INFO: Be a part of award-winning film director Wanuri Kahiu's new documentary > This Is Africa

BE A PART OF AWARD-WINNING FILM DIRECTOR WANURI KAHIU'S NEW DOCUMENTARY PDF Print E-mail
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Thursday, 02 December 2010

Kenyan writer/director Wanuri Kahiu's most recent film, Pumzi, premiered at the Sundance film festival and won best short film at Cannes Independent film festival and at Carthage Film Festival, Tunisia (trailer). Her first feature, From a Whisper, won 5 awards at the African Movie Academy Awards in 2009, including Best Picture, Best Original Soundtrack, Best Director, Best Original Screenplay and AMAA Achievement in Editing. Now she is embarking on her most challenging project yet - Ger Duany - Retrace -  a journey with a former Sudanese child soldier back into the heart of a country at the crossroads of war and peace, and she and Ger (above) need your help to make it happen.

 

GER DUANY - RETRACE
A documentary about Ger Duany's search for his mother, his father and his first vote for a new Sudan!


THE STORY
Ger Duany was a child soldier in another lifetime. Now, at age 31, he lives and works in New York. It has been almost 20 years since Ger last saw his parents and his siblings. This Christmas, Ger wants to return to Sudan to find his mother and vote for a stable South Sudan. Ger is not sure what to expect, if the country is plunged into war again, he does not know how he will save his family from it.

 

Ger Duany
Ger Duany

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE IMPACT
"My family is my Nation"

Sudan is the largest country in Africa. In January 2011, Sudan will be voting for a referendum to split the country in two or to keep it as one. For a country that has been plagued by war for so long, it has been the struggle of the inhabitants to find ways to ensure a peaceful country.

Over the last 10 years, Ger has lost 2 brothers in the war. With the rising tension as a result of the referendum, Ger is not sure if his other brother, a soldier in the South Sudan army will make it out. Ger wants to see his family while he can. He wants to be a part of the change before it happens. Like many others who have left as a result of the war, the ones left behind have found it hard to accept and include Sudanese from the diaspora. If they are not seen to be a part of the change now, then few will be readily accepted back into the society after the referendum.

Ger believes that his vote will help bring about the much needed change and stability in his country. His vote is a vote for his family. His vote is a vote for a peaceful nation and his journey is for the unification of his family. his vote and his journey remind us of the resilience of the human sprit and are a testament of true love.

 

Wanuri Kahiu. Photo by Chris King
Wanuri Kahiu. Photo by Chris King

WHAT WANURI & HER CREW NEED AND WHAT YOU GET
Due to the civil unrest in Sudan, flights and safe accommodation have been very pricey.  It costs the same amount to travel from Kenya to Sudan as it does from Kenya to Europe. With the money we raise, we will secure tickets, accommodation, food for the Director of Photography, the Director and Ger. So far we have secured ONE return ticket to Juba and the crew has generously donated their time and effort to fulfilling this ambitious project. Any and all money goes towards the creation of this historic, personal and important testimony of a family and a nation.

In return for the generous donations, the filmmakers will offer contributors credit and special thanks in the film as well as a copy of the completed film and a free copy of the Director's last award winning short film 'PUMZI'.

OTHER WAYS YOU CAN HELP
Spread the word. Spread the feeling. Link Wanuri Kahiu and her team with others who may be able to help. Contribute, support, encourage them. They guarantee warm, fuzzy feelings and a copy of the completed film if you help!


HELP FUND WANURI KAHLU'S FILM AT
IndieGoGo 


You can also find Wanuri on Facebook and at her main site

 

 

INFO: Julian Assange and the Computer Conspiracy; “To destroy this invisible government” « zunguzungu

Julian Assange and the Computer Conspiracy; “To destroy this invisible government”

Posted by zunguzungu on November 29, 2010

(en Español)

“To radically shift regime behavior we must think clearly and boldly for if we have learned anything, it is that regimes do not want to be changed. We must think beyond those who have gone before us, and discover technological changes that embolden us with ways to act in which our forebears could not. Firstly we must understand what aspect of government or neocorporatist behavior we wish to change or remove. Secondly we must develop a way of thinking about this behavior that is strong enough carry us through the mire of politically distorted language, and into a position of clarity. Finally must use these insights to inspire within us and others a course of ennobling, and effective action.”

Julian Assange, “State and Terrorist Conspiracies”

The piece of writing (via) which that quote introduces is intellectually substantial, but not all that difficult to read, so you might as well take a look at it yourself. Most of the news media seems to be losing their minds over Wikileaks without actually reading these essays, even though he describes the function and aims of an organization like Wikileaks in pretty straightforward terms. But, to summarize, he begins by describing a state like the US as essentially an authoritarian conspiracy, and then reasons that the practical strategy for combating that conspiracy is to degrade its ability to conspire, to hinder its ability to “think” as a conspiratorial mind. The metaphor of a computing network is mostly implicit, but utterly crucial: he seeks to oppose the power of the state by treating it like a computer and tossing sand in its diodes.

He begins by positing that conspiracy and authoritarianism go hand in hand, arguing that since authoritarianism produces resistance to itself — to the extent that its authoritarianism becomes generally known — it can only continue to exist and function by preventing its intentions (the authorship of its authority?) from being generally known. It inevitably becomes, he argues, a conspiracy:

Authoritarian regimes give rise to forces which oppose them by pushing against the individual and collective will to freedom, truth and self realization. Plans which assist authoritarian rule, once discovered, induce resistance. Hence these plans are concealed by successful authoritarian powers. This is enough to define their behavior as conspiratorial.

