-led House Oversight Committee will meet Thursday morning to hold FBI Director Christopher Wray in contempt of Congress. If approved, the full House would vote on the charge.

To get a sense of how synagogues are celebrating the holiday, we hear from two rabbis about their congregations' plans to celebrate Hanukkah.

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.

At the GOP debate in Miami, five Republicans sparred over top issues include the Israel-Hamas war, Ukraine, China, abortion and Social Security.

Longevity research is booming. Scientists are looking for ways to target the basic biology of aging. And here's the exciting part: Our biological age appears to be malleable.

When COVID-19 first emerged, Linsey Marr suspected right away it spread through the air. Time has proved this aerosols engineer right. Now she's being honored with a MacArthur "genius grant."

We invite you to In The Bag's first installment of SYNERGY, designed for our community to gather outside of a club and in an environment where we aim to balance our physical and spiritual bodies. Hosted in partnership with wellness-focused non-profit Namastay Sober, SYNERGY 1.0 will take place from 11 a.m. to 2 p.m. on Sunday, Feb. 5 at Quartyard (1301 Market Street, San Diego). A leader in the conscious arts, Megan Kenson will guide the event from start to finish, including a cacao ceremony, meditation and a gentle vinyasa flow suitable for all levels. There will also be a variety of local vendors and light music. SYNERGY 1.0 kicks off Namastay Sober’s Sobruary Challenge, a month-long community experience to reconnect with yourself and get out of your comfort zone. The challenge encourages refraining from alcohol and drugs, or another habit that disconnects you like doom scrolling or bingeing tv, for the month of February to show solidarity for those navigating recovery. Namastay Sober believes that “through connection, we can overcome addiction together.” Join Namastay Sober’s month of mindfulness to sustain consistent daily conscious healthy living here! A portion of proceeds from SYNERGY 1.0 will be donated to Namastay Sober to support people in recovery through yoga and fitness studio scholarships, free community classes and wellness-focused sober events. Event schedule: ‣ 10:30 a.m. - 11 a.m. Check-In ‣ 11:00 a.m. - 1:00 p.m. Kick-Off, Cacao, Meditation, Yoga ‣ 01:00 p.m. - 2:00 p.m. Mix & Mingle, Music & Vendors Details: ‣ Please bring a yoga mat and water bottle. ‣ In case of rain, SYNERGY 1.0 will be rescheduled. ‣ This event has a no refunds policy.

After a lengthy public hearing, the board deadlocked on a 2-2 vote on the board letter put forward by Vice Chair Terra Lawson-Remer.

"Blacktronika: Afrofuturism in Electronic Music" exhibition runs Feb. 7, 2023 - March 25, 2023 This exhibit celebrates and shines a light on the UC San Diego course Blacktronika: Afrofuturism in Electronic Music, created by music professor and industry practitioner King James Britt. Throughout Winter Quarter 2023, view an assortment of Professor Britt’s exciting course materials, a selection of vintage and modern electronica instruments-of-interest, and ephemera associated with Britt’s career and his current research. Blacktronika: Afrofuturism in Electronic Music is a new UC San Diego lecture course that focuses on researching and honoring the people of color who have pioneered groundbreaking genres within the electronic music landscape. Genres span from Chicago house, Detroit techno and drum’n’bass music. Using his position in the industry, the class has been attended by many, including Questlove, Julian Priester and Flying Lotus. Location: The Nest at Geisel Library, 2nd Floor Parking: All visitors to the UC San Diego campus are required to display a valid parking pass. The closest parking to the Geisel Library is the Hopkins Parking Structure. More information about parking on campus. Follow these guidelines for accessible parking. Related Event: Blacktronika: Club Experience Friday, March 3 | 7 p.m. Conrad Prebys Music Center Experimental Theater The Blacktronika: Club Experience pop-up is a physical in-person extension of the Blacktronika: Afrofuturism in Electronic Music course. The course honors all the innovators of color that contribute to the advancement of electronic music. Chicago & NY house, Detroit techno, Jamaican dub, funk, disco, hip-hop, amipiano and more are all rooted in Black music. These nights provide a remote course with the opportunity to experience the music the way it is meant to be, on a sound system in a safe space. Also provides an opportunity for all to unite for the rhythm. This event is free and open to the public. Registration is required at music.ucsd.edu/tickets. King Britt on Facebook