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#cyberformed new york
agrothereutes · 4 years
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So, I’m working on a human Scavengers thing, and as usual, I am obligated to overthink everything. This is part 1/3. I started to organize it but gave up. Everything else is completely unedited, including speech mannerisms, redundant content, etc.
Crankcase - He's from the southern-central US, somewhere like Texas. He has a gravelly voice with a southern accent. He *always* wears flannels. If it's too hot outside, he'll wear a plain tank top with a flannel tied around his waist. He's a bit on the chunky side, which makes him great for the hugs and cuddles he pretends he doesn't like. He complains a lot, but is secretly very soft. Has frown lines, most likely. He curses the most, out of the group.
Krok - Either an albino or has vitiligo; always wears a hat and facemask because of it. Wears nothing but hoodies and sweatpants.
Spinister - A native american (remember to decide from what region!) with very long hair, which reaches down to about his waist.
spinister is... a native american. not sure which tribe. i will have to do research on that because im... i know nothing about native americans, i will be honest. um, he's got long, black hair like... down to his fucking waist long. you know, that man has some long hair. and itll be tied up, in, like, a ponytail or a bun or something, right? so, you know, its not always in the way. he also looks very intimidating, like, it's kinda like how someone has a resting bitch face, instead of expressions coming to a rest on "i wanna fucking murder you", its more like "i have the ability to murder you". but he's actually very cheerful! smiles a lot, but, you know, if you first see him, you're like "holy shit that man can and will murder me", right?
misfire is either, like, central east-coast american frat boy, or an australian. one of those two. hes like alpacalamamama's, um, human misfire. very messy hair, he's supposed to wear glasses because he cant see for fucking shit. uh, but, he doesnt. they don't [unintelligible] they're not cool.
fulcrum... so this apparently is sorta different from the way others see fulcrum, but i see fulcrum as a black man. and, you know, he's... whats the word... understandably skeptical. he's like, a war veteran or something, who deserted from whatever army. um, [unintelligible] a group of five random fucking people, one of which almost immediately dies, who are all dating, like [noise of disbelief] what kind of fucking world does he live in? right?
oh, they all need fashion senses.
misfire wears anything neon/bright. like, classic gays' fashion except nothing with flowers, and nothing plaid. eyeburning geometric patterns? absolutely. solid bright pink tshirt? fuck yeah! 80s synthwave shit? fuck it, why not.
the only dark things misfire will wear is like a full fucking adidas tracksuit. he just thinks its cool.
i dont fucking know what spinister would wear. something. he wears clothes.
now, flywheels' is, okay so fulcrum doesnt know him very well. and, of course, hes not really the focus or whatever. but ill still develop him cause im a nice person! he grew up in, im gonna say a very religious town in... i wanna say northern virginia but that would make him extremely racist, so! we're not doing that. further north than virginia. i dont know, a town in, like, the suburbs of new york state or something. pretty far north, maybe canada. small religious town. he wanted to go to college so that he could, um, study theology or whatever the fuck, and like, become a priest or some shit. but that didnt work out cause he didnt have the money. uh, so instead he got himself a bunch of boyfriends.
he and crankcase, [unintelligible] never had a very good relationship. crankcase is... an athiest. not the type of athiest thats like, "god is not real and if you think so, i will actively refute you". more like "i just dont think god is a thing" kind of athiest, and doesnt force it on others. isnt actually too cynical about it, believe it or not. hes like okay, fuck it, believe what you wanna believe, right? um, but he also curses a lot and. dirty jokes are crankcase's thing. those, and, like, cynical jokes are the *only* ones hell make. and flywheels does not like that, understandably.
flywheels is also one of those people whos like gay and homophobic. usually people dont quite understand how that works. its like you are attracted to men but grew up in a society that doesnt allow being attracted to men. hes like that, cause you know, he sorta learns to accept himself just about the time he fucking dies. you know, he was raised in a town where you were going to marry a woman from the next town over and, you know, who was also gonna go to church with you on sundays, you would have one to three kids, and you would all go to church on sundays, and you would only have sex once youre married, and things like that. um, so, especially living... south, cause these guys are living in central america. i dont know west or east, but, like, straight down fucking center. like no north, no south. west and east i dont really know, ive only ever been to the coasts. i cant really talk about, like, central us states. i dont know what the fuck their deal is. so, yeah.
god, how do they all fucking meet?
ok, so, krok's about the only one with money. either he was actually sensible enough to like, start saving up as soon as he got a job, and like, never went to college, or something, or like, he was born into the upper middle class or somewhere around that range and just, like, inherited money. so hes the one that pays for the house. absolutely. he is the one that goes grocery shopping, he is the one that deals with anything related to finance.
crankcase has... a job. its either something on the night shift or he works from home.
flywheels is either *going* to college, and has a part-time job at a restaurant or something, or is *not* going to college and has a part-time job at a restaurant or something.
misfire has no job currently. dont know if that will ever change.
krok probably has, like, two jobs. um, probably some, like, stay-at-home thing and then one where he goes in and actually does shit.
spinister, of course, works as a surgeon, and is the only person to have actually gone fully to college and graduated, so, like, he's an actual doctor. right? he's got a whole-ass phd. right? or like whatever the fuck. so hes a surgeon. right? of course, still has hella adhd.
misfire probably has adhd too, but to a lesser extent, and with differing symptoms, than spinister, and undiagnosed.
krok has depression. flywheels probably has depression. fulcum almost definitely has depression. yeah.
so, fulcrum, hmm... especially if were doing a modern setting with like, 2020 in america, and this horrible fucking situation, like, minus pandemic maybe, i dont know. fulcrum was too poor to go to college, which is what he wanted to do, something like [unintelligible] or something, i dont know. i dont know what he would fucking do! he was, working on, like, cyberforming a world, so i guess, like, some technical career. scientist or something. but he was too poor, so he was like, fuck it! ill go to military school. ill join the military. so he joined the military, and ended up being like, probably doing border duty for like, mexico or something. he was like wow! my country really treats people like fucking shit! and you know, especially when, um, police start getting violent in riots and stuff. he's like, fuck this shit, and deserts. um, and, like travels with like stolen rations, up into, like central us, where he finds a house full of gay motherfuckers who decide to take him in.