The problem this creates for the government conspiracy then becomes the organizational problem it must solve: if the conspiracy must operate in secrecy, how is it to communicate, plan, make decisions, discipline itself, and transform itself to meet new challenges? The answer is: by controlling information flows. After all, if the organization has goals that can be articulated, articulating them openly exposes them to resistance. But at the same time, failing to articulate those goals to itself deprives the organization of its ability to process and advance them. Somewhere in the middle, for the authoritarian conspiracy, is the right balance of authority and conspiracy.

His model for imagining the conspiracy, then, is not at all the cliché that people mean when they sneer at someone for being a “conspiracy theorist.” After all, most the “conspiracies” we’re familiar with are pure fantasies, and because the “Elders of Zion” or James Bond’s SPECTRE have never existed, their nonexistence becomes a cudgel for beating on people that would ever use the term or the concept. For Assange, by contrast, a conspiracy is something fairly banal, simply any network of associates who act in concert by hiding their concerted association from outsiders, an authority that proceeds by preventing its activities from being visible enough to provoke counter-reaction. It might be something as dramatic as a loose coalition of conspirators working to start a war with Iraq/n, or it might simply be the banal, everyday deceptions and conspiracies of normal diplomatic procedure.

He illustrates this theoretical model by the analogy of a board with nails hammered into it and then tied together with twine:

First take some nails (“conspirators”) and hammer them into a board at random. Then take twine (“communication”) and loop it from nail to nail without breaking. Call the twine connecting two nails a link. Unbroken twine means it is possible to travel from any nail to any other nail via twine and intermediary nails…Information flows from conspirator to conspirator. Not every conspirator trusts or knows every other conspirator even though all are connected. Some are on the fringe of the conspiracy, others are central and communicate with many conspirators and others still may know only two conspirators but be a bridge between important sections or groupings of the conspiracy…

Conspirators are often discerning, for some trust and depend each other, while others say little. Important information flows frequently through some links, trivial information through others. So we expand our simple connected graph model to include not only links, but their “importance.”

Return to our board-and-nails analogy. Imagine a thick heavy cord between some nails and fine light thread between others. Call the importance, thickness or heaviness of a link its weight. Between conspirators that never communicate the weight is zero. The “importance” of communication passing through a link is difficult to evaluate apriori, since its true value depends on the outcome of the conspiracy. We simply say that the “importance” of communication contributes to the weight of a link in the most obvious way; the weight of a link is proportional to the amount of important communication flowing across it. Questions about conspiracies in general won’t require us to know the weight of any link, since that changes from conspiracy to conspiracy.

Such a network will not be organized by a flow chart, nor would it ever produce a single coherent map of itself (without thereby hastening its own collapse). It is probably fairly acephalous, as a matter of course: if it had a single head (or a singular organizing mind which could survey and map the entirety), then every conspirator would be one step from the boss and a short two steps away from every other member of the conspiracy. A certain amount of centralization is necessary, in other words (otherwise there is no conspiracy), but too much centralization makes the system vulnerable.

To use The Wire as a ready-to-hand example, imagine if Avon Barksdale was communicating directly with Bodie. All you would ever have to do is turn one person — any person — and you would be one step away from the boss, whose direct connection to everyone else in the conspiracy would allow you to sweep them all up at once.  Obviously, no effective conspiracy would ever function this way. Remember Stringer Bell’s “is you taking notes on a criminal fucking conspiracy?” To function effectively, the primary authority has to be disassociated from all other members of the conspiracy, layers of mediation which have to be as opaque as possible to everyone concerned (which a paper trail unhelpfully clarifies). But while the complexity of these linkages shield the directing authority from exposure, they also limit Avon Barksdale’s ability to control what’s going on around him. Businesses run on their paperwork! And the more walls you build around him, the less he might be able to trust his lieutenants, and the less they’ll require (or tolerate) him.

This, Assange reasons, is a way to turn a feature into a bug. And his underlying insight is simple and, I think, compelling: while an organization structured by direct and open lines of communication will be much more vulnerable to outside penetration, the more opaque it becomes to itself (as a defense against the outside gaze), the less able it will be to “think” as a system, to communicate with itself. The more conspiratorial it becomes, in a certain sense, the less effective it will be as a conspiracy. The more closed the network is to outside intrusion, the less able it is to engage with that which is outside itself (true hacker theorizing).

His thinking is not quite as abstract as all that, of course; as he quite explicitly notes, he is also understanding the functioning of the US state by analogy with successful terrorist organizations. If you’ve seen The Battle of Algiers, for example, think of how the French counter-terrorist people work to produce an organizational flow chart of the Algerian resistance movement: since they had overwhelming military superiority, their inability to crush the FLN resided in their inability to find it, an inability which the FLN strategically works to impede by decentralizing itself. Cutting off one leg of the octopus, the FLN realized, wouldn’t degrade the system as a whole if the legs all operated independently. The links between the units were the vulnerable spots for the system as a whole, so those were most closely and carefully guarded and most hotly pursued by the French. And while the French won the battle of Algiers, they lost the war, because they adopted the tactics Assange briefly mentions only to put aside:

How can we reduce the ability of a conspiracy to act?…We can split the conspiracy, reduce or eliminating important communication between a few high weight links or many low weight links. Traditional attacks on conspiratorial power groupings, such as assassination, have cut high weight links by killing, kidnapping, blackmailing or otherwise marginalizing or isolating some of the conspirators they were connected to.

