Interdependence Film 2019
Why might interdependence, the idea that we are made up of our relations, be horrifying? Philosophy, Film, and the Dark Side of Interdependence argues that philosophy can outline the contours of dark specter of interdependence and that film can shine a light on its shadowy details, together revealing a horror of relations. The contributors interrogate the question of interdependence through analyses of contemporary film, giving voice to new perspectives on its meaning. Conceived before and written during the 2020 COVID-19 pandemic and through a period of deep social unrest, this volume reveals a reality both perennial and timely.
Interdependence Film 2019
Chang, L., and Jeng, Y. (July 24, 2018). "A Model for Surface-Film Lubricated Cold Rolling Incorporating Interdependence of Mechanics, Heat Transfer, and Surface-Film Lubrication." ASME. J. Tribol. January 2019; 141(1): 012202.
This paper aims to establish a theoretical feasibility of metal cold rolling with only surface-film boundary lubrication. To this end, a mathematical model for surface-film lubricated cold rolling is developed. It is formulated to factor in the interdependence of mechanics, heat transfer, and surface-film lubrication with three submodels: the lubrication-friction model, the stress-deformation model, and the thermal model. Governing equations are obtained based on fundamental physics of the rolling process and tribochemistry of the surface-film lubrication. The equations are solved simultaneously with full numerical methods of solutions. Sample results are presented to evaluate the model and to show the theoretical potential of the surface-film lubrication for cold rolling. The model may be used as a theoretical tool to aid the research and development of surface-film lubrication technology for cold rolling. It may be further developed in conjunction with precision experiments.
All the filmmakers were invited for a reception dinner given by the Swiss Ambassador s Rita Adams at her residence on the day before screening. Panda was among the eleven internationally recognized filmmakers, from eleven countries, who had joined forces to raise awareness on the effects of Climate Change through a unique anthology of films on the issue.
A portrait of Stockholm during the first months (wave one) of the COVID-19 spread in Sweden. Filmed and scored between April and May 2020, the film was created in collaboration with Studio Reko. Learn more about the project on PIN-UP.
INTERDEPENDENCE is a unique film composed by eleven short-movies. Produced in 2019, the film explores in a sensible and creative way the position of humankind and nature. The key stories illustrated by the eleven internationally recognized filmmakers reflect the intertwined relations between human society and natural environment that are aggravated by climate change on multiple dimensions and scales, hinting at possible solutions.
INTERDEPENDENCE, by Fauzi Bensaidi, Mamhat-Saleh Haroun, Ása Hjorleifsdottir, Salome Lamas, Bettina Oberli, Nila Madhab Panda, Shahrbanoo Sadat, Silvio Soldini, Daniela Thomas, Leon Wang, Karin Williams (2019)
Erika Dickerson-Despenza is a Blk, queer feminist poet-playwright and cultural-memory worker from Chicago, Illinois. She is a 2020 Grist 50 Fixer and was a National Arts & Culture Delegate for the U.S. Water Alliance's One Water Summit 2019. Awards: Laurents/Hatcher Foundation Award (2020), Thom Thomas Award (2020), Lilly Award (2020), Barrie and Bernice Stavis Award (2020), Steinberg Playwright Award (2020), Princess Grace Playwriting Award (2019). Residencies & Fellowships: Tow Playwright-in-Residence at The Public Theater (2019-2020), New York Stage and Film Fellow-in-Residence (2019), New Harmony Project Writer-in Residence (2019), Dramatists Guild Foundation Fellow (2018-2019), The Lark Van Lier New Voices Fellow (2018). Communities: BYP100 Squad Member, Ars Nova Play Group (2019-2021), Youngblood Collective (EST). Commissions: The Public Theater, Studio Theatre & Williamstown Theatre Festival. Productions: cullud wattah (2019 Kilroys List) originally slated at The Public Theater, 2020 and Victory Gardens Theater, 2021. Currently, Erika is developing a 10-play Katrina Cycle, including shadow/land and [hieroglyph] (2019 Kilroys List), focused on the effects of Hurricane Katrina and its state-sanctioned, man-made disaster rippling in & beyond New Orleans.
