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DTSTART;TZID=America/New_York:20240821T180000
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DTSTAMP:20260420T192242
CREATED:20251230T191612Z
LAST-MODIFIED:20251230T191612Z
UID:10001174-1724263200-1724270400@squeaky.org
SUMMARY:Plant Cinema Workshop at Silo City with Kathryn Ramey
DESCRIPTION:Wednesday\, August 21\, 6–8 pm\n@ Silo City (85 Silo City Row\, Buffalo\, NY 14203)\n$10 general | $7 members\nOpen to ages 16+\nRegister below\nIn this one-time workshop by visiting filmmaker and Workspace Resident Kathryn Ramey at Silo City\, the filmmaker will show participants how to expose and process 16mm film with plants. Participants will use plant materials from Silo City’s environment\, that they will develop and expose with a sodium carbonate and vitamin C mixture. Ramey will then show participants how to fix their films\, upon which they’ll let them dry and project them on site. \nThe event will take place at Silo City; please gather promptly at Duende (85 Silo City Row\, Buffalo\, NY 14203) at 6 pm. Squeaky Wheel members can email ekrem@squeaky.org for their discount code ahead of checking out. Special thank you to Olivia McCarthy and Silo City. \nAbout the artist and our partner\nKathryn Ramey (1967)\, Vancouver\, WA / USA. A Guggenheim and Creative Capital fellow with an MFA in film and a PhD in anthropology who has made over a dozen films and installations\, contributed numerous articles to anthologies and journals and written the essential text Experimental Filmmaking: BREAK THE MACHINE (2015). Her films operate at the intersection of experimental analogue processes and ethnographic research and are characterized by hand-processing\, optical printing\, and animation. She has screened at several festivals such as Toronto\, Ann Arbor\, TriBeca\, Ji.hlava\, and 25fps\, among others. \n \nSilo City is a unique post-industrial landscape comprised of the world’s largest collection of historical grain elevators. We create and host happenings on site through our 501(c) 3 nonprofit organization that operates under the legal name Friends of Silo City. Click here to learn more. \nThis workshop is presented as part of the Workspace Residency program. Learn more here. \nBanner image provided by Kathryn Ramey. Sage leaves from a volunteer plant in the artists garden are harvested\, soaked in vitamin C and sodium carbonate\, placed on undeveloped black and white film and left in the sun. The leaves print themselves onto the film which is revealed when the film is run through a weak fixer.
URL:https://squeaky.org/event/plant-cinema-at-silo-city-with-kathryn-ramey/
LOCATION:Silo City\, 85 Silo City Row\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Residencies,Skill Share
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/07/sageflowers-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240817T130000
DTEND;TZID=America/New_York:20240817T150000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001175-1723899600-1723906800@squeaky.org
SUMMARY:AV Club
DESCRIPTION:Saturday\, August 17\, 1-3pm\nFree\, sign up below\nJoin us for the next round of Squeaky’s AV Club\, a new monthly meetup for digital artists\, media artists\, sound artists\, video artists\, filmmakers\, animators\, game designers\, etc etc.  Come share works in progress\, talk skills and experiences\, and embrace the challenges of making media work in an informal\, constructive and exploratory environment. \nAt this meeting\, we’ll spend time watching and discussing each other’s pieces. \nHave a skill you want to share with the group? We’re looking for ways to share the little tidbits of wisdom we’ve picked up along the way from the various working methods we’ve employed while toiling in the studio. If you’ve found an interesting art hack\, have a passion for technical skill\, or find yourself knowledgeable in a topic you think might be good to pass along to fellow artists\, fill out this form and let us know! We’d like to include informal skill sharing as part of the AV Club structure in the future. \nNote: This is an interdisciplinary group\, so if you’re only interested in talking about a single art form\, then this might not be the right group for you. If you’re interested in sharing\, learning\, exploring\, and experimenting across forms\, genres\, styles\, processes\, and mediums\, then you’ll be right at home! \n 
URL:https://squeaky.org/event/av-club-3/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Open Call,Skill Share
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240805T130000
DTEND;TZID=America/New_York:20240809T160000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001157-1722862800-1723219200@squeaky.org
SUMMARY:Tech Arts for Youth: Screenwriting
DESCRIPTION:Tech Arts for Youth: Screenwriting\nAugust 5 – 9 (session 4B)\nMonday – Friday\n1:00 pm – 4:00 pm\nOpen to all levels. \nAges 11-15 \nLearn how to turn your ideas into compelling scripts! You’ll learn about the fundamentals of storytelling and story structures\, how to use stage directions to set the scene\, and how to format your writing as a screenplay. Our instructors will lead you through engaging and fun hands on activities to help you discover exciting ways to bring your stories to life! \n  \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-screenwriting/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240805T090000
DTEND;TZID=America/New_York:20240809T120000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191559Z
UID:10001156-1722848400-1723204800@squeaky.org
SUMMARY:Tech Arts for Youth: Digital Filmmaking 2
DESCRIPTION:Tech Arts for Youth: Digital Filmmaking 2\nAugust 5 – 9 (session 4A)\nMonday – Friday\n9:00 am – 12:00 pm\nOpen to all levels. \nAges 11-15 \nDuring this all around introduction to video production and editing\, you’ll work with a team to produce a super short (micro) film! You’ll write a short script\, rehearse it\, film it\, and edit the footage into a short film! It will be a fast paced week\, and you’ll leave with an amazing short film! \nNOTE: Because we’ve had so many requests for video production workshops\, Digital Filmmaking is offered twice this summer (session 2B and session 4A). Both sessions will follow a similar structure\, but the experience will be completely different\, led by different instructors\, and it’s a-ok to register for both! \n  \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-digital-filmmaking-2/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240729T130000
DTEND;TZID=America/New_York:20240802T160000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001155-1722258000-1722614400@squeaky.org
SUMMARY:Tech Arts for Youth: 2D Animation [class full\, email for waitlist]
DESCRIPTION:Tech Arts for Youth: 2D Animation\nJuly 29 – August 2 (session 3B)\nMonday – Friday\n1:00 pm – 4:00 pm\nOpen to all levels. \nAges 11-15 \nFrom character design to storytelling\, this workshop empowers young artists to express their creativity using frame-by-frame animation. Our instructor will guide students through the animation workflow\, from animating simple shapes and actions to developing more complex characters. You’ll learn a range of 2D techniques\, including hand drawn animation on paper and digital animation. \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-2d-animation/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/02/2024_TAY_Marketing_2DAnimation_no_text-06.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240729T090000
DTEND;TZID=America/New_York:20240802T120000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001154-1722243600-1722600000@squeaky.org
SUMMARY:Tech Arts for Youth: Game Design [class full\, email for waitlist]
DESCRIPTION:Tech Arts for Youth: Game Design\nJuly 29 – August 2 (session 2A)\nMonday – Friday\n9:00 AM – 12:00 PM\nOpen to all levels. \nAges 11-15 \nGame Design  \nLearn about games and game mechanics\, play games\, and design and make your own playable analog and video games!  \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-game-design/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240722T130000
DTEND;TZID=America/New_York:20240726T160000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001153-1721653200-1722009600@squeaky.org
SUMMARY:Tech Arts for Youth: Digital Filmmaking 1 [class full\, email for waitlist]
DESCRIPTION:Tech Arts for Youth: Digital Filmmaking 1\nJuly 22 – 26 (session 2B)\nMonday – Friday\n1:00 pm – 4:00 pm\nOpen to all levels. \nAges 11-15 \nDuring this all around introduction to video production and editing\, you’ll work with a team to produce a super short (micro) film! You’ll write a short script\, rehearse it\, film it\, and edit the footage into a short film! It will be a fast paced week\, and you’ll leave with an amazing short film!  \nNOTE: Because we’ve had so many requests for video production workshops\, Digital Filmmaking is offered twice this summer (session 2B and session 4A). Both sessions will follow a similar structure\, but the experience will be completely different\, led by different instructors\, and it’s a-ok to register for both! \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-digital-filmmaking-1/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/02/2024_TAY_Marketing_Video1_no_text-04.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240722T090000
DTEND;TZID=America/New_York:20240726T120000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001152-1721638800-1721995200@squeaky.org
SUMMARY:Tech Arts for Youth: Digital Illustration [class full\, email for waitlist]
DESCRIPTION:TECH ARTS FOR YOUTH: DIGITAL ILLUSTRATION\nJuly 22 – 26 (session 2A)\n9 AM – 12 PM\nOpen to all levels. \nAges 11 – 15 \n  \nJoin us for a week-long artistic adventure exploring the essential tools and creative tricks for creating incredible digital illustrations. Whether you already love digital drawing\, or are just getting started\, this class is for you! You’ll build skills with professional programs like as Adobe Illustrator\, and experiment with free software like Pixelart\, Krita & more. Engaging activities\, personalized guidance\, collaborative projects\, and a lot of room for fun and artistic expression will make this session a dynamic and enriching experience. \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \n  \nInstructor: Mikayla Kempski \n  \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away. \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n 
URL:https://squeaky.org/event/tech-arts-for-youth-digital-illustration/
LOCATION:NY
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/02/2024_TAY_Marketing_Illustration_no_text-03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240720T130000
DTEND;TZID=America/New_York:20240720T150000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001169-1721480400-1721487600@squeaky.org
SUMMARY:AV Club
DESCRIPTION:Saturday\, July 20\, 1-3pm\nFree\, sign up below\nJoin us for another round of Squeaky’s AV Club\, a new monthly meetup for digital artists\, media artists\, sound artists\, video artists\, filmmakers\, animators\, game designers\, etc etc.  Come share works in progress\, talk skills and experiences\, and embrace the challenges of making media work in an informal\, constructive and exploratory environment. \nAt this meeting\, our Curator Ekrem Serdar will give a brief talk about how to find opportunities to advance your projects with resources like residencies and grants. We’ll spend time watching each other’s pieces and discuss how everyone might like to move forward with future skill shares\, events\, and ways to build and develop community around a love for media art and moving images. We hope you’ll join us! \n  \nNote: This is an interdisciplinary group\, so if you’re only interested in talking about a single art form\, then this might not be the right group for you. If you’re interested in sharing\, learning\, exploring\, and experimenting across forms\, genres\, styles\, processes\, and mediums\, then you’ll be right at home! \n 
URL:https://squeaky.org/event/av-club-2/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Open Call,Skill Share
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240715T130000
DTEND;TZID=America/New_York:20240719T160000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001151-1721048400-1721404800@squeaky.org
SUMMARY:Tech Arts for Youth: Stop Motion Animation
DESCRIPTION:Tech Arts for Youth: Stop Motion Animation\nJuly 15 – 19 (session 1B)\nMonday – Friday\n1:00 pm – 4:00 pm\nOpen to all levels. \nAges 11-15 \nWhether you are new to stop motion animation or have some experience\, this workshop is for you! We will start with the basics\, using clay\, paper\, and other physical materials to animate motion and effects. Then we will go wild and experiment with techniques and materials\, creating amazing and original animated short films! \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-stop-motion-animation/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240715T090000
DTEND;TZID=America/New_York:20240726T130000
DTSTAMP:20260420T192242
CREATED:20251230T191559Z
LAST-MODIFIED:20251230T191559Z
UID:10001162-1721034000-1721998800@squeaky.org
SUMMARY:Digital Art and Technology Access Summer 2024
DESCRIPTION:DATA is a media arts and technology program designed for neurodivergent individuals (such as individuals with Autism Spectrum Disorder\, ADHD\, dyslexia\, dyspraxia\, etc.) ages 13-19. A series of year-round workshops builds creative and social skills. Students learn a range of media-based practices to suit all interests in technology and art.\nIn DATA we provide a minimum 3:1 student-to-instructor ratio\, noise-canceling headphones\, snacks or lunch\, and a separate sensory-friendly space outside the classroom for breaks. The lead Teaching Artists have experience in working with students with disabilities. The Teaching Assistant has a degree in social work and experience working with students with disabilities\, and can help you begin the process of applying for services through the New York State Office for People With Developmental Disabilities (OPWDD). Our Peer Mentor is a neurodivergent student or recent graduate from a digital media art degree program. \nDATA is tuition free and space is limited.\n\n2024 Summer Program – Application Now Open! \n\nJuly 15 – 26 (2 weeks)\nMonday – Friday\n9am-1pm\nBuffalo State University\nBuckham Hall\, room 141\n  \nThis summer we are thrilled to have media artist and educator Jenson Leonard as our instructor! We will use a range of digital tools for drawing\, animation\, and photo editing to create gifs\, memes\, animations\, websites\, and more. Students will have the option of incorporating projects they are already working on\, or starting with fresh ideas.  \n  \nScroll down to “tickets” to apply.  If this is your first time applying to DATA\, you will receive a phone call from Caroline\, our Education Director\, to discuss the program in greater detail\, and to ensure that we are a good fit for each other. We unfortunately aren’t able to support individuals with high one-on-one needs. \nQuestions? Please email caroline@squeaky.org\, or call 716-884-7172. \n\n  \nDATA is made possible by the generous support of The Children’s Guild Foundation.
