The Festival for Cinema of the Deaf was founded by Joshua Flanders who founded and ran the Chicago Institute for the Moving Image (CIMI), a not-for-profit film organization, and was the first deaf film festival in North America.
Their mission is to open the doors to the millions of deaf and hard-of-hearing people worldwide so they may enjoy and understand movies in the theater. They have created a forum for deaf writers, actors and directors to showcase their work under the heading of Deaf Cinema.
Chicago festivals were held consecutively in 2002, 2003, and 2004, with CIMI-led deaf film festivals held in Tampa, Boston and Texas. Academy Award winning actress Marlee Matlin hosted the 2004 Festival.
Outreach Programs
In addition to film screenings, CIMI's mission includes extensive outreach programs aimed at making the world of motion pictures more accessible to children of all backgrounds. Their programs include animation workshops, motivational speaking and classroom visits, as well as special free screenings for kids.
The Festival for Cinema of the Deaf worked to promote accessibility in theaters, encouraging captioned films for deaf and hard-of-hearing audiences. They also encouraged theaters to show captioned or subtitled films, in addition to promoting the works of deaf artists.
External links
* WTTW story on the Deaf Festival
*
Their mission is to open the doors to the millions of deaf and hard-of-hearing people worldwide so they may enjoy and understand movies in the theater. They have created a forum for deaf writers, actors and directors to showcase their work under the heading of Deaf Cinema.
Chicago festivals were held consecutively in 2002, 2003, and 2004, with CIMI-led deaf film festivals held in Tampa, Boston and Texas. Academy Award winning actress Marlee Matlin hosted the 2004 Festival.
Outreach Programs
In addition to film screenings, CIMI's mission includes extensive outreach programs aimed at making the world of motion pictures more accessible to children of all backgrounds. Their programs include animation workshops, motivational speaking and classroom visits, as well as special free screenings for kids.
The Festival for Cinema of the Deaf worked to promote accessibility in theaters, encouraging captioned films for deaf and hard-of-hearing audiences. They also encouraged theaters to show captioned or subtitled films, in addition to promoting the works of deaf artists.
External links
* WTTW story on the Deaf Festival
*
Defastenism is a Remodernist art movement founded in Dublin in 2004. The Defastenists are also known as The Defastenist Party. Artists who have participated in it include Gary Farrelly, Pádraic E. Moore, Alexander Reilly, Liam Ryan, Sophie Iremonger and Nessa Darcy.
Origins
Defastenism was founded in May 2004 by undergraduates at the Dublin National College of Art and Design, Gary Farrelly, , Ben Mullen, Alexander Reilly and Seanan Kerr. Moore, Farrelly and Reilly co-wrote a Defastenist manifesto. Their expression of an inner world has some parallels with Surrealism, as does their fixation with obsolescence and the uncanny.
As of 2007, with the resignation of Alexander Reilly the remaining group's most prominent members are Liam Ryan(London), Pádraic E. Moore,
Gary Farrelly (based in Paris), David Turpin (Dublin), Donna Marie O'Donovan (Dublin) and Christoph Kronke (Berlin).
Philosophy
The Defastenists state:
# We believe that art is a mission demanding complete fanaticism.
# It is our duty as Defastenists to excavate fully our fetishes, obsessions and desires through material forms of cultural production.
# We oppose aesthetic dematerialization and are dedicated to the art object, the obsessive generation of which manifests itself in all aspects of Defastenist activity.
# Our meticulous process of production in any and all media reflects a fundamental faith in the Utopian functions of art.
# We reject cynicism and disaffection. We are allied to the founding Fathers and Mothers of Modernism and share their faith in progress.
# Defastenism proposes an art that is all encompassing. Our practice unites the conscious and the unconscious, the private and the public. It is inflected with nostalgia; it is of the present and for the future.
# The Defastenist Party and its members assume an auto-propulsive role in the actualisation of personal and professional ambitions, while maintaining complete loyalty to the Party.
# We aspire to be both an institution and an Establishment, complete with rules and rigour.
# At all times there exists a physical headquarters from which we conduct our ventures and campaigns.
Activities
Initially the Defastenists staged weekly cabarets or happenings ("Cabaretta Defastena") in Dublin, and have held similar events consisting of performance, lectures, and recitals in Galway, Belfast, London, Paris and Berlin. They have staged group shows in Dublin, Limerick, Berlin and Paris, exhibiting mainly two-dimensional art in random styles and installations. Happenings and screenings include Europa and Kunstbahnhoff.
In 2005, they staged a "provocative, young and energetic exhibition" at the Irish Museum of Modern Art. In May 2005, The Dubliner said:
In August 2005, Gary Farrelly and Alex Reilly represented the Defastenists in Addressing the Shadow and Making Friends with Wild Dogs: Remodernism at CBGB 313 gallery in New York City, along with Stuckist artists and Remodernist film makers and Stuckist Photographers.