This is the US’s counterterrorism strategy — find the men in charge and get ’em — but it’s not what Assange wants to do: such a program would isolate a specific version of the conspiracy and attempt to destroy the form of it that already exists, which he argues will have two important limitations. For one thing, by the time such a conspiracy has a form which can be targeted, its ability to function will be quite advanced. As he notes:

“A man in chains knows he should have acted sooner for his ability to influence the actions of the state is near its end. To deal with powerful conspiratorial actions we must think ahead and attack the process that leads to them since the actions themselves can not be dealt with.”

By the time a cancer has metastasized, in other words, antioxidents are no longer effective, and even violent chemotherapy is difficult. It’s better, then, to think about how conspiracies come into existence so as to prevent them from forming in the first place (whereas if you isolate the carcinogen early enough, you don’t need to remove the tumor after the fact). Instead, he wants to address the aggregative process itself, by impeding the principle of its reproduction: rather than trying to expose and cut particular links between particular conspirators (which does little to prevent new links from forming and may not disturb the actual functioning of the system as a whole), he wants to attack the “total conspiratorial power” of the entire system by figuring out how to reduce its total ability to share and exchange information among itself, in effect, to slow down its processing power. As he puts it:

Conspiracies are cognitive devices. They are able to outthink the same group of individuals acting alone Conspiracies take information about the world in which they operate (the conspiratorial environment), pass through the conspirators and then act on the result. We can see conspiracies as a type of device that has inputs (information about the environment), a computational network (the conspirators and their links to each other) and outputs (actions intending to change or maintain the environment).

Because he thinks of the conspiracy as a computational network, he notes in an aside that one way to weaken its cognitive ability would be to degrade the quality of its information:

Since a conspiracy is a type of cognitive device that acts on information acquired from its environment, distorting or restricting these inputs means acts based on them are likely to be misplaced. Programmers call this effect garbage in, garbage out. Usually the effect runs the other way; it is conspiracy that is the agent of deception and information restriction. In the US, the programmer’s aphorism is sometimes called “the Fox News effect”.

I’m not sure this is what he means, but it’s worth reflecting that the conspiracy’s ability to deceive others through propaganda can also be the conspiracy’s tendency to deceive itself by its own propaganda. So many people genuinely drink the Kool-Aid, after all. Would our super-spies in Afghanistan ever have been so taken in by the imposter Taliban guy if they didn’t, basically, believe their own line of propaganda, if they didn’t convince themselves — even provisionally — that we actually are winning the war against Talibothra? The same is true of WMD; while no one in possession of the facts could rationally conclude that Saddam Hussein then (or Iran now) are actually, positively in pursuit of WMD’s, this doesn’t mean that the people talking about ticking time bombs don’t actually believe that they are. It just means they are operating with bad information about the environment. Sometimes this works in their favor, but sometimes it does not: if Obama thinks Afghanistan is winnable, it may sink his presidency, for example, while the belief of his advisors that the economy would recover if the government rescued only the banks almost certainly lost the midterm elections for the Democrats (and was the death-knell for so many of the Blue Dogs who were driving that particular policy choice). Whether this actually hurts the conspiracy is unclear; those Blue Dogs might have lost their seats, but most of them will retire from public service to cushy jobs supported by the sectors they supported while they were in public service. And lots of successful politicians do nothing but fail.

This is however, not where Assange’s reasoning leads him. He decides, instead, that the most effective way to attack this kind of organization would be to make “leaks” a fundamental part of the conspiracy’s  information environment. Which is why the point is not that particular leaks are specifically effective. Wikileaks does not leak something like the “Collateral Murder” video as a way of putting an end to that particular military tactic; that would be to target a specific leg of the hydra even as it grows two more. Instead, the idea is that increasing the porousness of the conspiracy’s information system will impede its functioning, that the conspiracy will turn against itself in self-defense, clamping down on its own information flows in ways that will then impede its own cognitive function. You destroy the conspiracy, in other words, by making it so paranoid of itself that it can no longer conspire:

The more secretive or unjust an organization is, the more leaks induce fear and paranoia in its leadership and planning coterie. This must result in minimization of efficient internal communications mechanisms (an increase in cognitive “secrecy tax”) and consequent system-wide cognitive decline resulting in decreased ability to hold onto power as the environment demands adaption. Hence in a world where leaking is easy, secretive or unjust systems are nonlinearly hit relative to open, just systems. Since unjust systems, by their nature induce opponents, and in many places barely have the upper hand, mass leaking leaves them exquisitely vulnerable to those who seek to replace them with more open forms of governance.

The leak, in other words, is only the catalyst for the desired counter-overreaction; Wikileaks wants to provoke the conspiracy into turning off its own brain in response to the threat. As it tries to plug its own holes and find the leakers, he reasons, its component elements will de-synchronize from and turn against each other, de-link from the central processing network, and come undone. Even if all the elements of the conspiracy still exist, in this sense, depriving themselves of a vigorous flow of information to connect them all together as a conspiracy prevents them from acting as a conspiracy. As he puts it:

If total conspiratorial power is zero, then clearly there is no information flow between the conspirators and hence no conspiracy. A substantial increase or decrease in total conspiratorial power almost always means what we expect it to mean; an increase or decrease in the ability of the conspiracy to think, act and adapt…An authoritarian conspiracy that cannot think is powerless to preserve itself against the opponents it induces.