URL:https://squeaky.org/event/digital-art-and-technology-access-summer-2024/
LOCATION:Buckham Hall room B141\, Buffalo State University\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:DATA,Youth Program
ATTACH;FMTTYPE=image/png:https://squeaky.org/wp-content/uploads/2020/02/Header.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240715T090000
DTEND;TZID=America/New_York:20240719T120000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001150-1721034000-1721390400@squeaky.org
SUMMARY:Tech Arts for Youth: Digital Collage
DESCRIPTION:Tech Arts for Youth: Digital Collage\nJuly 15 – 19 (session 1A)\nMonday – Friday\n9:00 am – 12:00 pm\nOpen to all levels. \nAges 11-15 \nUsing materials like paper\, original digital photographs\, and found images\, you’ll follow in the footsteps of amazing collage artists throughout history\, from Hannah Hocke to Wangechi Mutu\, and learn to use Photoshop to make incredible collages! You’ll learn how to cut apart\, remix\, and reassemble your images to make imaginative and unique new compositions. Your finished collages can be printed and framed\, or be used for digital wallpaper\, or turned into animated GIFs. The possibilities are endless! \nClass limited to 8 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nMembers receive a 10% discount on all workshops. Not yet a member? Click here to join now\, and start using your discount right away! \n***Note: you can purchase classes and a membership at the same time\, and the discount will be applied to your cart automatically. If you are already a member\, fill your cart and then login as a “returning customer” from the “checkout” page to activate your discount. If your discount isn’t working\, email caroline@squeaky.org for help*** \n  \n  \n 
URL:https://squeaky.org/event/tech-arts-for-youth-digital-collage/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Summer camp,Tech Arts for Youth,Youth Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240713T120000
DTEND;TZID=America/New_York:20240713T130000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001170-1720872000-1720875600@squeaky.org
SUMMARY:Equipment Orientation
DESCRIPTION:Are you interested in renting equipment from Squeaky Wheel but want more info about the process? Are you curious about the gear we have available and how to use it? Then our free Equipment Orientation is perfect for you! \n  \nIn this hour long session\, Squeaky Wheel Tech Director Mark Longolucco will give an overview of rental procedures\, answer any of your questions\, and give hands-on demonstrations for how to operate various equipment. The session is free to attend and occurs on the first Saturday of most months. To sign up\, just add a ticket below!
URL:https://squeaky.org/event/equipment-orientation-3/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Access,Equipment,Rental
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240615T130000
DTEND;TZID=America/New_York:20240615T150000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001166-1718456400-1718463600@squeaky.org
SUMMARY:AV Club
DESCRIPTION:Saturday\, June 15\, 1-3pm\nFree\, sign up below\nJoin us for the inaugural meeting of Squeaky’s AV Club\, a new monthly meetup for digital artists\, media artists\, sound artists\, video artists\, filmmakers\, animators\, game designers\, etc etc.  Come share works in progress\, talk skills and experiences\, and embrace the challenges of making media work in an informal\, constructive and exploratory environment. \nAt this first meeting\, our Technical Director Mark Longolucco will lead an informal\, playful and generative skill share around live sound mixing\, and we’ll get to know each other while sharing work. As the group develops\, we will bring in guest artists\, plan events\, and build community around a love for media art and moving images. We hope you’ll join us! \n  \nNote: This is an interdisciplinary group\, so if you’re only interested in talking about a single art form\, then this might not be the right group for you. If you’re interested in sharing\, learning\, exploring\, and experimenting across forms\, genres\, styles\, processes\, and mediums\, then you’ll be right at home! \n 
URL:https://squeaky.org/event/av-club/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Open Call,Skill Share
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240615T130000
DTEND;TZID=America/New_York:20240615T150000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001168-1718456400-1718463600@squeaky.org
SUMMARY:AV Club
DESCRIPTION:Saturday\, June 15\, 1-3pm\nFree\, sign up below\nJoin us for the inaugural meeting of Squeaky’s AV Club\, a new monthly meetup for digital artists\, media artists\, sound artists\, video artists\, filmmakers\, animators\, game designers\, etc etc.  Come share works in progress\, talk skills and experiences\, and embrace the challenges of making media work in an informal\, constructive and exploratory environment. \nAt this first meeting\, our Technical Director Mark Longolucco will lead an informal\, playful and generative skill share around live sound mixing\, and we’ll get to know each other while sharing work. As the group develops\, we will bring in guest artists\, plan events\, and build community around a love for media art and moving images. We hope you’ll join us! \n  \nNote: This is an interdisciplinary group\, so if you’re only interested in talking about a single art form\, then this might not be the right group for you. If you’re interested in sharing\, learning\, exploring\, and experimenting across forms\, genres\, styles\, processes\, and mediums\, then you’ll be right at home! \n 
URL:https://squeaky.org/event/__trashed-5/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Open Call,Skill Share
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GEO:42.8906261;-78.8721258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240612T080000
DTEND;TZID=America/New_York:20240612T170000
DTSTAMP:20260420T192242
CREATED:20251230T191557Z
LAST-MODIFIED:20251230T191557Z
UID:10001167-1718179200-1718211600@squeaky.org
SUMMARY:Equipment Rental
DESCRIPTION:Interested in renting equipment?\nCheck out our offerings of \nCameras \nLenses \nAudio \nPresentation \nAccessories \nAnd when you’re ready\, fill out this equipment reservation form. For any questions regarding equipment rental\, you can contact mark@squeaky.org
URL:https://squeaky.org/event/__trashed-4/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Access
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240522T180000
DTEND;TZID=America/New_York:20240522T200000
DTSTAMP:20260420T192242
CREATED:20251230T191558Z
LAST-MODIFIED:20251230T191558Z
UID:10001164-1716400800-1716408000@squeaky.org
SUMMARY:Football Practice: Speculative Football Players with Kristin McWharter
DESCRIPTION:Wednesday\, May 22\, 2024\, 6–8 pm ET\nOnline over Zoom\nFree or suggested donation; register below\nJoin us for this workshop intensive in which participants explore the cultural impact of American football and collectively contribute to a new simulation of the sport. Part performance lecture\, part interactive imagining\, participants will be given prompts to write and craft new players for the artists Football Practice simulation software. Each workshop designs and “drafts” two players into the scrimmage of the software\, directly shaping the speculative imaging of the game. Inspired by the surrealist game Exquisite Corpses and video game sports simulations such as Madden\, this workshop discusses the importance of consent\, aggression\, and competitive drive as participants playfully imagine speculative football futures in real time. \nThe workshop is open to anyone regardless of their knowledge or interest in football. A Zoom link will be shared with your email address near the event date. \nThis workshop is presented as part of an ongoing project by Kristin McWharter. To learn more\, click here. \nBiography of the artist\nKristin McWharter uses performance and play to interrogate the relationship between competition and intimacy. Her work conjoins viewers within immersive sculptural installations and viewer- inclusive performances that critically fuse folk games within virtual and augmented worlds. Her software installations and performative objects incorporate experimental technologies and playful interaction to produce performances that speculate upon alternative forms of social behavior. Inspired by 20th century sports narrative\, collective decision making\, and technology as a contemporary spiritual authority\, her work blurs the boundaries of intimacy and hype culture to challenge viewer relationships to affection and competitive drive. Her work has been exhibited at The Hammer Museum\, Walt Disney Concert Hall\, Bangkok Arts and Cultural Center\, Ars Electronica\, Museo Altillo Beni\, and FILE Festival among others. McWharter received her MFA from UCLA in Design Media Arts and is currently an Assistant Professor in Art & Technology Studies at SAIC. \nImage description: Two digital avatars on a digital grassy field. The figures are wearing American football outfits. Both the outfits and the grassy field look like they were crocheted.
URL:https://squeaky.org/event/football-practice-speculative-football-players-with-kristin-mcwharter/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240514
DTEND;VALUE=DATE:20240615
DTSTAMP:20260420T192242
CREATED:20251230T191539Z
LAST-MODIFIED:20251230T191539Z
UID:10001165-1715644800-1718409599@squeaky.org
SUMMARY:Call for submissions: Squeaky Wheel's 21st Animation Fest!
DESCRIPTION:Deadline: June 14\, 2024\, 11:59 PM\nNotification Date: August 15\, 2024\nSqueaky Wheel announces the call for submissions for our annual Animation Fest!  Celebrating its 21st year\, we are proud to continue a festival showcasing artworks made in a diverse variety of animation techniques such as stop-motion\, claymation\, 3D animation\, hand-painted film\, special effects\, and motion graphics. Past festivals have showcased work from both rising artists as well as established artists. \nThe 21st Animation Fest will be held online and in-person on Friday\, October 4\, 2024\, an in-person screening at the Buffalo AKG Art Museum and a virtual screening through Squeaky Wheel. Films in the virtual program will be accessible for 24 hours thereafter for general audiences\, and 72 hours for Squeaky Wheel members. If selected\, you will be asked for a downloadable copy of your film. \n\nEach individual submission should not exceed ~10 minutes.\nThere is no submission fee.\nAll selected artists will receive a screening fee of $100 per selected film. (International applicants must have a Paypal account to receive their screening fee).\nAll selected artists will receive a one year membership to Squeaky Wheel.\nMultiple submissions per artist are accepted.\n\nArtists who are African/Black\, Indigenous / Native / Aboriginal\, POC\, creatives with disabilities\, women\, 2SLGBTQIA+\, and artists who face systemic and structural barriers are encouraged to apply. Please direct any questions about the application process and your submissions to Ekrem Serdar at ekrem@squeaky.org \nClick here to apply\nImage description: Documentation from the 20th Animation Fest retrospective at North Park Theater. A projection in a darkened movie theater. On the screen is the word “Filmmakers!”\, which is from Helen Hill’s 2004 short film Madame Winger Makes a Film: A Survival Guide for the 21st Century.