In 2005, Victoria Mary Clarke, author and now wife of Shane MacGowan, joined the group, having heard the members were attractive young men who liked dressing in white tailcoats.
Crisis, decline and post Defastenist activity
The Defastenists have not exhibited or published as a unified group since early 2006. All of the practitioners involved in the group continue to work in a manner closely in line with the ideals expressed in the Defastenist Manifesto. Certain members of the group have collaborated on non-defastenist - obsessive art projects such as PLANS SECTIONS AND ELEVATIONS an exhibition curated by Moore involving Farrelly, Turpin and Kronke which went on show at The Royal Institute of architects, Dublin in 2007. Several members of the group also collaborated on the 2009 periodical The New Obsessive.
Origins
Defastenism was founded in May 2004 by undergraduates at the Dublin National College of Art and Design, Gary Farrelly, , Ben Mullen, Alexander Reilly and Seanan Kerr. Moore, Farrelly and Reilly co-wrote a Defastenist manifesto. Their expression of an inner world has some parallels with Surrealism, as does their fixation with obsolescence and the uncanny.
As of 2007, with the resignation of Alexander Reilly the remaining group's most prominent members are Liam Ryan(London), Pádraic E. Moore,
Gary Farrelly (based in Paris), David Turpin (Dublin), Donna Marie O'Donovan (Dublin) and Christoph Kronke (Berlin).
Philosophy
The Defastenists state:
# We believe that art is a mission demanding complete fanaticism.
# It is our duty as Defastenists to excavate fully our fetishes, obsessions and desires through material forms of cultural production.
# We oppose aesthetic dematerialization and are dedicated to the art object, the obsessive generation of which manifests itself in all aspects of Defastenist activity.
# Our meticulous process of production in any and all media reflects a fundamental faith in the Utopian functions of art.
# We reject cynicism and disaffection. We are allied to the founding Fathers and Mothers of Modernism and share their faith in progress.
# Defastenism proposes an art that is all encompassing. Our practice unites the conscious and the unconscious, the private and the public. It is inflected with nostalgia; it is of the present and for the future.
# The Defastenist Party and its members assume an auto-propulsive role in the actualisation of personal and professional ambitions, while maintaining complete loyalty to the Party.
# We aspire to be both an institution and an Establishment, complete with rules and rigour.
# At all times there exists a physical headquarters from which we conduct our ventures and campaigns.
Activities
Initially the Defastenists staged weekly cabarets or happenings ("Cabaretta Defastena") in Dublin, and have held similar events consisting of performance, lectures, and recitals in Galway, Belfast, London, Paris and Berlin. They have staged group shows in Dublin, Limerick, Berlin and Paris, exhibiting mainly two-dimensional art in random styles and installations. Happenings and screenings include Europa and Kunstbahnhoff.
In 2005, they staged a "provocative, young and energetic exhibition" at the Irish Museum of Modern Art. In May 2005, The Dubliner said:
In August 2005, Gary Farrelly and Alex Reilly represented the Defastenists in Addressing the Shadow and Making Friends with Wild Dogs: Remodernism at CBGB 313 gallery in New York City, along with Stuckist artists and Remodernist film makers and Stuckist Photographers.
In 2005, Victoria Mary Clarke, author and now wife of Shane MacGowan, joined the group, having heard the members were attractive young men who liked dressing in white tailcoats.
Crisis, decline and post Defastenist activity
The Defastenists have not exhibited or published as a unified group since early 2006. All of the practitioners involved in the group continue to work in a manner closely in line with the ideals expressed in the Defastenist Manifesto. Certain members of the group have collaborated on non-defastenist - obsessive art projects such as PLANS SECTIONS AND ELEVATIONS an exhibition curated by Moore involving Farrelly, Turpin and Kronke which went on show at The Royal Institute of architects, Dublin in 2007. Several members of the group also collaborated on the 2009 periodical The New Obsessive.
Noel Kelly (born 1964) is an Irish art consultation and management specialist. He is currently CEO of Visual Artists Ireland.
Career
Noel Kelly is the former CEO of ETP Ltd., a project management company, and started The Art Projects Network , an Irish arts advisory business and website, with Alan Phelan in 2005. Kelly was deputy director and curator for Temple Bar Gallery and Studio in Dublin from 2005 - 07.
Since 2007 Kelly has been the CEO of Visual Artists Ireland (VAI) an NGO representing artists' rights. While at the VAI, he has published research that became responsible for identifying the poverty levels encountered by visual arts practitioners in Ireland. For example, he published Payment Guidelines for Visual Artists in Ireland and Payment Guidelines for Visual Artists in Northern Ireland. Both have been adopted as the industry standard for payment structures and have been put into policy by Dublin City Council.