The pandemic has thrust to the forefront questions of interdependence and the universal rights associated with it, including, for instance, the right to health care, the right to work, the right to housing, and even the right to the city.
When we speak about interdependence with nonhuman agencies, we should not think of efforts to create harmonious relations between humanity and nature based on some sort of essentialist identity. Rather, we should think of an interdependence between constantly changing actors. Under the current conditions, it feels as though we are experiencing ever greater, ever faster transformations of identity, and rapid migrations from one living situation to another due to technology and science as well as an ever more rapacious capitalism. But ceaseless transformations and mutations are also part of the processes of nature. The pandemic has demolished something we never actually had: a stable natural order. When we think of interdependence, we should think of something that is both good and bad at the same time, something that encompasses both nature and our own production.
Through its aesthetic liberation of things, ideas, and layers of time, art constructs imaginaries of interdependence, which in their own way contribute to a society of solidarity. Today, during this time of pandemic, we like to talk about us all being in the same boat, a metaphor that has replaced the catastrophic image of overcrowded boats of refugees crossing the Mediterranean. But the most powerful metaphor of the present time is the metaphor of the virus, which represents how everything influences everyone. But this is only our view of viruses, our exploitation of its properties. What viruses themselves think about this, nobody knows.
Citation: Kafetsios KG (2019) Interdependent Self-Construal Moderates Relationships Between Positive Emotion and Quality in Social Interactions: A Case of Person to Culture Fit. Front. Psychol. 10:914. doi: 10.3389/fpsyg.2019.00914
Copyright 2019 Kafetsios. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.
Eleven internationally recognised filmmakers have collaborated to raise awareness on the effects of climate change, each producing a short film. The shorts have been compiled into one powerful and unique film, spanning the genres of docufiction, drama, comedy, Sci-Fi and video-art. The final piece explores the urgent need to reduce our environmental impact on the planet, and to preserve its natural resources.
Produced in co-partnership with the ITC Ethical Fashion Initiative, the films were shot in eleven countries around the world. They exist as single short films in their original language and as part of a 90-minute feature film, subtitled in English, French and Italian. Participants were selected for their strong artistic qualities, as well as their commitment to addressing the issue of climate change:
Crip Camp (2020) follows the structure of a well-made film (Simon, 1972), and echoes the social issue film genre (Byars, 1991), thereby telling a clear, chronological story that reifies conservative family values as the solution to challenges faced by society. Through this structure, it fails to push for the change it claims to seek, while presenting content that objectifies people with cognitive disabilities, minimizes the contributions of Black disabled people and LGBT+ disabled people, and erases the voices of non-Black disabled people of color. Crip Camp fails to use the medium of film to present (through tools of filmmaking and the content within) alternative interdependent maps (Mitchell & Snyder, 2017), or reimagine what society can be.
Crip Camp opens by introducing the status quo: a painful world that segregates disabled people from non-disabled. The film then proposes an antidote to this painful world: Camp Jened. The next act of the film poses a series of specific pains that disabled people experience, and Jened's solutions. At Camp Jened, everyone is equal. The outside world is stifling. The transition home marks a transition in the film. Outside of camp, the world is a bleak place filled with barriers. The experiences at camp become a utopian dream for what outside life could be, and the former campers now turn their sights on political action. The next chapter of the film takes the viewer on a wild ride through the 504 Sit-In that started on April 5, 1977, and the later actions that led to the passage of the Americans With Disabilities Act of 1990. At the structural climax of the film, Denise Sherer Jacobsen warns that none of the policy matters much if peoples' attitudes about disability remain unchanged. The denouement is a return to Camp Jened now (an empty lot), and a reunion of activists. 041b061a72