URL:https://squeaky.org/event/call-for-submissions-squeaky-wheels-21st-animation-fest/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Open Call,Screenings
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240507T190000
DTEND;TZID=America/New_York:20240507T210000
DTSTAMP:20260420T192242
CREATED:20251230T191539Z
LAST-MODIFIED:20251230T191539Z
UID:10001163-1715108400-1715115600@squeaky.org
SUMMARY:Rushes: Films and actions by Jason Livingston
DESCRIPTION:Tuesday\, May 7\, 7 pm ET\n@ Journey’s End Refugee Services (2495 Main St #530\, Buffalo\, NY 14214) and online\nFree or suggested donation\nTickets available below\nSqueaky Wheel presents an evening of films\, actions\, and conversation with artist Jason Livingston. This evening of films showcases Livingston’s long-standing work on the climate crises and protest movements through visual and linguistic play. Featuring his celebrated film Ancient Sunshine (2020)\, the screening features work made by the filmmaker from 2012 to the present day. This event is organized on the occasion of his exhibition with Phoebe A. Cohen\, In the Sun’s Absence. The artist will be present to deliver an artist talk ahead of the screening\, and the exhibition will be open after the screening at Squeaky Wheel. \nFor in-person attendees: JERS is located on the fifth floor of Tri-Main Center; head left after you exit the elevator. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. Please note that the artist talk will not be available online. \n            Program (click to expand)                        \nTotal program time approximately 65 minutes. \nIntroduction and artist talk by Jason Livingston \n#RUSHES/URL\n11:52 min\, silent\, 16mm on digital video\, 2015 \nAn in-camera 16mm edit of the 1st anniversary/birthday/funeral of OWS in New York City\, as seen from an embedded role in the Jellyfish Brigade\, an ad hoc affinity group formed to participate in the day’s event. Bold impact fonts compliment and countervail the images toward a warm antagonism. \n“Experimental filmmakers with no obligation to spoon feed the public fared better in documenting Occupy in a manner that proved more meditative and avoided reducing the movement to a list of talking points. Jason Livingston’s short film\, #Rushes\, provides an alternative to what the filmmaker himself labels “populist agitprop.” The two versions of the film deploy contrasting reflexive strategies designed to challenge standard representations of dissent and on-the-spot reportage of street activism. Offering a glimpse of a festive protest cum celebration commemorating the first anniversary of Occupy Wall Street in 2012\, Livingston juxtaposes the culture-jamming antics of the Jellyfish Brigade with familiar scenes of police intimidation and use of force. Demonstrators dressed in whimsical costumes holding signs such as “No Fossil Fuels…Frack Wall Street\, Not Water” highlight the march’s blend of earnestness and carnivalesque glee; the differences in tone are reinforced by\, on the one hand\, the satirist Reverend Billy’s comic spiel and\, on the other\, the unironic politicking of perennial presidential candidate Jill Stein and Cheri Honkala\, her 2012 vice-presidential candidate. \nForsaking digital for 16mm with in-camera edits\, the initial version of #Rushes was projected silently to live audiences. Refusing to bombard the audience with riot porn clichés\, talking heads\, voice over—or even the ambient sounds of a demonstration—Livingston instead solicited a running commentary from the audience at various screenings and encourage a participatory ethic and aesthetic. His decision to shoot in 16mm and move away from the more au courant DSLR aesthetic evolved from his revulsion towards consumerist pressure to abandon “technologies deemed obsolescent.” \nAlthough Livingston’s regarded his stripped-down aesthetic—and his promotion of audience participation—as “Occupy poetics\,” a screening at Union Docs in Brooklyn convinced him to launch an extended auto-critique of his own neo-Brechtian assumptions concerning “active spectatorship.” Despite the fact that #Rushes inspired some impassioned responses from audiences (particularly a frenetic screening at Squeaky Wheel in Buffalo which Livingston loved because it engendered a “lot of talking” over the silent images)\, he feared “that by encouraging ‘participation’ (i.e. talking) without sufficient direction on my part\, I was inadvertently disavowing my role as the maker (not that it’s much power in the end…)\, and actually promoting a very\, very vague participatory democracy that felt all too much like upper management’s penchant for doodlepolls\, or asking workers for ‘input’.” \nLivingston’s ambivalence towards his own attempt to emulate Occupy-style egalitarianism one microcinema at a time convinced him to accompany the film with narration\, later transformed into a series of memes embedded in a second version of the film\, that undercuts the celebration of a participatory ethos with what he terms a “warm antagonism.” Warm antagonism might be defined as playful self-laceration\, almost a parody of the type of self-criticism that was once de rigueur among authoritarian leftists. In the self-détourned version of #Rushes\, Livingston proclaims:: “Against participation\, not because participation denies the primary role of the artist in any given work and thus projects an anti-hierarchical fantasy…but because participation itself is a bureaucratic imagination.” While there’s a tongue-in-cheek aspect to Livingston’s self-indictment\, the cadences of his manifesto also undermine the pieties of “active spectatorship” and the hallowed entity known as the “emancipated spectator.” In certain respects\, the alternative film world’s penchant for participatory events might constitute a farcical equivalent of the pseudo-participation that anarchists discerned as integral components of Yugoslavian experiments in self-management. From another perspective\, the film’s dialogue with its audience\, and with itself\, is close to the kind of “auto-ethnography” that David Graeber proposes as a riposte to the vanguardist sensibility.” – Richard Porton\, author of Film and the Anarchist Imagination\, 2nd edition \n7.24.14\n4.5 mins\, silent\, 16mm film on digital video\, 2014 \nDemonstration in support of Gaza and against Operation Protective Edge on July 24\, 2014 in Ithaca\, NY. \nShale Raga\n4.5 min\, sound\, digital video\, 2015 \nSet to an excerpt of Don Cherry’s Malkauns from his border-erasing 1975 album\, Brown Rice\, Shale Raga extracts a mining industry in-house video to put pressure on carbon-based capitalist sorcery\, in this case EcoShale technology\, which is patented by Alberta-based Red Leaf Resources\, Inc. and promises to “revolutionize” oil shale production in the Book Cliffs of eastern Utah by accelerating geological time. The video is a counter-spell to ward off venture capital’s appetite for ancient life forms baked into rock. \nACID REIGN\n4.5 min\, sound\, digital video\, 2012 \nCombining archival/found footage\, treated images and diaristic Hi-8 video\, ACID REIGN explores the ongoing battle between human beings’ technologies of control and other life forms. In this case\, animals re-inhabit a post-human urban landscape. \nAncient Sunshine\n19.5 mins\, sound\, 16mm film on digital video\, 2021 \nA fossil cast in plastic\, an artificial plateau\, classic cars running on the fumes of the nation. Ancient Sunshine marks a path through fossil fuel extraction and climate defense in the American West. The film proposes solidarity against the violence by which “earth” becomes “resource.” \nUtah Tar Sands Resistance has been fighting experimental mining in the Tavaputs Plateau for almost a decade\, setting up camp every summer in sight of heavy equipment and construction crews. The film asks\, how might the concept of horizontalism be applied to the physical horizon\, its decimation\, and to capital’s propensity for vertical extrication? Ancient Sunshine interweaves the endless remaking of the Western landscape with labor history\, reflections on anarchist organization\, and interspecies economies. \nAncient Sunshine consists of interviews with the Utah Tar Sands Resistance primary organizers and other Utah land protectors\, and sets their voices in and against an industrialized landscape. The film presents an array of voices\, drawing attention to the role of resistance and kinship during times of threat and extinction. \nToward a poetic solidarity\, toward a formal politics. \n            \nBiography of the artist\nJason Livingston is a media artist\, filmmaker\, and educator. His award-winning films have been widely exhibited at festivals and museums\, including the National Gallery of Art in Washington\, D.C.\, the International Film Festival Rotterdam\, and Media City in Canada. He is currently researching histories of extractive cinema and abolitionist re-imaginings of our shared world as a Presidential Fellow in the Department of Media Study\, University at Buffalo. \nBanner image: A still from Jason Livingston’s film #Rushes/URL (2012). Two policemen on scoooters on a sunny day in New York City. On top and on the bottom of the image are superimposed words like a mid-2000s meme in Impact font: “AGAINST THE ACTIVATED SPECTATOR.”
URL:https://squeaky.org/event/rushes-films-and-actions-by-jason-livingston/
LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Hybrid,Screenings
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240507T180000
DTEND;TZID=America/New_York:20240507T200000
DTSTAMP:20260420T192242
CREATED:20251230T191539Z
LAST-MODIFIED:20251230T191539Z
UID:10001140-1715104800-1715112000@squeaky.org
SUMMARY:Sound Recording and Editing
DESCRIPTION:Tuesdays and Thursdays\, 6:00 – 8:00 pm\nMay 7-16\, 2024 (4 classes\, 8 hours of instruction)\n$175 (10% discount for members. Not yet a member? Click here for details)\nopen to ages 16+\nRegister with the “tickets” button at the bottom of this page\n  \nJoin Mark Longolucco\, our Technical Director\, for this crash course in recording and editing sound! You’ll hone your listening skills\, learn how to get the best results from a variety of professional quality microphones\, and dive into sound processing and editing. Traditional/professional and artistic/experimental approaches will be covered. \n  \nAll equipment and software provided. Squeaky Wheel’s classroom is outfitted with Mac desktop computers with large screens. \n  \nClass limited to 6 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nInstructor: Mark Longolucco \n 
URL:https://squeaky.org/event/sound-for-film/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Education,Media Art Workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240423T180000
DTEND;TZID=America/New_York:20240423T200000
DTSTAMP:20260420T192242
CREATED:20251230T191539Z
LAST-MODIFIED:20251230T191539Z
UID:10001160-1713895200-1713902400@squeaky.org
SUMMARY:The Fuzzy Edges of Character Encoding with Everest Pipkin
DESCRIPTION:Tuesday\, April 23\, 2024\, 6–8pm\nFree or suggested donation\nOpen to ages 16+.\nBring your own laptops or computational device. Students will need a basic text editor installed. Details will be given in registration email.\nWorkspace Resident Everest Pipkin will lead a workshop on the history\, politics and computational basics of text-based character encoding. Discussions will cover morse code\, ASCII\, Unicode (including emoji)\, and alternative text encoding schemes\, as well as their social\, ethical\, and emotional stories.  The second part of the workshop will be a laptops-open play along exploration through software demos and creative exercises. What “is” a character on a computer? How can we play around with the foundational building blocks of digital materials in ways that lets us understand files as materials? How can we think about language as a type of logical encoding that makes computers work? \nBiography of the artist\nEverest Pipkin is a game developer\, writer\, and artist from central Texas who lives and works on a sheep farm in southern New Mexico. Their work both in the studio and in the garden follows themes of ecology\, tool making\, and collective care during collapse. They hold a BFA from University of Texas at Austin\, an MFA from Carnegie Mellon University\, and have shown and spoken at The Design Museum of London\, The Texas Biennial\, The XXI Triennale of Milan\, The Photographers Gallery of London\, Center for Land Use Interpretation\, and other spaces. When not at the computer in the heat of the day\, you can find them in the hills spending time with their neighbors— both human and non-human. \nWorkspace Residency is generously supported by the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. \nImage description: An image from The Barnacle Goose Experiment (2022) by Everest Pipkin. An old-school text-based interface is open\, with various lists of items\, verbs\, experiments\, locations and actions available to you\, like “cry” or “eat [honey]”. Each one is a link.