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bd-mp285 · 5 years
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:: Show your work / an organization of voices / a choreo-essay
1. “Black Haunts in the Anthropocene.” Black Haunts in the Anthropocene.  Accessed April 25, 2017. http://blackhaunts.mp285.com/.
2. Parham, Marisa. Haunting and Displacement in African American Literature and Culture. New York: Routledge, 2009.
3. Parham, Marisa. “Sample, Strobe, Signal.” Debates in the Digital Humanities 2019, Apr. 2019. Print.
4. Shore, Daniel. Cyberformalism: Histories of Linguistic Forms in the Digital Archive. JHU Press, 2018.
5. Hayles, Nancy Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago [u.a.: Univ. of  Chicago Press, 2010.
6. “Want of Water, Want of Data: The Trans-Atlantic Slave Trade Database   and Oceanic Computing · Jeffrey Moro.” Accessed November 29, 2018. https://jeffreymoro.com/research/2018/sigcis2018/.
7. Philip, M. NourbeSe, and Setaey Adamu Boateng. Zong! Middletown:   Wesleyan University Press, 2011. http://public.eblib.com/EBLPublic/  PublicView.do?ptiID=805141.
8. McKittrick, Katherine. Demonic Grounds: Black Women And the Cartographies of Struggle. U of Minnesota Press, 2006.
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bd-citations · 5 years
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:: Show your work / an organization of voices / a choreo-essay
“Black Haunts in the Anthropocene.” Black Haunts in the Anthropocene.  Accessed April 25, 2017. http://blackhaunts.mp285.com/.
Parham, Marisa. Haunting and Displacement in African American   Literature and Culture. New York: Routledge, 2009.
Parham, Marisa. “Sample, Strobe, Signal.” Debates in the Digital Humanities 2019, Apr. 2019. Print
Shore, Daniel. Cyberformalism: Histories of Linguistic Forms in the Digital  Archive. JHU Press, 2018.
Hayles, Nancy Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago [u.a.: Univ. of  Chicago Press, 2010.
“Want of Water, Want of Data: The Trans-Atlantic Slave Trade Database   and Oceanic Computing · Jeffrey Moro.” Accessed November 29, 2018. https://jeffreymoro.com/research/2018/sigcis2018/.
Philip, M. NourbeSe, and Setaey Adamu Boateng. Zong! Middletown:   Wesleyan University Press, 2011. http://public.eblib.com/EBLPublic/  PublicView.do?ptiID=805141.
McKittrick, Katherine. Demonic Grounds: Black Women And the Cartographies of Struggle. U of Minnesota Press, 2006.
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bridiewoodlmp-blog · 6 years
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Bibliography
Adams, M. (2012). ‘A conversation on engagement, authorship, interstitial spaces and documentary: Matt Adams, twenty years of Blast Theory’ Interview with Matt Adams interviewed by Ann Danylkiw for Studies in Documentary Film, 6(2), 6 January, pp. 243-247. [Online] Available at: http://www.tandfonline.com/doi/abs/10.1386/sdf.6.2.243_7 (Accessed: 17 Nov 2017)
 Auslander, P. 1999. Liveness: Performance in a Mediatized Culture. New York: Routledge.
 Blast Theory (2017). Who We Are. Available at: https://www.blasttheory.co.uk/about-us/ (Accessed: 17 Nov 2017)
Brandon Hunter, L. (2016). ‘MY ONE DEMAND. By Blast Theory. Directed by Matt Adams. TIFF Bell Lightbox, Luminato Festival, Toronto. 25 June 2015.’, Theatre Journal, 68(1), pp. 116-117. [Online] Available at: https://muse.jhu.edu/article/614415 (Accessed: 17 Nov 2017)
 Chatzichristodoulou, M. Cyberformance? Digital or Networked Performance? Cybertheaters? Or Virtual Theatres?… or all of the above? 2014. In: A. Abrahams, H. V. Jamieson, ed. 2014. CyPosium- The Book, Ch.1.
 Dixon, S. 2007. Digital Performance: A History of New Media in Theatre, Dance, Performance Art and Instillation, MIT Press.
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 Jamieson, H. V., 2008. Adventures in Cyberformance: experiments at the interface of theatre and the internet. Masters of Arts. Queensland University of Technology. Available at https://eprints.qut.edu.au/28544/1/Helen_Jamieson_Thesis.pdf [Accessed on: 28th March] [pages 34-40]
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Woycicki, P. (2014). ‘A critical study of physical participation in Blast Theory’s Can You See Me Now?’, International Journal of Performance Arts and Digital Media, 10(2), pp. 193-204. [Online] Available at: http://www.tandfonline.com/doi/abs/10.1080/14794713.2014.946286?journalCode=rpdm20 (Accessed: 17 Nov 2017)
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