In this sense, most of the media commentary on the latest round of leaks has totally missed the point. After all, why are diplomatic cables being leaked? These leaks are not specifically about the war(s) at all, and most seem to simply be a broad swath of the everyday normal secrets that a security state keeps from all but its most trusted hundreds of thousands of people who have the right clearance. Which is the point: Assange is completely right that our government has conspiratorial functions. What else would you call the fact that a small percentage of our governing class governs and acts in our name according to information which is freely shared amongst them but which cannot be shared amongst their constituency? And we all probably knew that this was more or less the case; anyone who was surprised that our embassies are doing dirty, secretive, and disingenuous political work as a matter of course is naïve. But Assange is not trying to produce a journalistic scandal which will then provoke red-faced government reforms or something, precisely because no one is all that scandalized by such things any more. Instead, he is trying to strangle the links that make the conspiracy possible, to expose the necessary porousness of the American state’s conspiratorial network in hopes that the security state will then try to shrink its computational network in response, thereby making itself dumber and slower and smaller.

Early responses seem to indicate that Wikileaks is well on its way to accomplishing some of its goals. As Simon Jenkins put it (in a great piece in its own right) “The leaks have blown a hole in the framework by which states guard their secrets.” And if the diplomats quoted by Le Monde are right that, “we will never again be able to practice diplomacy like before,” this is exactly what Wikileaks was trying to do. It’s sort of pathetic hearing diplomats and government shills lament that the normal work of “diplomacy” will now be impossible, like complaining that that the guy boxing you out is making it hard to get rebounds. Poor dears. If Assange is right to point out that his organization has accomplished more state scrutiny than the entire rest of the journalistic apparatus combined, he’s right but he’s also deflecting the issue: if Wikileaks does some of the things that journalists do, it also does some very different things. Assange, as his introductory remarks indicate quite clearly, is in the business of “radically shift[ing] regime behavior.”

If Wikileaks is a different kind of organization than anything we’ve ever seen before, it’s interesting to see him put himself in line with more conventional progressivism. Assange isn’t off base, after all, when he quotes Theodore Roosevelt’s words from his 1912 Progressive party presidential platform as the epigraph to the first essay; Roosevelt realized a hundred years ago that “Behind the ostensible government sits enthroned an invisible government owing no allegiance and acknowledging no responsibility to the people,” and it was true, then too, that “To destroy this invisible government, to befoul this unholy alliance between corrupt business and corrupt politics is the first task of statesmanship.” Assange is trying to shit all over this unholy alliance in ways that the later and more radical Roosevelt would likely have commended.

It’s worth closing, then, by recalling that Roosevelt also coined the term “muckraker,” and that he did so as a term of disparagement. Quoting from Pilgrim’s Progress, he cited the example of the “Muck-Raker” who could only look down, whose perspective was so totally limited to the “muck” that it was his job to rake, he had lost all ability to see anything higher. Roosevelt, as always, is worth quoting:

In Bunyan’s Pilgrim’s Progress you may recall the description of the Man with the Muck-rake, the man who could look no way but downward, with the muckrake in his hand; who was offered a celestial crown for his muck-rake, but who would neither look up nor regard the crown he was offered, but continued to rake to himself the filth of the floor…the Man with the Muck-rake is set forth as the example of him whose vision is fixed on carnal instead of on spiritual things. Yet he also typifies the man who in this life consistently refuses to see aught that is lofty, and fixes his eyes with solemn intentness only on that which is vile and debasing. Now, it is very necessary that we should not flinch from seeing what is s vile and debasing. There is filth on the floor, and it must be scraped up with the muck-rake; and there are times and places where this service is the most needed of all the services that can be performed. But the man who never does anything else, who never thinks or speaks or writes save of his feats with the muck-rake, speedily becomes, not a help to society, not an incitement to good, but one of the most potent forces for evil. There are, in the body politic, economic, and social, many and grave evils, and there is urgent necessity for the sternest war upon them. There should be relentless exposure of and attack upon every evil man, whether politician or business man, every evil practice, whether in politics, in business, or in social life. I hail as a benefactor every writer or speaker, every man who, on the platform, or in book, magazine, or newspaper, with merciless severity makes such attack, provided always that he in his turn remembers that the attack is of use only if it is absolutely truthful…

Roosevelt was many things when he uttered those words, but he was not wrong. There is a certain vicious amorality about the Mark Zuckerberg-ian philosophy that all transparency is always and everywhere a good thing, particularly when it’s uttered by the guy who’s busily monetizing your radical transparency. And the way most journalists “expose” secrets as a professional practice — to the extent that they do — is just as narrowly selfish: because they publicize privacy only when there is profit to be made in doing so, they keep their eyes on the valuable muck they are raking, and learn to pledge their future professional existence on a continuing and steady flow of it. In muck they trust.

According to his essay, Julian Assange is trying to do something else. Because we all basically know that the US state — like all states — is basically doing a lot of basically shady things basically all the time, simply revealing the specific ways they are doing these shady things will not be, in and of itself, a necessarily good thing. In some cases, it may be a bad thing, and in many cases, the provisional good it may do will be limited in scope. The question for an ethical human being — and Assange always emphasizes his ethics — has to be the question of what exposing secrets will actually accomplish, what good it will do, what better state of affairs it will bring about. And whether you buy his argument or not, Assange has a clearly articulated vision for how Wikileaks’ activities will “carry us through the mire of politically distorted language, and into a position of clarity,” a strategy for how exposing secrets will ultimately impede the production of future secrets. The point of Wikileaks — as Assange argues — is simply to make Wikileaks unnecessary.