URL:https://squeaky.org/event/the-fuzzy-edges-of-character-encoding-with-everest-pipkin/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240422T180000
DTEND;TZID=America/New_York:20240422T200000
DTSTAMP:20260420T192242
CREATED:20251230T191540Z
LAST-MODIFIED:20251230T191540Z
UID:10001159-1713808800-1713816000@squeaky.org
SUMMARY:Artifacts of Identity: Crafting Meaningful Narratives with Personal Objects by Léwuga Benson
DESCRIPTION:Monday\, April 22\, 2024\, 6–8 pm\nFree or suggested donation\nOpen to ages 16+. All materials provided. Please bring a meaningful personal object you wish to explore!\nWorkspace Resident Lewuga Benson will facilitate conversations with participants on the transformative powers of personal artifacts and the ways they can shape personal and community narratives. This workshop will be both structured and flexible\, and participants will be encouraged to share and explore in depth the meanings of their own personal objects. Lewuga will then guide students through creative exercises in different mediums around their chosen artifact. The workshop encourages collaboration\, reflection\, and meaningful dialogue among participants\, fostering a sense of community and creative exploration. \nBiography of the instructor\nLéwuga Tata Benson: As an interdisciplinary artist and filmmaker\, my work bridges cultures and explores the dynamic interplay between identity\, environmental sustainability\, and human connection. Rooted in my Ogoni heritage in Nigeria\, I draw inspiration from our tradition of repurposing to prevent waste. This ethos infuses my art\, as seen in installations like “The Land Gives Until It No Longer Can\, 2022\,” “Hang in There\, 2022\,” “Traces of Displacement\, 2023\,” “Carrying Identity\, Carrying The Weight\, 2023\,” and “Fueling Change\, 2024.” In Ogoni storytelling\, we engage all the senses\, integrating songs\, dance\, and props for a holistic experience. My artistic practice seamlessly incorporates these traditions to create immersive narratives that provoke thought\, foster empathy\, and celebrate cultural richness. My journey has been marked by awards and accolades\, including the NYSCA 2024 Grant and the Gregory Capasso scholarship for outstanding work in film\, underscoring my commitment to the arts. \nWorkspace Residency is generously supported by the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. \nImage description: Léwuga Tata Benson’s installation The Land Gives Until It No Longer Can (2022) at the University at Buffalo.
URL:https://squeaky.org/event/artifacts-of-identity-crafting-meaningful-narratives-with-personal-objects-by-lewuga-benson/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share
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DTSTART;TZID=America/New_York:20240419T190000
DTEND;TZID=America/New_York:20240419T203000
DTSTAMP:20260420T192242
CREATED:20251230T191540Z
LAST-MODIFIED:20251230T191540Z
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SUMMARY:Meet the Residents: Everest Pipkin\, Kristin McWharter\, Jaehoon Choi\, Léwuga Tata Benson
DESCRIPTION:Friday\, April 19\, 2024\, 7 pm ET\nOnline and in-person @ Squeaky Wheel\nFree or suggested donation. ASL interpretation provided. Catering from AliBaba Kebab provided for in-person attendees.\nRegister below\nSqueaky Wheel is pleased to present this hybrid artist talk with our Spring 2024 Workspace Residents! Everest Pipkin (Truth or Consequences\, NM)\, Kristin McWharter (Chicago\, IL)\, Jaehoon Choi (Troy\, NY)\, and Léwuga Tata Benson (Buffalo\, NY) will be presenting on their previous and current projects\, including essays on video games\, and media art installations that explore notions of language and translation\, historic children’s games and locative sound\, and the devastating effects of oil extraction. Their event will conclude with a Q&A with the residents moderated by curator Ekrem Serdar. \nFor in-person attendees: The event will take place at Squeaky Wheel. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: A private link will be sent to you; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nDuring their residency\, researcher resident Everest Pipkin will be working on The Fortunate Isles: Fragment Worlds\, Walled Gardens\, and the games that are played there\, a speculative essay about the edges of space within video games. Based on a talk Pipkin gave at the 2023 Roguelike Celebration\, the essay will focus on the concept of the walled garden\, expanding it to include games and games spaces. It looks at ornamental gardens\, cloisters\, isolate spaces\, and even mythological or utopian fantasies of worlds\, and goes beyond to where the garden stops and a wildness of bugs\, errors\, logical failures and edge cases begin. The essay seeks to connect the logic of potent isolation to the games we make and play.  \nJaehoon Choi will be working on an untitled media art installation on the intermingling of translation and language through light and sound. Influenced by the work of Karen Barad\, the artist will be working with mylar film\, projection\, and audio from speech recordings in various languages. The work is latest in a series of installations that delve into the artists concern\, the first of which\, “Hello. hEllo! heLLo? hellO” was created and showcased at EMPAC in May 2023. \nKristin McWharter will be working on Marco Polo\, an interactive sound installation\, based on the children’s game where one player\, with eye’s closed\, calls out “Marco” and listens for the location of other players who call out “Polo” in response. McWharter will be adapting the children’s game in a new work that incorporates megaphones\, RF transmissions\, and a series of sculptural beacons for audiences to engage with locative sound. Noting the Italian explorer’s role in shaping racist notions of Western superiority\, the project reflects on the history of trade route landscapes and the consequences of western culture’s history of continuous evasion and pursuit. \nLéwuga Tata Benson will be working towards their exhibition Fueling Change: A Multimedia Exploration of Niger Delta’s Oil Crisis that will open at Buffalo Arts Studio on July 26\, 2024. Utilizing oil drums\, video\, and audio\, the project focuses on the oil industry’s effects upon the people of the Niger Delta in Western Nigeria and the social\, economic\, and environmental consequences of unregulated oil extraction practices. \n            Biographies of the residents                        \nEverest Pipkin is a game developer\, writer\, and artist from central Texas who lives and works on a sheep farm in southern New Mexico. Their work both in the studio and in the garden follows themes of ecology\, tool making\, and collective care during collapse. They hold a BFA from University of Texas at Austin\, an MFA from Carnegie Mellon University\, and have shown and spoken at The Design Museum of London\, The Texas Biennial\, The XXI Triennale of Milan\, The Photographers Gallery of London\, Center for Land Use Interpretation\, and other spaces. When not at the computer in the heat of the day\, you can find them in the hills spending time with their neighbors— both human and non-human. \nJaehoon Choi is a computer musician / sound artist / researcher based in New York and Seoul. His practice involves embodied experimentation through a technical medium\, which involves both the process of making and bodily engagement. As a researcher\, he is interested in how a creative practice that involves embodied experimentation with a technical medium can suggest a different form of techne and contribute to technodiversity. His works have been presented at Venice Biennale\, MATA Festival\, NEW INC\, San Francisco Tape Music Festival\, NIME\, ICMC\, CeReNeM\, ECHO Journal\, ZER01NE\, Dunkunsthalle\, EIDF\, Visions Du Reel\, CEMEC\, and etc. He is currently pursuing a Ph.D. in Electronic Arts at the Rensselaer Polytechnic Institute and graduated from Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) as a Masters. \nKristin McWharter uses performance and play to interrogate the relationship between competition and intimacy. Her work conjoins viewers within immersive sculptural installations and viewer- inclusive performances that critically fuse folk games within virtual and augmented worlds. Her software installations and performative objects incorporate experimental technologies and playful interaction to produce performances that speculate upon alternative forms of social behavior. Inspired by 20th century sports narrative\, collective decision making\, and technology as a contemporary spiritual authority\, her work blurs the boundaries of intimacy and hype culture to challenge viewer relationships to affection and competitive drive. Her work has been exhibited at The Hammer Museum\, Walt Disney Concert Hall\, Bangkok Arts and Cultural Center\, Ars Electronica\, Museo Altillo Beni\, and FILE Festival among others. McWharter received her MFA from UCLA in Design Media Arts and is currently an Assistant Professor in Art & Technology Studies at SAIC. \nLéwuga Tata Benson: As an interdisciplinary artist and filmmaker\, my work bridges cultures and explores the dynamic interplay between identity\, environmental sustainability\, and human connection. Rooted in my Ogoni heritage in Nigeria\, I draw inspiration from our tradition of repurposing to prevent waste. This ethos infuses my art\, as seen in installations like “The Land Gives Until It No Longer Can\, 2022\,” “Hang in There\, 2022\,” “Traces of Displacement\, 2023\,” “Carrying Identity\, Carrying The Weight\, 2023\,” and “Fueling Change\, 2024.” In Ogoni storytelling\, we engage all the senses\, integrating songs\, dance\, and props for a holistic experience. My artistic practice seamlessly incorporates these traditions to create immersive narratives that provoke thought\, foster empathy\, and celebrate cultural richness. My journey has been marked by awards and accolades\, including the NYSCA 2024 Grant and the Gregory Capasso scholarship for outstanding work in film\, underscoring my commitment to the arts. \n            \nImage descriptions: Four photographs in a grid\, left to right\, top to bottom: Everest Pipkin\, a white nonbinary artist\, stands in front of a cottonwood tree in a field. They have short brown hair\, glasses\, and are wearing a striped sweater. It is a sunny day. A photograph of Jaehoon Choi by Steven Pisano; a portrait of artist Kristin McWharter sitting in her studio; and Léwuga Tata Benson\, a Nigerian-born artist from Buffalo\, New York.
URL:https://squeaky.org/event/meet-the-residents-everest-pipkin-kristin-mcwharter-jaehoon-choi-lewuga-tata-benson/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Hybrid,Residencies
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DTSTART;TZID=America/New_York:20240418T180000
DTEND;TZID=America/New_York:20240418T200000
DTSTAMP:20260420T192242
CREATED:20251230T191540Z
LAST-MODIFIED:20251230T191540Z
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SUMMARY:How to make a DIY Force-Sensitive Resistor (FSR) Sensor with Jaehoon Choi
DESCRIPTION:Thursday\, April 18\, 2024\, 6–8 pm\nFree or suggested donation\nOpen to ages 16+.\nParticipants are encouraged to bring their own laptops\nIn this lecture and demonstration\, Workspace Resident Jaehoon Choi will lead participants through the steps to make a FSR Sensor that can be used to create a range of sound production for sonic and other art performances. Jaehoon will begin the workshop by talking about what an FSR Sensor is and demonstrate to participants through the process of making and using basic materials and wiring and soldering. Students will see how to to begin to make their own interactive physical interfaces. \nBiography of the artist\nJaehoon Choi is a computer musician / sound artist / researcher based in New York and Seoul. His practice involves embodied experimentation through a technical medium\, which involves both the process of making and bodily engagement. As a researcher\, he is interested in how a creative practice that involves embodied experimentation with a technical medium can suggest a different form of techne and contribute to technodiversity. His works have been presented at Venice Biennale\, MATA Festival\, NEW INC\, San Francisco Tape Music Festival\, NIME\, ICMC\, CeReNeM\, ECHO Journal\, ZER01NE\, Dunkunsthalle\, EIDF\, Visions Du Reel\, CEMEC\, and etc. He is currently pursuing a Ph.D. in Electronic Arts at the Rensselaer Polytechnic Institute and graduated from Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) as a Masters. \nWorkspace Residency is generously supported by the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. \nImage description: Jaehoon Choi performing Brushing Improvisation – N°2\, 2023 at the La Biennale di Venezia in 2023. Photo Credit : Courtesy La Biennale di Venezia / ph. Andrea Avezzù.
