WHEN EVERYTHING IS DUE IN THE SAME WEEK
Biologist with a bent for Bach /
mezzo coloratura with a craving for cladistics.
These are just some of the many ways members of the LGBT community identify themselves in a beautiful photo series from San Francisco-based photographer Sarah Deragon.
Deragon’s “The Identity Project” has taken her around the country as she “seeks to explore the labels we choose to identify with when defining our gender and sexuality.” Her portraits show the amazing diversity and vibance of a queer community that for too long has been defined by outsiders.
Check out some photos from Linus Ignatius’ Capstone Immersive Theater project: HOUSE!House is an immersive theatrical performance taking place in the Weltzheimer-Johnson house on the Oberlin College campus, a living space designed by Frank Lloyd Wright. Devised by the two-dozen members of the “God Complex” ensemble under the auspices of alumnus Director Linus Ignatius (‘14) and Assistant Director Julia Melfi (‘15), this original piece tells the story of a small town mystery at a housewarming party gone horribly wrong.
The play is set in a fanciful version of 1948, the year the Weltzheimer-Johnson house was constructed, in the fictitious town of Dryton. In this imagined world Mr. K (played by Ignatius) returns home after nearly a decade of international gallivanting. His time abroad is shrouded in secrecy, but one thing is clear: he has been frittering away the family fortune, pursuing a life of debauchery and alcoholism under the dubious guise of ‘entrepreneurship.’ Along the way he has picked up an indentured servant from South India, whom he employs as his driver, and a charming wife named Adelaide (played by Melfi), who is a stranger to the town with her own secrets to keep.
Meanwhile the town of Dryton is held together by extreme religious traditionalism and severe xenophobia. The denizens of Dryton are also remarkably self-serving. In these parts, where individuals keep their friends close and their enemies closer, nightmarish jealousy and sabotage reign all in service of their higher calling.
The house itself is the prized possession of this small, quaint town, and the residents will do anything to protect it, from backstabbing their loved ones to systematically destroying the marriages of their neighbors. And they have proven their commitment before: each time a new family arrives in town the town subjects them to their fatal “process” of evaluation, by which they determine whether the newcomers will be a “good fit” for Dryton. As of yet, nobody has passed the test.
In the rehearsal process, the ensemble has experimented with decentralized creative power structures, in which each performer is responsible for building their characters and arcs, with help from the production team. Through extended improv sessions designed to hone the group mind of the collective, the cast has been weaving together each individual storyline into a united experience greater than the sum of its parts.
More than just a theater event, the project will also be documented live with cameras each night and crafted into a cinematic experience, with Nico Hen (‘14) directing photography. The final product, which will be edited together in the months to come, is sure to entice, thrill, and call into question the communal and cultural values that hold us all together.
House opens in the Weltzheimer-Johnson house Wednesday, March 5 and runs through Sunday, March 9th at 6pm each night.
"White people looking for something they lost." I physically died.
I died at dick me down. Literally died.
its funny the 200th time
Dick me down tho! lkdfjljalksd
Dick me down…what ?!!! LMAO !
as a white girl this is 10000% percent accurate… except i go for “fuck me gently with a chainsaw” and i’m usually singing it for some reason? the last part is probably just me tho…
[Mads Mikkelsen] on political correctness: He is rather more dismissive of the current surge of must-see Danish crime series on television. Too politically correct, in his opinion, with all those feisty, polymath policewomen pursuing bad guys into dark basements. “That doesn’t happen! I don’t mind – the girls are great actors and it’s great there is a medium where they get work – but there has to be a balance between what is real and not real. I will never be a fan of any kind of political correctness: I think it’s instant death to creativity.” (x)
ok that’s enough hannibal
YOU ARE ON A SHOW ABOUT A SUPER FANCY CANNIBAL?!?!?! WHO HASN’T BEEN CAUGHT YET??!?!?! THAT FEATURES ELABORATE SERIAL KILLINGS THAT WOULD NEVER HAPPEN IN REAL LIFE!?!?! WHAT THE FUCK
l…mao ok mads
There is real harm in utilizing general trigger warnings in the classroom. Oberlin College recommends that its faculty “remove triggering material when it does not contribute directly to the course learning goals”. When material is simply too important to take out entirely, the college recommends trigger warnings. For example, Oberlin says, Chinua Achebe’s Things Fall Apart is a great and important book, but:
… it may trigger readers who have experienced racism, colonialism, religious persecution, violence, suicide, and more.