 

HAITI: Haiti's cholera outbreak will go from bad to worse - health - 30 November 2010 - New Scientist

Haiti's cholera outbreak will go from bad to worse

 

A Haitian child with symptoms of cholera is carried to a hospital (Image: KeystoneUSA/ZUMA/Rex Features)

A Haitian child with symptoms of cholera is carried to a hospital (Image: KeystoneUSA/ZUMA/Rex Features)

 

The cholera epidemic in Haiti is just getting started. Disagreements over who, or what, was responsible for the epidemic continue, and health agencies predict the situation will get much worse before cases start falling. Yet good vaccines are going unused. New Scientist rounds up the latest news.

What is happening in Haiti?

Cholera broke out in Haiti on 19 October, and from the outset doctors feared they could not contain it. The bacteria spread in water contaminated with infected faeces. Only half the population of Haiti had access to proper sanitation, and only a third had clean drinking water, even before the devastating earthquake in January. Now conditions are even worse. As a result, cholera has spread throughout Haiti, and as of 29 November, the outbreak had caused 1721 deaths.

That's just for starters. Epidemics grow exponentially: case numbers rise slowly at first, then take off. Cholera cases in Haiti are rising faster than predicted, and health agencies now forecast that 400,000 people will be infected in this outbreak, at least half in the next three months. Only 2.3 per cent of cases are leading to death, partly because many get prompt rehydration therapy, but ominously doctors are already struggling with the current case load.

Why is cholera such an emergency? Wasn't Haiti already plagued with disease?

Yes, but not cholera. The seventh pandemic of cholera, currently ongoing, started in south Asia in 1961 and hit Peru in 1991. It hadn't reached the Caribbean before, so Haitians have had little experience with managing cholera, and no immunity. This strain also carries a virulent toxin found in earlier pandemics.

Isn't there a vaccine?

There are three vaccines, all oral and made of dead cholera bacteria. One has been used successfully in emergencies among refugees in Asia and Africa. Another appears to work in one dose, rather than the usual two, so could protect people fast enough to slow a cholera epidemic in mid-outbreak, says John Clemens of the International Vaccine Institute in Seoul, South Korea.

Yet the Haitian government's strategy for fighting this outbreak does not mention vaccines. The problem, says Peter Hotez of George Washington University in Washington DC, is there are "too few doses on hand". People in regions in which cholera is prevalent, such as Africa, do not use much vaccine as the immunity the vaccines elicit does not last long. Vaccines are mostly used by travellers, so only small quantities are produced.

Cheap, single-dose vaccines made of live weakened bacteria that confer long-term immunity could change that, and are in "advanced stages of development", says Matthew Waldor of Harvard Medical School in Boston. But for now, Waldor, Clemens and Hotez, writing in The New England Journal of Medicine are calling for a global stockpile of cholera vaccine so there will be enough for emergencies such as Haiti. The World Health Organization already stockpiles yellow fever and meningitis vaccines.

Cholera bacteria are found naturally in the ocean. Could this have caused the outbreak?

Cholera bacteria live in copepod plankton, and multiply with them when the copepods' food, marine algae, blooms in spring. This causes some seasonal outbreaks, notably in Bangladesh. But Colin Stine at the University of Maryland in Baltimore believes that most epidemics are caused by person-to-person spread, as environmental levels of virulent cholera are rarely high enough to infect people. Many Haitians believe Nepalese peacekeeping troops inadvertently introduced the bacteria.

Even so, there have been reports suggesting that the source was environmental. However, "the genetic and epidemiologic evidence that human activities account for the introduction... is overwhelming," Waldor told New Scientist.

This is because the strain is genetically closest to south Asian samples, and because the first cases were inland along the Artibonite river, not the coast. The distinction is important, says Waldor, because "it means we can alter our practices to prevent such devastation in the future".

 

VIDEO: NRS (New Rap Shit)—Big K.R.I.T. & Yelawolf > beatsandbombs.com/hip-hop-videos/ |

Big K.R.I.T. – “Can’t Be All” (Video)

K.R.I.T. kills this old Outkast tune and makes it his own for Johnny Shipe’s newest project, Good Talk Vol. 9.  He rips it while he wonders if  money, drugs etc. is all there is to life for this introspective track. The original beat is from “Jazzy Belle” by Outkast and it is very smooth and reminds me of a Devin the Dude beat except it is a little moodier and less upbeat. Get the MP3 for the track below and you can get the whole tape on Dec. 6th.

Download: Big K.R.I.T. – “Can’t Be All”

___________________________________

Yelawolf – “Pop the Trunk” (Unplugged Version)

<p>Yelawolf "The Boy Who Cried Wolf" from Yours Truly on Vimeo.</p>

I was unsure of what to call this stripped down version so I am going to call it the unplugged version because it is reminiscent of the MTV’s series they used to run when they still played music. Reading about the video I was skeptical that this song would translate well to a stripped down version but Yelawolf nails it. He brings a lot of emotion with his voice and the piano creates a serious mood even though you probably would think differently with a song titled “Pop the Trunk”. The official name of this whole brief documentary and live song is “The Boy Who Cried Wolf” and for those playing catch up or wanting to know more about the man, it presents a perfect opportunity to get to know him better as an artist and introduce you to his music so watch and listen.