URL:https://squeaky.org/event/how-to-make-a-diy-force-sensitive-resistor-fsr-sensor-with-jaehoon-choi/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share
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DTSTART;TZID=America/New_York:20240416T180000
DTEND;TZID=America/New_York:20240416T200000
DTSTAMP:20260420T192242
CREATED:20251230T191538Z
LAST-MODIFIED:20251230T191538Z
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SUMMARY:Postponed - How to be a Good Sport with Kristin McWharter
DESCRIPTION:Postponed – Stay tuned for the new date!\nTuesday\, April 16\, 2024\, 6–8 pm\nFree or suggested donation\nOpen to ages 16+. All materials provided.\nIn this interactive workshop\, Workspace Resident Kristin McWharter will coach participants as they design a new sport that responds to the unique skills\, attributes\, fears and desires of the collective participants. Kristin will first provide an introduction to different competitive game structures and discuss how aspects of these structures can act as metaphors for our behavior.  Students will then collaboratively design their own sport and the workshop will conclude by playing the game and crowning the created sport’s first champion! \nBiography of the instructor\nKristin McWharter uses performance and play to interrogate the relationship between competition and intimacy. Her work conjoins viewers within immersive sculptural installations and viewer- inclusive performances that critically fuse folk games within virtual and augmented worlds. Her software installations and performative objects incorporate experimental technologies and playful interaction to produce performances that speculate upon alternative forms of social behavior. Inspired by 20th century sports narrative\, collective decision making\, and technology as a contemporary spiritual authority\, her work blurs the boundaries of intimacy and hype culture to challenge viewer relationships to affection and competitive drive. Her work has been exhibited at The Hammer Museum\, Walt Disney Concert Hall\, Bangkok Arts and Cultural Center\, Ars Electronica\, Museo Altillo Beni\, and FILE Festival among others. McWharter received her MFA from UCLA in Design Media Arts and is currently an Assistant Professor in Art & Technology Studies at SAIC. \nWorkspace Residency is generously supported by the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. \nImage description: Screen capture of software performance RARA by Kristin McWharter. A cheerleader avatar stands in an abandoned and overgrown football field.
URL:https://squeaky.org/event/how-to-be-a-good-sport-with-kristin-mcwharter/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share
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DTSTART;TZID=America/New_York:20240413T100000
DTEND;TZID=America/New_York:20240413T130000
DTSTAMP:20260420T192242
CREATED:20251230T191538Z
LAST-MODIFIED:20251230T191538Z
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SUMMARY:Creative Coding
DESCRIPTION:Tech Arts for Girls\nWinter/Spring 2023\nSaturdays\n10am – 1pm\nFREE!\nSession 3: April 13-May4 (four weeks)\nCreative Coding\nLearn to use computer code to make art! \nFor girls and female identifying or non-binary students ages 11-15. \nInstructor: Ashley Peresie \nClick here for more details about Tech Arts for Girls\, and to learn about Session 1: Zines and Session 2: Digital Drawing \nScroll down to “get tickets” to register. \n  \nTech Arts for Girls has received generous support from the New York Sate Council on the Arts\, Children’s Foundation of Erie County\, and Cameron and Jane Baird Foundation.
URL:https://squeaky.org/event/creative-coding/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Tech Arts for Girls,Youth Program
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DTSTART;TZID=America/New_York:20240326T180000
DTEND;TZID=America/New_York:20240326T200000
DTSTAMP:20260420T192242
CREATED:20251230T191538Z
LAST-MODIFIED:20251230T191538Z
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SUMMARY:Animation with Blender
DESCRIPTION:Tuesdays and Thursdays\, 6:00 – 8:00 pm\nMarch 26-April 4\, 2024 (4 classes\, 8 hours of instruction)\n$175 (10% discount for members. Not yet a member? Click here for details)\nopen to ages 16+\nRegister with the “tickets” button at the bottom of this page\n  \nLearn digital animation with Blender! Blender is an incredible FREE and open-source 3D computer graphics software. Use it for 2D and 3D drawing and animation\, 3D modeling\, visual effects\, and more. It’s a powerful program that can be overwhelming. Let us help you get started! \n  \nPrerequisites \nPrior experience with Blender or digital animation is not required. However\, because Blender is a complex program\, students in this class should be very comfortable using a computer. Some prior experience with other media art software (for digital illustration\, video editing\, etc) will be helpful in this class. \nAll equipment provided. Squeaky Wheel’s classroom is outfitted with Mac desktop computers with large screens. If you would like to bring your own laptop\, please download and install Blender before class. You can find it at this link. \nClass limited to 6 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nInstructor: Tifé Odumosu \n 
URL:https://squeaky.org/event/animation-with-blender/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Education,Media Art Workshop
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DTSTART;TZID=America/New_York:20240322T180000
DTEND;TZID=America/New_York:20240614T200000
DTSTAMP:20260420T192242
CREATED:20251230T191538Z
LAST-MODIFIED:20251230T191538Z
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SUMMARY:Jason Livingston\, with Phoebe A. Cohen: In the Sun’s Absence
DESCRIPTION:Opening Friday\, March 22\, 2024\, 6–8 pm\nBrief remarks by the artists at 7 pm\nOn view Tuesdays–Fridays\, 12–5 pm and by appointment through June 14\, 2024.\nSqueaky Wheel is pleased to announce In the Sun’s Absence\, a public art project and exhibition led by artist Jason Livingston in collaboration with Phoebe A. Cohen (Chair and Associate Professor of Geosciences\, Williams College). Timed with the 2024 Solar Eclipse\, and featuring haiku installed on public signage\, sound art\, video\, print work\, and sculptural projects. Livingston and Cohen state: \nThe upcoming eclipse affords a chance to consider the sun’s significance. For us\, this means reckoning with fossils\, fossil fuels\, deep time\, and deep futures which imagine worlds beyond the violence of capital\, colony and climate crisis. The exhibit puts into motion these cosmic\, molecular and human temporalities in a polyvocal constellation which crosses from gallery space to city streets\, from wall to screen\, from ink to sedimentary rock. \nWe love the materiality of objects. We think light is a material. The eclipse is material\, as is our collective desire for multiple\, just solarity. And we promise you\, dear moon\, we haven’t forgotten about you. \nThe project draws from Livingston’s public and environmental art practices and Cohen’s research into deep time. Livingston and Cohen have a shared interest in the Earth’s systems and the fact that the fossil fuels that run our economy are the preserved products of ancient photosynthesis. Through Livingston’s art works\, audiences will reflect upon the foundational importance of our sun and its encompassing impact on the history of the Earth and humankind. This project was selected and has been generously supported by the Simons Foundation as part of their In the Path of Totality project. \nHaiku in Buffalo\nAlong with the works in the exhibition\, Cohen and Livingston presented workshops for Squeaky Wheel’s youth and adult education programs\, where participants learned about the relationship of the sun to the creation of fossil fuels\, and wrote haiku. Haiku were selected both as they are an accessible and popular form\, but also as they traditionally feature seasons\, cycles and nature. \nSelected haiku can be seen installed on ten public billboards around Buffalo through April 9. See the map below or click here to see locations\, participants\, and their haiku. \nYou can listen to recordings of the haiku by participants here: \nhttp://squeaky.org/wp-content/uploads/2024/03/Haiku-In-the-Suns-Absence.wav\n  \nDocumentation of the exhibition\n\nPublic programs\nWednesday\, January 31\, 6–8 pm\nEclipse Haiku workshop for youth and adults with Jason Livingston and Phoebe A. Cohen. Click here to learn more and register. \nFriday\, March 22\, 6–8 pm\nOpening of In the Sun’s Absence\, with brief remarks by Livingston and Cohen at 7 pm. Catering by Southern Junction provided. \nFriday\, April 5\, 12–2 pm\nTour of the exhibition with artist Jason Livingston and curator Ekrem Serdar \nWednesday\, April 11\, 2–4 pm\nOpen hours of the exhibition with artist Jason Livingston present \nTuesday\, May 7\, 7 pm\, in-person and online\nScreening | Rushes: Films and actions by Jason Livingston \nFriday\, June 12\, 5–8 pm\nExtended hours for exhibition closing \n            </p>\n<h4>Works in the exhibition (click to expand)</h4>\n<p>                        \nJason Livingston\nAncient Sunshine\, 10:26 min\, 16mm film and iPhone video presented on digital video\, sound on headphones\, open captions\, 2020 \n“A fossil cast in plastic\, an artificial plateau\, classic cars running on the fumes of the nation. Ancient Sunshine marks a path through fossil fuel extraction and climate defense in the American West. The film proposes solidarity against the violence by which “earth” becomes ‘resource.’ \nUtah Tar Sands Resistance has been fighting experimental mining in the Tavaputs Plateau for almost a decade\, setting up camp every summer in sight of heavy equipment and construction crews. The film asks\, how might the concept of horizontalism be applied to the physical horizon\, its decimation\, and to capital’s propensity for vertical extrication? Ancient Sunshine interweaves the endless remaking of the Western landscape with labor history\, reflections on anarchist organization\, and interspecies economies. \nAncient Sunshine consists of interviews with the Utah Tar Sands Resistance primary organizers and other Utah land protectors\, and sets their voices in and against an industrialized landscape. The film presents an array of voices\, drawing attention to the role of resistance and kinship during times of threat and extinction. Toward a poetic solidarity\, toward a formal politics. – Jason Livingston \nJason Livingston\nNOT ALL FOSSILS ARE GRAVES (positive) and NOT ALL FOSSILS ARE GRAVES (ghost)\, two pressure prints\, 22 x 30”\, 2024 \nNOT ALL FOSSILS ARE GRAVES is named after a remark Livingston made as Cohen explained to him that not all fossils are formed from the dead bodies of living things – some are instead the imprints and marks of still-living creatures. This began a conversation on the relationship between the indexical relationship between fossils and image making processes such as photography\, and here\, pressure printing. \nThe work also directly references what fossils – and by extension – fossil fuels are. Phoebe Cohen states: “…we often think of fossils as being associated with death. This framework that not all fossils are graves\, to me\, spoke of a sense of hope\, and of\, again\, of a sort of resiliency. Also\, in the sense of thinking about fossils as fossil fuels and that right now fossil fuels are leading us to our grave as a society\, as a species. But it doesn’t have to be that way. Like fossil fuels\, coal is not inherently bad. It is preserved ancient sunshine. It’s what we’re doing with it. It’s the choices that we’re making that are having a negative impact.” \nThe two prints – a positive and a ghost – were printed by Rachel Shelton at Mirabo Press and framed by Dennis Wisniewski at Buffalo Canvas. \nJason Livingston and Phoebe A. Cohen\nNO ONE NOON (paper)\, butcher paper\, ink\, 2024\nNO ONE NOON (neon)\, neon sign\, 2024\nNO ONE NOON (video)\, looped\, digital video\, sound\, 2024. Audio description: A low rumbling sound throughout. \nThe centerpiece of In the Sun’s Absence\, the suite of works encompassing NO ONE NOON contemplate the nature of time. Emerging from an exercise that Cohen regularly assigns to her students to understand the vast nature of deep time\, Livingston and Cohen plotted events across millenia on a long piece of butcher paper. Playfully\, the timeline intertwines specific moments within the earth’s history such as the moment carbon is fixed with poetic\, human ones\, such as “gossip bonds.” \nUnderpinning the work is an essential discussion of the nature of time\, and a debate between cyclical and linear interpretations of time. As Cohen stated: “We see an arrow moving forward and we think\, what are we moving towards? ….evolution isn’t moving towards anything. It’s moving away from something. It never goes back. It does not have a direction in mind. Organisms respond to their environment in the moment and then the environment changes. They are not intending to go anywhere or do anything or be anything\, except what they are in the moment. Timelines can be dangerous\, and they have been used to promote a worldview that humans are the pinnacle of evolution\, that we are the top of the mountain\, as it were. That’s the danger of timelines. One of the things that we were interested in playing with was creating a view\, a timeline where the moment that we are in right now was not legible\, to basically pull the viewer away from that sense of progress or inevitability.” \nThis cyclical nature is iterated on in NO ONE NOON (video). The title of the work – repeated in Livingston’s haiku installed outside Tri-Main Center – is