Students should be duly warned by the professor writing, for example, “Trigger warning: This book contains a scene of suicide.”
On its face, that sounds fine (except for students who hate literary spoilers). But a trigger warning for what Oberlin identified as the book’s common triggers – racism, colonialism, religious persecution, violence, suicide (and more!) – sets the tone for reading and understanding the book. It skews students’ perceptions. It highlights particular issues as necessarily more upsetting than others, and directs students to focus on particular themes that have been singled out by the professor as traumatic.
At Rutgers, a student urged professors to use trigger warnings as a sort of Solomonic baby-splitting between two apparently equally bad choices: banning certain texts or introducing works that may cause psychological distress. Works he mentioned as particularly triggering include F Scott Fitzgerald’s The Great Gatsby, Junot Diaz’s This Is How You Lose Her and Virginia Woolf’s Mrs Dalloway. The warnings would be passage-by-passage, and effectively reach “a compromise between protecting students and defending their civil liberties”.
But the space between comfort and freedom is not actually where universities should seek to situate college students. Students should be pushed to defend their ideas and to see the world from a variety of perspectives. Trigger warnings don’t just warn students of potentially triggering material; they effectively shut down particular lines of discussion with “that’s triggering”. Students should – and do – have the right to walk out of any classroom. But students should also accept the challenge of exploring their own beliefs and responding to disagreement. Trigger warnings, of course, don’t always shut down that kind of interrogation, but if feminist blogs are any example, they quickly become a way to short-circuit uncomfortable, unpopular or offensive arguments.
That should concern those of us who love literature, but it should particularly trouble the feminist and anti-racist bookworms among us. Trigger warnings are largely perceived as protecting young women and, to a lesser extent, other marginalized groups – people of color, LGBT people, people with mental illnesses. That the warnings hinge on topics that are more likely to affect the lives of marginalized groups contributes to the general perception of members of those groups as weak, vulnerable and “other”.
The kinds of suffering typically imaged and experienced in the white western male realm – war, intra-male violence – are standard. Traumas that impact women, people of color, LGBT people, the mentally ill and other groups whose collective lives far outnumber those most often canonized in the American or European classroom are set apart as different, as particularly traumatizing. Trigger warnings imply that our experiences are so unusual the pages detailing our lives can only be turned while wearing kid gloves.
There’s a hierarchy of trauma there, as well as a dangerous assumption of inherent difference. There’s a reinforcement of the toxic messages young women have gotten our entire lives: that we’re inherently vulnerable.
And there’s something lost when students are warned before they read Achebe or Diaz or Woolf, and when they read those writers first through the lens of trauma and fear"
(tw: child sexual abuse)
No. I don’t agree.
I was at a poetry slam and was looking forward to competing. There were awesome poets there and the prize was 150 dollars. My friends were with me but enemies were also present. The room was packed the only exit was at the back of the room. To leave you would have to walk down the center aisle.
People performed their pieces and I was preparing to go when a thin dark woman with a raspy voice and long dreadlocks begins her piece that describes an act the child sexual abuse.
I was paralized. I couldn’t just leave and bring attention to myself. All those people would know why I was leaving. And I also couldn’t move in general. I had begun sobbing and shaking. And while my friends tried to comfort me there was nothing I could do.
It ruined my evening….my weekend. It was all I could think about.
Trigger warnings are necessary because they can prevent you from being exposed to content that can literally bring to mind traumatic events in an instant, in a flash back.
it is disturbing that trauma and attempts to spare people from avoiding it is being trivialized or described as a hindrance.