 

PUB: PND - RFPs Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project Accepting Proposals

Alfred P. Sloan Foundation

Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project Accepting Proposals

 

The Ensemble Studio Theatre collaborates with the Alfred P. Sloan Foundation to develop and produce full-length and one-act plays and musicals that address the questions and dilemmas faced by "hard" scientists. The Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination.

Commissions will be awarded to individuals, groups, and creative teams for full-length and one-act plays and musicals. The project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the "hard" sciences and technology. Works about psychology, human behavior, medical conditions, victims of disease, and science fiction will not be considered.

Commissions between $1,000 and $10,000 each are available for script proposals, and rewrite commissions of between $1,000 and $5,000 each are available for existing scripts.

The deadline for commission proposals is November 30, 2009; the deadline for script submissions is December 31, 2009.

Visit the Ensemble Studio Theatre Web site for complete program information.

Contact:
Link to Complete RFP

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Submission Guidelines

The Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project will accept proposals and scripts for its 2011-2012 season until November 1, 2010*.

The EST/Sloan Project commissions, develops and presents new works delving into how we view and are affected by the scientific world. These plays examine the struggles and challenges scientists and engineers face from moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination. The Project commissions and develops new works throughout EST’s developmental season, including one Mainstage Production, as well as workshops and readings in an annual festival called FIRST LIGHT.

Now in its 12th year, the EST/Sloan Project has awarded commissions totaling more than $450,000 to more than 140 artists. Previous commissionees include: Billy Aronson, Mike Daisey, Jason Grote, Ann Marie Healy, Michael Hollinger, Israel Horovitz, Tina Howe, Shirley Lauro, Emily Levine, Romulus Linney, Quincy Long, Cassandra Medley, Dan O’Brien, Carey Perloff, Bill Pullman, Jaquelyn Reingold, Tommy Smith, Caridad Svich, Vern Thiessen, Alex Timbers, Bridgette Wimberly, David Zellnik, Stillpoint Productions, and The Royal Shakespeare Company.

* Note: Playwrights who attend the EST/Sloan Project Artist Cultivation Event on Tuesday, November 9 receive a deadline extension until December 1. Learn more about this event here.

Commission Awards

Commissions will be awarded to individuals, groups and creative teams for full-length and one-act plays and musicals. Commissions range from $1000 to $10,000. Commission amounts are determined on a case-by-case basis, as are deadlines for drafts, finished work, and research support (if appropriate). Extant, full-length works may be submitted and are judged on a script-by-script basis by the EST/Sloan Project staff. Rewrite commissions for existing scripts range from $1,000 to $5,000.

Submission Guidelines

The EST/Sloan Project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the “hard” sciences and technology.

Hard sciences include the following areas:

  • Mathematics
  • Physics (geological, nuclear, theoretical, etc.)
  • Biology (evolution, zoology, animal behavior, ecology, molecular, genetics, etc.)
  • Chemistry (industrial, biochemistry, etc.)
  • Neuroscience
  • Anthropology and Archaeology

Technology includes:

  • Computer Science
  • Software Development, Computer Development
  • Engineering (civil, chemical, mechanical, electrical, aerospace, vehicle design)
  • Space Research

Areas not considered for commissions include:

  • Science Fiction
  • Medical Conditions and/or Victims of Disease
  • Psychology and Human Behavior

How to Apply

New Commissions

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project commission should submit the following as their application for a grant:

  1. A one- or two-page description or a simple outline/synopsis of the project. This document should describe the actual story being explored, the source of inspiration behind the idea, and how the science being portrayed would be inherently dramatic in the piece.
  2. A resume or biography of each collaborator involved.

Rewrite Commissions

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project rewrite grant should submit the following as their application:

  1. A draft of the script.
  2. A one- or two-page cover letter detailing the development history of the play, your goals for a rewrite commission, and any questions you have about the current draft.
  3. A resume or biography of each collaborator involved.

 

The deadline for all submissions is November 1, 2010.
Final decisions will be announced in late Spring 2011.

A selection committee comprised of EST Artistic Director William Carden, Sloan Foundation Program Director Doron Weber, EST Sloan Program Director Graeme Gillis and Associate Director Linsay Firman and other leading artists and scientists, evaluate the proposals and make final decisions. Candidates may be asked to revise aspects of their proposals, provide writing samples, and/or arrange a meeting to discuss their project as part of the selection process.

Delivering Your Submission

We accept scripts in the following manner…

Email (preferred):

sloanproject@ensemblestudiotheatre.org

Via regular mail:

The Ensemble Studio Theatre
Attn: EST/Sloan Project
549 West 52nd St.
New York, NY 10019
Phone: 212-247-4982

Please contact us with any questions.

Best of luck to you,
EST/Sloan Project Staff

Graeme Gillis
Program Director

Linsay Firman
Associate Director


 

PUB: Writer’s Digest - Short Short Story Competition - Dec. 8th extended deadline

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The Writer's Digest Short Short Story Competition
 

Writer's Digest is no longer accepting entries in the 8th Annual Short Short Story Competition. Winners will be notified by February 11, 2008 and will not otherwise be made public until they are announced in the June 2008 issue of Writer's Digest.

Winners of the 7th Annual Writer's Digest Short Short Story Competition were listed in the June 2007 issue of Writer's Digest. Click here for a full list of winners.

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The Writer's Digest 11th Annual Short Short Story Competition

We're looking for fiction that's bold, brilliant...but brief. Send us your best in 1,500 words or fewer.