a palindrome. \nJason Livingston \n7.24.14\, 4:15 min\, 16mm film presented on digital video\, silent\, 2014 \n7.24.14 documents protesters gathered in Ithaca\, NY for the National Day of Action for Gaza on July 24\, 2014. The action was called by over 100 social justice organizations around the country. That year\, the Israeli military killed over 2000 Gazans through its “Operation Protective Edge”; the United Nations Office for the Coordination of Humanitarian Affairs noted that 551 of those killed were children. Livingston’s silent film documents people gathering and hanging pieces of paper on a clothesline. On the paper are the names of child victims\, the dates they were killed\, and their ages\, ranging from 5 months to 18 years old\, with one referred to simply as “child.” \nThe film sharpens the intertwined nature of climate\, capital\, and colonialism that grounds In the Sun’s Absence. Speaking at the UN COP28 in late 2023 regarding the Israeli military’s current assault on Gaza\, Gustavo Petro\, the president of Colombia\, noted: “I invite all of you to imagine a combination of facts — the projection of the climate crisis in five or ten years and the current genocide of the Palestinian people. Are these facts disconnected? Or can we look at there [Gaza] as a mirror of the immediate future? The unleashing of genocide and barbarism on the Palestinian people is what awaits the exodus of the peoples of the South unleashed by the climate crisis.” \nPlaced next to the millenia charting timeline of NO ONE NOON (paper)\, the clothesline of 7.24.14 brings much shorter spans into view\, violently cut short by colonial power. With Ancient Sunshine\, showcases Livingston’s long-standing work in charting social justice movements and tracing shared solidarities. \nJason Livingston \nTHE TOTALITY (pieces)\, mixed media\, black light\, 2024\nTHE TOTALITY (assembly)\, 5 hours\, digital video\, sound\, 2024. Audio description: The majority of the video features ambient sounds from a city neighborhood: birds\, cars on a street. During the total eclipse section\, there are sounds of an oil pumpjack and a donkey braying. \nTHE TOTALITY (assembly)\, a five hour long video\, features a 3 minute 45 second interpretation of the April 8\, 2024 total solar eclipse daily at 3:18pm. The video directly takes on Livingston’s and Cohen’s focus on climate\, colony\, and capital\, threading abstraction and representational elements as a durational experience. \nDuring the majority of the film\, it features contemplative 20 minute long shots of the sky\, with slow-moving images floating across the screen of the infrastructures of oil extraction\, border control\, and war. At the time of the total eclipse\, the work continues the wordplay present in the exhibition by intermixing images of oil pumps – often referred to as “nodding donkeys” – with footage of a donkey wearing a hand sewn blanket. Shot transitions foreground a graphical motif – seen on the donkey blanket – that is present on the billboards installed around Buffalo such as those used by the Geological Society of America\, an interpretation of the geological timescale. The precise duration of the work places the work in the present as it looks backwards and to the future. \nNext to the video work\, on a shelf with a black light\, THE TOTALITY (pieces) playfully looks towards the future. Small shapes featuring visual icons of the oil industry\, the work is a speculative imagining of what a future fossil\, unearthed by children\, will look like.                          </p>\n<h4>In conversation: Jason Livingston and Phoebe A. Cohen (click to expand)</h4>\n<p>                        \nThe following conversation between Jason Livingston and Phoebe A. Cohen took place on February 16\, 2024 over Zoom. It has been edited for clarity\, and can also be read on our website. \nJason Livingston \nYou are quite active in public-facing science. You recently appeared in an episode of PBS Nova Ancient Earth\, and you are currently producing a podcast called Jax and Phoebe Make a Planet! Can you say more about your passion for science\, and sharing that passion with the public? Are stories helpful in communicating? What kind of stories do you want to tell\, and how do you want to tell them? \nPhoebe A. Cohen \nThat’s a big question. I have always loved sharing my enthusiasm for science and the natural world. And it’s been a part of my professional life since I graduated from college in one form or another. It comes from a variety of places. One is that I think the natural world is really fucking amazing and fascinating\, and I think that I have had the privilege of being able to spend much of my life in deep study of our planet and its past. That is something that most people will never have an opportunity to do. It’s not necessarily because of a lack of interest. \nAs a paleontologist\, people are always telling me\, oh my god\, I loved fossils as a kid\, I loved dinosaurs as a kid\, you know\, I loved collecting rocks as a kid. And it’s always as a kid. A lot of my passion for communicating science is about sharing my enthusiasm\, my knowledge\, and my sense of awe and wonder for the natural world with adults. Not that sharing with kids isn’t important\, but I feel like so many adults feel like they are disconnected from that part of themselves\, or that they’re not allowed to have that sense of awe and wonder as grown-ups. That it’s something they had to leave behind as children. \nI consider myself a storyteller. My science is a historical science. I will never know the truth about what happened 800 million years ago. My job is to take pieces of the past and weave them together in what I think is the most likely story given the evidence\, given the data. Being a paleontologist\, someone who works in deep time\, requires a massive amount of imagination. I have to\, in my mind and with my data\, reconstruct a world that no one has ever seen\, and no one will ever see. That requires imagination. It requires vision. It’s one of the reasons I love doing what I do. Storytelling is something that I’ve always loved doing; I’ve always loved reading stories and writing them when I was younger. It comes very naturally to me to want to communicate science as a story. That fits in well with this project\, which is about bridging these artificial divides and schisms between the sciences and the humanities. \nJL \nI think sometimes people think that science is all about the truth or that science is only about certainty. Which isn’t the case. I’m wondering two things. One is\, more broadly\, if there’s something about stories that can allow for uncertainty\, and then more specifically\, if geological records can allow for that storytelling. As it turns out\, there is a lot of uncertainty. There are a lot of things that simply aren’t known\, like unconformities. \nPC \nYeah\, yeah. Missing time. The scientific method as taught in a seventh-grade science class is you have a hypothesis\, you do an experiment\, and you see whether the results of your experiment confirm your hypothesis or not\, and if they don’t then you adjust your hypothesis. That works for a lot of biology and chemistry and physics\, but it does not work for historical sciences like geology. It also doesn’t work for astronomy\, which is also a historical science because you’re looking at light from stars or galaxies or supernova that is millions of years old. You can’t do an experiment on a black hole\, just like you can’t do an experiment on a trilobite or a dinosaur. \nAnd so we have to think about science differently. Like I said earlier\, we will never know the truth. All we can do is do the best that we can\, given the tools and information that we have\, and that will change over time. \nThis is something that you and I have sort of butted heads with a little bit: this idea of\, is there an objective truth? I think that I have some comfort with that uncertainty\, up to a point. Because I still believe that like the natural world exists\, that reality exists\, and that there are observations that can be made about the natural world that are true. I knock my coffee off the desk and it will fall to the ground. There are rocks outside that we can date using geological and chemical techniques that are millions or billions of years old. Those things are true.  \nI think I have more comfort with uncertainty than other scientists do because of the nature of my discipline. And also because of my personality. But there’s a limit to that. I guess an empiricist at heart.  \nJL \nThere may be a productive tension between us but also between a lot of people in these kinds of collaborations. What I see is there’s the question of method and there’s the question of goal\, and where it fits in the world\, too. I think some of our differences have come out not so much about whether a rock can be dated and placed in time\, because it can be. But where does that certainty fit into meaning making? Or in shared worlds? That may be where I place my focus in the arts and humanities. \nWhen we began this project\, we talked a lot about how the absence of the sun during a total eclipse affords an opportunity to think about the importance of the sun for all manner of things. Photosynthesis and life on the planet. The production of energy for all life forms\, including the production of fossil fuels. The predicament we’re in because of burning fossil fuels. How we might imagine a transition to renewables and a more just distribution of resources. Now that we’re further along into the project\, and the eclipse is a few weeks away\, what are your thoughts on art’s role in imagining new worlds? Or maybe that’s too grand! Do you think art can play a role? What can we do to not fall into doom and gloom futurecasting? Feel free to be honest about art’s limitations. I see no reason to be overly rosy. \nPC \nThat’s a really interesting question. I think of myself as a pragmatist when it comes to thinking about climate change and global change. Anthropogenic global induced change because it’s not just climate\, right? We are inexorably altering the planet. Our actions will lead to the extinction of other species that otherwise would not have gone extinct in this time interval. That climate change is going to negatively impact our species and it’s going to disproportionately impact minoritized communities\, the Global South. These things I believe to be true. I also am a deep believer in harm reduction. You can sort of use a harm reduction framework to think about climate change. My perspective is that anything we do is better than doing nothing. It will not only reduce harm on other species and ecosystems\, but also on other people. If we can take actions now that will mitigate suffering\, then I believe we have a moral and ethical responsibility to do so\, even if we cannot reverse the impacts that we are enacting on the planet.  \nThat’s my positionality in terms of thinking about where we are. I think being a doomer is a very privileged position. I also firmly believe in the Mariame Kaba quote\, “hope is a discipline.” It requires work to be hopeful. She said that in the framework of abolition\, but I think it holds just as true for thinking about environmental degradation and climate change and global change\, global warming. \nAnyway\, art\, right\, art. I’m getting there\, don’t worry!  \nMy research is on 800-million-year-old tiny fossils. My research does not have a direct climate change focus. It doesn’t have modern-day relevance in the most specific sense of that term. So is what I do useless? No. Because what I’m doing in my research and my teaching is\, I am giving my students a holistic and comprehensive view of how the Earth system works\, and how it has changed over time\, which is essential to understanding the situation we’re in now and how our impacts will affect the Earth system moving forward. It’s also just a way to share the Earth’s resilience\, right? \nExplaining that mass extinctions have happened in the past and that life and the earth have always recovered\, I think\, is a place of hope. So what does that mean about art? You could say\, well\, my work is not relevant\, it doesn’t have inherent value because it’s not immediately addressing the societal problem of everybody right now. But that’s silly. It has value. And art has value too. I see my work and artistic work as quite similar in that way. Art has inherent value because it gives us a different way of seeing the world and seeing ourselves and seeing each other. Thinking about deep time and thinking about Earth’s history does a similar thing. It’s a way of twisting perspective and shifting someone out of their moment. That’s important for thinking about big problems. And big questions. I think it’s essential. \nAre artists going to solve climate change? No. But no one person\, no one discipline is going to solve climate change. It will require effort\, work\, creativity by people in all spectrums of society and all areas of inquiry. To say that it is only the responsibility of one group of people or another and that other people don’t have responsibility\, I think\, is wrong. It requires a shift in how we view ourselves as humans and art has a big role in that. \nJL \nI appreciate so much of what you’re saying right now. And I think it’s interesting to hear the quote you put forward from Kaba that “hope is a discipline” in the context of what we’re doing and in the context of our conversation\, where we’ve been talking about the discipline of geology as scientific discipline. What if we think about discipline as a daily practice\, of practicing something like hope or practicing something like imagination\, working on