But don't be too long about it—the extended deadline is December 8, 2010.

PRIZES
First Place: $3,000 and a trip to the Writer's Digest Conference in New York City
Second Place: $1,500
Third Place: $500
Fourth Through Tenth Place: $100
Eleventh Through Twenty-Fifth Place: $50 gift certificate for Writer's Digest Books

* The names and story titles of the First-through Tenth-Place winners will be printed in the May/June 2011 Writer's Digest, and winners will receive the 2011 Novel & Short Story Writer's Market and Agents, Editors, and You: The Insider's Guide to Getting Your Book Published. Plus, all First through 25th place winners will receive a free copy of the 11th Annual Writer's Digest Short Short Story Competition Collection.

Click here to enter


 

The Rules

1. The competition is open to manuscripts of 1,500 words or fewer. Entries outside the word limitation will be disqualified. For entries submitted via regular mail, type the word count on the first page of your entry along with your name, address, phone number and email address. No refunds will be issued for disqualified entries.

2. The entry fee is $20 per manuscript. You may enter as many manuscripts as you wish. If you are submitting your entry via regular mail, you may send one check (in U.S. funds) and one entry form for all entries. We accept checks or money orders, Visa and Mastercard for all entries submitted online or via regular mail. There will be a $10 charge for all returned checks or declined credit cards. Credit cards will be charged within 90 days of the contest deadline. Charges will appear on your statement as “F+W Contests.”

3. All entries must be in English, original, unpublished, and not submitted or accepted elsewhere at the time of submission. Writer's Digest reserves one-time publication rights to the 1st- through 25th-place winning entries to be published in a Writer's Digest publication.

4. If you are submitting your entry via regular mail, all entries must be typewritten and double-spaced on one side of 8-1/2 x 11 or A4 white paper. Manuscripts will not be returned. Entries must be stapled.

5. Entries must be postmarked by December 8, 2010.

6. Winners will be notified by February 14, 2011. If you have not been contacted by this date, you may assume that your entry is not a finalist and may be marketed elsewhere.

7. Enclose a self-addressed, stamped postcard with your entry if you want to be notified of its receipt. We cannot notify you personally of your story's status before the winners are announced. If entering online, you will receive a confirmation email for each entry you submit.

8. Winners' names will appear in the May/June 2011 issue of Writer's Digest magazine. Afterwards, their names and story titles will be posted at www.writersdigest.com.

9. The following are not permitted to enter the competition: employees of F+W Media, Inc., and their immediate families and Writer's Digest contributing editors and correspondents as listed on the masthead.

Click here to enter


FAQ

Q: Is it okay to have illustration pictures on the cover?
A: Please send the text only

Q: If there is a word count, how many words per page am I allowed?
No preference

Q: How large of print is allowed?
No preference

Q: Are pen names allowed?
Pen names are fine. Write your pen name on all forms etc. so there is no mistakes on credits. Please be advised that we only need your real name if you are chosen as a winner (in order to issue prizes).

Q: What if I am not a U.S. resident?
WD writing competitions are open to non-U.S. residents as well. Please refer to the entry form and guidelines. All entry fees are due in U.S. Dollars.

Q: Is there an age limit for entrants?
No

Q: What if I wanted to submit only part of my novel into the competition ( to stay with in the maximum number of words)?
If you submit a portion of a novel please understand that it will be judged as a complete story, not part of another work, so it needs to be a complete story in and of itself.

Q: When will winners be notified?

Top Award Winners will be notified by mail before February 14, 2011. The top 10 winners will be listed in the May/June 2011 issue of Writer's Digest. The top 25 winners will be listed in the 11th Annual Writer's Digest Short Short Story Competition Collection and at www.writersdigest.com after the June issue is published.

Q: What are the word count requirements?
The competition is open to manuscripts 1,500 words or fewer.

Q: How do I order books published by F+W Media?
www.fwbookstore.com/category/writers-digest

Q: How do I subscribe to Writer's Digest?
visit www.writersdigest.com and click on the link

Q: Are there other writing competitions?
Yes! Visit www.writersdigest.com/competitions for other competitions for writers  


Privacy Promise
Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with your name, address and the competition name to: List Manager, F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, OH 45236.

Writer's Digest Short Short Story Competition Online Entry Form

Writer's Digest Short Short Story Printable Entry Form  

Click here to enter

 

PUB: Writer’s Digest - Poetry Awards - reminder

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6th Annual Writer's Digest Poetry Awards Competition

We're pleased to announce the only Writer's Digest competition exclusively for poets! Regardless of style—rhyming, free verse, haiku and more—if your poems are 32 lines or fewer, we want them all.

Entry Deadline: December 15, 2010

 



 Prizes | Contest Rules | Privacy Promise | Entry Form 

Prizes

First Place: $500 and a trip to the Writer's Digest Conference in New York City

Second Place: $250

Third Place: $100

Fourth Through Tenth Place: $25

Eleventh Through Twenty-Fifth Place: $50 gift certificate for Writer's Digest Books.

* The names and poem titles of the First through Tenth-Place winners will be printed in the August 2011 Writer's Digest, and afterwards their names will appear on www.writersdigest.com. All winners will receive the 2011 Poet's Market.

The 6th Annual Writer's Digest Poetry Awards Collection

The 1st- through 50th-place poems will be printed in a special competition collection.  Use the entry form to order your copy or purchase a copy online using a credit card. (Publication date: May 2011. You are not required to purchase the collection to enter the competition.)