those muscles as you would with yoga or baseball or drawing? We can elevate something that seems like it’s “merely” in the realm of imagination or sci-fi thinking or artistic experimentation to considering it as a discipline-  \nPC \n-an area of inquiry\, an area of work. \nJL \nAn area of inquiry\, yes\, I think it’s productive to think about it that way. You’ve mentioned deep time\, and I want to keep talking about that\, as well as several key phrases that have come up for us. Some of them are drawn from paleontology and geology\, or are scientific phrases\, and a number of them are phrases that we’ve come up with or that we’ve created between us\, like for example in the sun’s absence. Which has become an overarching title meant to unify or gather the disparate pieces in the constellation of works which will be sited in Buffalo leading up to and extending beyond the totality. No one noon\, a palindrome. We’ve focused a lot on language. What are your thoughts about how we’re approaching language in our shared work? Perhaps we could begin by talking about the phrase “not all fossils are graves.” We were on a walk at Crystal Lake with Caroline Doherty in the Catskills\, and it emerged in conversation. Why did that phrase land with you\, and why did it stick with you? \nPC \nIt’s a great question and I’ve thought about it since that moment. Language has played a big role in our collaboration\, the language of my discipline and communicating that\, and translating it to you. It’s been so cool and interesting to see the phrases from my discipline that have resonated with you. And\, you know\, one of the things that drew us together was the fact that you have this film called Ancient Sunshine. I have often talked about the fossils that I work on as essentially the remnants of ancient sunshine in the form of fixed organic carbon. I think that we found a lot of similarities in technical language and in metaphor around technical language\, which has been exciting\, I think\, for both of us. \nAnd yes\, we were on this walk\, and I was describing different kinds of fossils to you\, and I was describing trace fossils in that moment\, which are things like footprints or trackways or burrows that are evidence of the behavior of an organism as opposed to its actual physical body. It’s not like a shell or a bone. Your response to that was “not all fossils are graves.”  There were a lot of layers to that for me. One is that we often think of fossils as being associated with death. \nThis framework that not all fossils are graves\, to me\, spoke of a sense of hope\, and of\, again\, of a sort of resiliency. Also\, in the sense of thinking about fossils as fossil fuels and that right now fossil fuels are leading us to our grave as a society\, as a species. But it doesn’t have to be that way. Like fossil fuels\, coal is not inherently bad. It is preserved ancient sunshine. It’s what we’re doing with it. It’s the choices that we’re making that are having a negative impact. There are two levels there. One is thinking about fossils in the sense of a bone\, or a shell\, or a trackway as being evidence of past life\, right? Focusing on the life as opposed to the death of an animal or an organism\, and then\, on the other hand\, thinking about the role of fossil fuels and ancient carbon in our current predicament. But can I flip the question around on you? \nJL \nSure! \nPC \nSo\, you know\, it immediately resonated with me and I think also with you\, which was the inspiration for the amazing print that you did with Mirabo Press. I’m curious to hear from you\, what about that phrase resonated from your perspective? \nJL \nI want to respond to one thing you mentioned\, about how coal is not inherently bad\, it’s what we’re doing with it. To tease out a bit of what you’re saying there about fossil fuels\, which bring with them certain ideas or traces of ideas about fossils\, or ancient life forms: I think this is strongly connected with what for some of us seems to be a death cult\, an orientation toward a species-level flame-out or multispecies-level flame-out in the hands of capitalists. \nThere’s a carbon fixation\, for those of us on the tree hugging side\, where we might think\, with this addiction or with this fixation\, comes the death cult. If only it were so simple. If only it were just a matter of being released from the death grip of fossil fuels. But it’s a good deal more complicated than that. One of the things that art can do\, I hope\, is bring a productive ambiguity\, a generative complexity\, to these questions which can contribute to imagination. It’s hard to predict how that will go\, of course! And it’s a humble contribution.  \nAround the moment that we shared together with Caroline on our walk\, about not all fossils or graves\, I think my first response was wonder\, like being struck\, like in kid mode. That little revelation of mind blown\, what?! I didn’t realize that! At that level it was very powerful. As we talked about it and then as it sat with me\, I thought about how there are these connections between fossils and images. The way that images index objects\, as do fossils. \nPC \nYes! \nJL \nThe questions that sometimes the philosophically inclined get interested in. Is the thing the thing or is the thing not the thing? And that brought us deeper into the project- \nPC \n-right\, and I’m interjecting because a couple of weeks before the retreat\, I had been in the car with friends\, and my friend Carolyn Clayton who’s an artist. I was describing this project to her in our collaboration\, and she said\, is a fossil a photograph? And that was another moment of stopping and thinking\, having sort of an “oh shit” or “aha” moment. That definitely fed into “not all fossils are graves” and this idea of imprinting\, indexing\, which inspired the format that “not all fossils are graves” is taking in the exhibit. \nOne of the things that’s been so exciting for me in this project is stepping out a little bit\, conversations that I’ve been able to have with not just you\, but other artists in my life. I’ve stretched my conception of my work. It has allowed me to access my childlike sense of awe and wonder and curiosity in ways that aren’t always easy.  \nJL \nI like that and I want to take that as an opportunity to remind you to bring your camera to Buffalo. I know that you are a long-time photographer. You have a fantastic eye. The Simons Foundation has encouraged us not to make anything or do much other than experience it\, but maybe you’ll take some pictures? \nPC \nThe camera will come. \nJL \nOkay! I feel like there’s further to go with language because at another point in the last half year of our conversations\, we realized we were both interested in where deep time and metaphor come together. This led us to look at Stephen J. Gould’s writings about metaphor\, about deep time\, about geology and paleontology vis-a-vis pedagogy and storytelling\, specifically time’s arrow and time’s cycle. These tools can be linguistic or visual or both\, like the timelines and the timescales used in your field. We’ve decided to use the timeline\, to riff on that. It’s become fundamental and is moving through our project in different iterations\, for example on the billboards we’ve been creating. How do you or your colleagues use a timeline in a classroom? What are its benefits?  But also\, what are its limits? If you’ll allow me to use a pun here\, what are its faults? \nPC \nLove your puns\, so good! Timelines help us. They structure our thoughts. They also help us conceptualize processes. That are way beyond human conception. Things like the movement of tectonic plates\, changes in global climate\, the evolution of new species. Extinction can sometimes happen fast\, but evolution happens pretty slow on human timescales. Many of those processes don’t make sense unless you can conceptualize the immensity of time over which they occur. You look out the window and you don’t see the North American plate moving away from the European plate\, but they are. And again\, that comes back to the imagination\, right? I can look out the window and imagine that movement happening a micron at a time\, but I can’t actually watch it happen during my lifetime. \nI often use timelines in my courses to help students start to conceptualize for themselves the immensity of the age of the Earth\, and to bridge the gap between human perception of time and geological time. Seeing a long roll of paper down a hallway\, and realizing that all human history fits into the last half a centimeter is extremely helpful as a visualization to help students figure out what’s going on.  \nIn a scientific sense or in terms of my research\, timelines are necessary for us to figure out the order of events. We cannot pull apart cause and effect without knowing how old things are relative to each other. Or their absolute ages if we’re thinking about rates of change. Geochronology\, the science of dating rocks is extremely important in my discipline and in many other disciplines because it allows us to get at causality and rate. Gould called this “tempo and mode”\, the tempo of evolution\, and then the mode type of evolution. Timelines that are calibrated are essential to that process as well. They serve a conceptual purpose\, but they also serve a more immediate research function in terms of being critical to answering questions that we’re interested in as Earth historians. \nJL \nHmm. At one point you and I discussed how a timeline can have an unfortunate effect; that the timeline may place the human being at the very end of linear time in the present moment\, as if the human is the goal. \nPC \nYes\, the dangers of timelines. Yes. \nJL \nThat’s something we have in view as a concern or as a question that we wanted to unpack in this project. \nPC \nYes\, that’s right. Thank you for prompting me\, because the problem with timelines is that they imply directionality\, and for humans\, directionality is very much linked to a sense of progress. We see an arrow moving forward and we think\, what are we moving towards? This is something else that I said at some point recently\, which is that evolution isn’t moving towards anything. It’s moving away from something. It never goes back. It does not have a direction in mind. Organisms respond to their environment in the moment and then the environment changes. They are not intending to go anywhere or do anything or be anything\, rather than what they are in the moment. Timelines can be dangerous\, and they have been used to promote a worldview that humans are the pinnacle of evolution\, that we are the top of the mountain\, as it were. That’s the danger of timelines. \nOne of the things that we were interested in playing with was creating a view\, a timeline where the moment that we are in right now was not legible\, to basically pull the viewer away from that sense of progress or inevitability. I hope we’ve been effective in that. I think that’s a powerful change\, again thinking about changing\, twisting\, altering someone’s view of themselves in the world\, right? Both art and science can do this. \nJL \nI think of our timeline as very experimental. We had to sort through a philosophical conundrum and questions about method\, to what extent nonlinearity is a useful tool for shaping time. You held the line when I was pushing for nonlinearity. We arrived at a good place\, an engagement with a dynamic of time’s arrow and time’s cycle\, to try to produce a timeline in which both are moving. We have the movement of an arrow and the movement of a cycle\, with substitutions that are designed to hopefully bring people in. For example\, rather than produce a timeline with a big bang at the beginning or all the way on the left\, it begins with laughter. We have these recurring events\, some of which are drawn very directly from geological sciences\, phrases that a scientist might recognize\, but also other phrases that are more poetic\, more human oriented\, a bit strange even\, to move in and out of human consciousness\, and not to place it at the end – \nPC \n– yes\, but throughout. That was something that I struggled with at first when we were initially conceptualizing this because it was very hard for me to remove my attachment to my timeline. There is a timeline of the earth that exists in my head that I refer to continually. This is not that timeline. I was very excited about the idea of time cycles. When you started pushing on that there was a sense of discomfort that I had to get over\, but then it transformed into enthusiasm and excitement. That’s been the case for both of us as part of this whole project\, right? Pushing each other up against these moments of discomfort where we’re having to step outside of our disciplinary bins. I think we’re both used to doing that and good at it already\, which is why this has worked. Even so\, there have still been multiple moments where we’ve tried to do that. \nJL \nVery much so. For me it’s been a good exercise in discipline\, asking myself how the tendencies in arts and humanities on what some people call geopoetics\, or “fancy” words\, can go so hard into imagination and ambiguity that certain tetherings can be compromised. It’s just to say that I think it’s dialogue that’s been at the center of our project. Without that\, I don’t think we would have landed where we have. On the question of landing\, I have one or two more questions. I thought we might take a moment to ground the project in Western New York. \nPC \nYeah. Go Bills! \nJL \nHa. Are there any rocks or geological features in Western New York or near Buffalo that interest you? What stories might local sedimentary rocks tell us? What kind of futures – if