 

Entry Deadline: December 15, 2010 

Click here to enter


Competition Rules

1. The competition is open to poems 32 lines or fewer. Entries longer than 32 lines will be automatically disqualified. Long poems may not be broken into segments and entered as separate entries. Each poem must be self-contained and must be titled. Style and subject matter are open. Type the line count along with your name, address, phone number and email address at the top left-hand corner of the page. No refunds will be given for disqualified entries.

2. The entry fee is $15 for the first poem submitted and $10 for each additional poem. You may enter as many poems as you wish. If you are submitting your entry via regular mail, you may send one check (in U.S. funds) and one entry form for a single entry or batch of entries. You may pay with a check or money order, Visa or Mastercard when entering online or via regular mail.  Entries received without an entry fee will be disqualified. Entry fees may not be sent after poems have been received. There will be a $10 fee for declined credit cards or returned checks. Credit cards will be charged within 90 days of the contest deadline. Charges will appear on your statement as "F+W Contests." 

3. All entries must be in English, original, unpublished, and not submitted elsewhere at the time of submission. "Unpublished" means poems may not have appeared in print or on the Internet for public consumption (i.e., poems posted on a public forum or on your Web site may not be entered). Writer's Digest reserves the one-time publication rights to the 1st through 50th-place winning entries to be published in a Writer's Digest publication, on Writer's Digest's Web site, or in other digital materials.

4. If you are submitting your entry via regular mail, all entries must be typewritten on one side of 8-1/2 x 11 white paper (computer printout acceptable) or A4 white paper. Unusual typefaces, colors, and graphics should not be used. Poems will not be returned so keep a copy for your records. No refunds will be issued for disqualified entries.

5. Entries must be postmarked by December 15, 2010. Online entries will close after midnight EST on December 15, 2010.

6. Winners will be notified by March 15, 2011. If you have not been contacted by this date, you may assume that your entry is not a finalist and may be marketed elsewhere.

7. Enclose a self-addressed, stamped postcard with your entry if you want to be notified of its receipt. We cannot notify you personally of your poem's status before the winners are announced. This includes phone and email status inquiries. If entering online, you will receive a confirmation email for each entry you submit. Please note, the emailed confirmation will come from writingcompetition@fwpubs.com.

8. Winners' names will appear in the August 2011 issue of Writer's Digest magazine. Afterwards, their names and poem titles will be posted at www.writersdigest.com

9. The following are not permitted to enter the competition: employees of F+W Media, Inc., and their immediate families and Writer's Digest contributing editors and correspondents as listed on the masthead.

top

Privacy Promise
Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with your name, address and the competition name to: List Manager, F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, OH 45236.

Entry Form

To submit your entry online, visit our secure online entry form.

To enter via regular mail, use the printable form, and send it with your poem(s) and entry fee(s) to:

Writer's Digest Poetry Awards
4700 East Galbraith Road
Cincinnati, OH 45236
Click here to enter
Questions?

For questions, contact us at (715) 445-4612 ext. #13430 or email writing-competition@fwmedia.com

 

VIDEO: “The Black Power Mixtape 1967-1975″ Teaser Trailer (Sundance 2011) > Shadow And Act

“The Black Power Mixtape 1967-1975″ Teaser Trailer (Sundance 2011)

And we’re off…! As I said in my post announcing the Sundance 2011 lineup, I’ll be going over the complete list, highlighting titles that we already haven’t given coverage to, taking into consideration this blog’s specific interests.

The first is a documentary titled The Black Power Mixtape 1967-1975, directed by Swedish filmmaker Göran Hugo Olsson, and co-produced by Danny Glover and his Louverture Films.

Its synopsis: From 1967 to 1975, Swedish journalists chronicled the Black Power movement in America. Combining that 16mm footage, undiscovered until now, with contemporary audio interviews, this film illuminates the people and culture that fueled change and brings the movement to life anew.

Included in the mix are appearances and commentary by: Stokely Carmichael (Kwame Ture), Dr. Martin Luther King, Jr., Eldridge Cleaver, Bobby Seale, Huey P. Newton, Emile de Antonio, Angela Davis, Harry Belafonte, Kathleen Cleaver, Robin Kelley, Abiodun Oyewole, Sonia Sanchez, Bobby Seale, Erykah Badu, Talib Kweli, Questlove and more.

Its Sundance screening(s) will be its world premiere!

Courtesy of Twitch, watch the below teaser trailer for the film:

VIDEO: 'Left of Black': Episode #10 featuring William Jelani Cobb & Bassey Ikpi > NewBlackMan

Bassey Ikpi

William Jelani Cobb

 

'Left of Black': Episode #10 featuring William Jelani Cobb & Bassey Ikpi

 

 

Left of Black: Episode # 10

w/Mark Anthony Neal

Monday, November 22, 2010


 

Host and Duke University Professor Mark Anthony Neal talks with William Jelani Cobb author of The Substance of Hope: Barack Obama and the Paradox of Progress and spoken-word poet Bassey Ikpi.


Cobb is Professor of History and Africana Studies at Rutgers University and the author of To The Break of Dawn: A Freestyle on the Hip Hop Aesthetic and The Devil & Dave Chappelle and Other Essays.

 

The Nigerian born Ikpi, is a Washington, D.C. based mental health advocate and writer who blogs at Bassey World


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Also available for download from iTunes U