this makes sense – might we imagine from them? I’m asking you to tell us a bit about the specifics of rocks here\, and I’m asking\, if rocks tell us something about the past\, can they tell us something about the future? Are stones fortune tellers? \nPC \nMost of Upstate New York is made up of rocks that were deposited at the bottom of an ocean in the Paleozoic era\, from – I’m going to get the numbers wrong – 500 to 380 million years ago. At the time\, the Taconic Mountains were very high\, maybe as high as the Andes. They were formed by the compression of one small continent\, pushed into the side of what is now North America. A big mountain range formed\, and as it formed the crust on the back side of that mountain range flexed down and created a basin. Ocean water came in. That ocean was there for tens of millions of years. Sediments and life filled that ocean and those sediments and fossils of those living organisms fell down to the bottom of the ocean created thick layers of sediment. Tens of hundreds of millions of years later\, the ocean is gone\, the Taconics are now basically hills. Upstate New York mostly consists of these flat lying sedimentary rocks from that ancient ocean. \nThey are full of carbon. Some of them are very organic rich. Some of them are even what we call petroliferous\, which means that if you hold it up to your nose it smells like gasoline because there’s so much organic matter in there. They’re also full of fossils. I happen to work on some of the microscopic fossils that are found just south of Buffalo. There are areas that are full of shells. Corals and clams and things like that. There’s a rich record of the life that lived in those oceans preserved in those rocks. \nJL \nRocks tell us a lot about the past\, but then there’s this other thing that we’re trying to think through\, which is this future business. \nPC \nCan they predict the future? I think they can remind us about the inevitability of the future. They were once sediments at the bottom of an ocean. We are now covering the planet with ourselves and our cities and our domesticated animals. But we will also end up as sediment someday. We will be the past\, just as those corals\, preserved in rocks and Upstate New York\, or once flourishing in that ocean and are now fossils. I think maybe they can be a reminder of the inevitability of time\, and that when they were alive\, that was the present moment. The idea that that ocean would disappear was unfathomable. If a coral could fathom- \nJL \n-if a coral could fathom!- \nPC \n-they were fish. Fish could fathom. Maybe. I don’t know. How’s that? \nJL \nLove it. One more. We decided early on that the center of our work would be these bi-weekly conversations. We also wanted very early on to bring in other voices to the project. That commitment has been like a loadstone\, a way of navigating the process to allow for magnetic attractions and forces to shape outcomes. Partly this is an excitement about the unknown. How could haiku contributions generated in workshops change our direction? \nThe eclipse is a chance to wonder\, to be in awe\, to revel in our own senses. It’s also a chance to pause human overdrive\, perhaps even pause human imagination in a curious way. Are we really in control? There’s these tensions and contradictions\, then\, in an eclipse\, which I’ve been wanting to draw out. It’s a moment to ponder human insignificance. It’s also this moment to consider dumb human luck.  \nAs I’ve learned from you\, a total eclipse doesn’t stand outside of time. It has this weird temporality. Deep time but not eternal. Beyond human yet situated in time and space in such a way that we human beings are uniquely positioned to experience the phenomena in terms of how the earth and the sun and the moon line up. These contradictions are sublimely dynamic. So not only have I wanted to generate a totality poetics\, if you will\, to think with these dynamics and to think of these contradictions and the motion of it all\, I wanted to bring in other voices\, a chorus so that whatever language you and I are trading in\, which is already impossibly metaphorical and metaphorically impossible\, but a language beyond us\, a language beyond you and me. Take this question as you will! We can talk about the phenomena itself or you can bug me about poetics. What about this craziness of how the eclipse is a very limited time offer from the cosmos from the position of the human? \nPC \nIt’ll be around for a while\, but eventually\, yes\, human evolution coincides with a time limited offer\, part of Earth’s history where we have total eclipses because the moon is continually moving farther and farther away from the earth. We used to have more eclipses and eventually we’ll have fewer and then eventually we’ll have none\, or no total ones.  \nHow lucky are we? I mean\, it didn’t have to be this way. I think maybe that’s another way of talking about decentering the human. As in the time scale\, right? The Earth will go on and maybe other organisms will experience things that we have never been able to experience. But we get this. How cool is that? \nJL \nBefore I learned from you about how an eclipse varies over time\, that there is no such thing as a singular abstract eclipse outside of time\, and that one day in the future the alignment of our planet with the sun and moon will eclipse\, if you will\,  the phenomena of the eclipse\, I think my focus was primarily on the way in which two objects that are spheres overlap with one another in the sky in such a way that the one blanks out the other and produces the phenomena\, and I didn’t think about the other sphere that’s involved\, which is the earth. It’s three bodies. In so far as it’s three bodies\, it’s not so much a couple as a chorus. That’s why I’ve been wanting to bring in so many voices to the project beyond just you and me\, to create a chorus\, a polyvocality. We’re trying to produce something cosmic. \nPC \nComing back to the beginning of the conversation about public engagement\, what better way to engage the public than to engage the public? Like bringing people in\, and giving them the opportunity to think about metaphor and time\, is something that most people aren’t ever given the ability to do\, and we can give people a glimpse of that\, whether it be participating in one of our workshops or driving by one of the billboards. The potential for a moment of reflection\, a moment of stepping outside of one’s human time scale and human framework.  \nI want to ask you one quick question. There have been multiple times over the course of this collaboration where I have been like\, I don’t really know what that means\, like poetics\, for example. I know what poetry is. And so how has interacting with me been? Has it made you think differently about your own discipline and the limitations of it? What are you taking from this as you move forward in your own practice? \nJL \nIt’s a great question. I think that working with you and working on these materials has invigorated my love and wonder for and about language in a way that I wouldn’t have predicted. When I look at my film practice\, it’s full of language. If someone had asked me last summer “ What will you do next?” I might have said something like\, “A film with no words.” But through this I’ve found so many rich meanings in scientific language\, and in dialogue\, which is often figurative out of necessity. I’m coming through on the other side with a wordless film on the horizon that I still may want to make\, but I’m reminded of how important\, and precious\, words can be\, especially when dealing with something like the mystery of stones and the rare transit of celestial bodies that will be on display. \n            \nBiographies\nJason Livingston is a media artist\, filmmaker\, and educator. His award-winning films have been widely exhibited at festivals and museums\, including the National Gallery of Art in Washington\, D.C.\, the International Film Festival Rotterdam\, and Media City in Canada. He is currently researching histories of extractive cinema and abolitionist re-imaginings of our shared world as a Presidential Fellow in the Department of Media Study\, University at Buffalo. \nPhoebe A. Cohen is a paleontologist\, geobiologist\, teacher\, and science communicator. Her research focuses on understanding the interactions between life and the earth system in deep time by integrating micropaleontological\, geological\, and biological lines of evidence. Phoebe is an Associate Professor at Williams College\, where her research has been funded by the National Science Foundation and NASA. She is also the co-host of the forthcoming podcast Jax and Phoebe Make a Planet\, and an advocate for inclusion and equity in the earth sciences and beyond. \nAbout the In the Path of Totality initiative\nThis work is supported by the Simons Foundation and is part of its ‘In the Path of Totality’ initiative. For more information\, visit inthepathoftotality.org . \nThe Simons Foundation’s mission is to advance the frontiers of research in mathematics and the basic sciences. Since its founding in 1994 by Jim and Marilyn Simons\, the foundation has been a champion of basic science through grant funding\, support for research and public engagement. We believe in asking big questions and providing sustained support to researchers working to unravel the mysteries of the universes. Through our work we make space for scientific discovery. \nThe Simons Foundation makes grants in four areas: Mathematics and Physical Sciences\, Life Sciences\, Autism and Neuroscience and Science\, Society and Culture. Our Flatiron Institute was opened in 2016 and conducts scientific research in-house\, supporting teams of top computational scientists. We recognize the value of collective effort and know that good science requires a diversity of perspectives. We actively promote large-scale collaboration through a pioneering grantmaking approach and are committed to the sharing of knowledge within the scientific community. We understand science is part of society and culture\, and we actively provide opportunities for people to engage with science in ways that are relevant and meaningful to them. \nImage: A still from Jason Livingston’s film Ancient Sunshine. A white round sun fills the image. On the top and middle around it are yellow\, orange\, and red fields\, and on the bottom\, are black and white textures that cut off the bottom of the sun.
URL:https://squeaky.org/event/jason-livingston-with-phoebe-cohen-in-the-suns-absence/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Exhibition
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DTSTAMP:20260420T192242
CREATED:20251230T191539Z
LAST-MODIFIED:20251230T191539Z
UID:10001145-1710583200-1710594000@squeaky.org
SUMMARY:Digital Drawing
DESCRIPTION:Tech Arts for Girls\nWinter/Spring 2023\nSaturdays\n10am – 1pm\nFREE!\nSession 2: March 16-April 6 (four weeks)\nDigital Drawing\n\nLearn to use Adobe illustrator to make incredible digital drawings! \nFor girls and female identifying or non-binary students ages 11-15. \n  \nInstructor: Mikayla Kempski \nIllustration: Corner Store by Mikayla Kempski \n  \nClick here for more details about Tech Arts for Girls\, and to learn about Session 1: Zines and Session 3: Creative Coding \nScroll down to “get tickets” to register. \n  \nTech Arts for Girls has received generous support from the New York Sate Council on the Arts\, Children’s Foundation of Erie County\, and Cameron and Jane Baird Foundation.
URL:https://squeaky.org/event/digital-drawing/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Tech Arts for Girls,Youth Program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240305T180000
DTEND;TZID=America/New_York:20240305T200000
DTSTAMP:20260420T192242
CREATED:20251230T191539Z
LAST-MODIFIED:20251230T191539Z
UID:10001137-1709661600-1709668800@squeaky.org
SUMMARY:Color Grading with DaVinci Resolve
DESCRIPTION:Tuesdays and Thursdays\, 6:00 – 8:00 pm\nMarch 5-14\, 2024 (4 classes\, 8 hours of instruction)\n$175 (10% discount for members. Not yet a member? Click here for details)\nopen to ages 16+\nRegister with the “tickets” button at the bottom of this page\n  \nYou asked\, and we listened! We are very excited to offer this introduction to Color Grading with DaVinci Resolve\, a FREE (yes\, really) professional quality video editing software. Resolve combines video editing\, color grading\, motion graphics\, visual effects\, and audio post production into one tool. \nLearn to fine tune the color of your video work\, whether for short films\, feature films\, promotional videos\, social media\, or experimental work. \nPrerequisites: \nPrior digital video editing experience is required for this class. Experience with DaVinci Resolve is strongly recommended\, but students with prior knowledge of editors like Adobe Premiere\, After Effects\, Final Cut Pro\, or AVID will be able to pick it up easily. If you are new to DaVinci Resolve\, we recommend that you download the software at home and familiarize yourself with the interface in advance of the class. No color grading experience required. \nAll equipment provided. Squeaky Wheel’s classroom is outfitted with Mac computers. If you would like to bring your own laptop\, please download and install DaVinci Resolve before class. You can find it at this link. \nClass limited to 6 participants. \nContact Caroline at caroline@squeaky.org or (716) 884-7172 with any questions! \nInstructor: Derrick Edgerton II \n 
URL:https://squeaky.org/event/color-grading-with-davinci-resolve/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Education,Media Art Workshop
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END:VCALENDAR