He is a board member of the Irish Visual Artists Rights Organisation, and was President of the International Association of Art Critics in Ireland from 2011 to 2017. Noel Kelly has also curated exhibitions in Ireland and internationally. In 2004, Kelly was appointed Cultural Program Director with The Slovenian Embassy in Dublin and co-curated the Slovenian National Pavilion at the Venice Biennale in 2009.
Awards
In March 2008, he was elected a Fellow of The RSA (Royal Society for the encouragement of Arts, Manufactures & Commerce) in recognition for his contribution to the visual arts.
Bibliography
*Kelly, Noel, Editor, Art and Politics: The Imagination of Opposition in Europe, (2004).
*Kelly, Noel, and Seán Kissane, Creative Ireland: The Visual Arts, Contemporary Visual Arts in Ireland 2000-2011. Dublin: Printed Project (2011).
*Kelly, Noel, et al. The Manual: Survival Guide for Visual Artists, Dublin: Visual Artists Ireland (2015).
*Kely, Noel, The Social, Economic, and Fiscal Status of the Visual Artist in Ireland 2016 , Dublin: Visual Artists Ireland (2016).
Career
Noel Kelly is the former CEO of ETP Ltd., a project management company, and started The Art Projects Network , an Irish arts advisory business and website, with Alan Phelan in 2005. Kelly was deputy director and curator for Temple Bar Gallery and Studio in Dublin from 2005 - 07.
Since 2007 Kelly has been the CEO of Visual Artists Ireland (VAI) an NGO representing artists' rights. While at the VAI, he has published research that became responsible for identifying the poverty levels encountered by visual arts practitioners in Ireland. For example, he published Payment Guidelines for Visual Artists in Ireland and Payment Guidelines for Visual Artists in Northern Ireland. Both have been adopted as the industry standard for payment structures and have been put into policy by Dublin City Council.
He is a board member of the Irish Visual Artists Rights Organisation, and was President of the International Association of Art Critics in Ireland from 2011 to 2017. Noel Kelly has also curated exhibitions in Ireland and internationally. In 2004, Kelly was appointed Cultural Program Director with The Slovenian Embassy in Dublin and co-curated the Slovenian National Pavilion at the Venice Biennale in 2009.
Awards
In March 2008, he was elected a Fellow of The RSA (Royal Society for the encouragement of Arts, Manufactures & Commerce) in recognition for his contribution to the visual arts.
Bibliography
*Kelly, Noel, Editor, Art and Politics: The Imagination of Opposition in Europe, (2004).
*Kelly, Noel, and Seán Kissane, Creative Ireland: The Visual Arts, Contemporary Visual Arts in Ireland 2000-2011. Dublin: Printed Project (2011).
*Kelly, Noel, et al. The Manual: Survival Guide for Visual Artists, Dublin: Visual Artists Ireland (2015).
*Kely, Noel, The Social, Economic, and Fiscal Status of the Visual Artist in Ireland 2016 , Dublin: Visual Artists Ireland (2016).
Get Outta My Face is an arcade game designed by Will Brierly, owner of American studio Snowrunner Productions.
Gameplay
The object of the game is to survive until the clock in the upper right hand corner (called the Countdown) reaches zero. You do this by moving around the stage, knocking down walls, and using your surroundings to keep yourself safe. There are no weapons in the game so you must use your surroundings and the physics in each level to survive. When the countdown reaches zero you are then transported to the next stage. Throughout each level, malicious cubes attack you and set off traps to stop your progress. If you are hit by any of these cubes 4 times your character dies or as it is called in the game you are "deleted". Every 5 levels there is a cut scene that tells more of the story. And as you progress throughout the game "Blue" moves faster and the levels become more challenging.
Scoring
Scoring in Get Outta My Face is based on the character's movement throughout each level. When the player moves in any direction or leans into objects the score is increased. In each level there are areas that are safer then other, this gives the player a balance between surviving to get to the next level and moving around to obtain the high score.
Characters
Blue
You play as a blue cube named "Blue". In the year 5047 everything in the universe has been downloaded into cubes for storage. One day all these storage materials merged to form a life. And that is how Blue came to life. Throughout the game you are trying to figure out what you are doing here, and why. Because your face is on the top of the cube, it can't see anything. It talks about how it feels something moving it(sometimes thought to be referring to the player playing the game) and Blue sometimes talks about looking into the "Dark black sky" and seeing a face. This is thought to refer to the person playing the arcade game.
Malicious Cubes
There are many different types of enemies throughout the game who try to "Delete" you. They knock you off the stage, and bump into you removing health. Sometimes they will set off traps which set off bombs that blow up the entire level. The reason they are after you is revealed as you complete the game.
Gameplay
The object of the game is to survive until the clock in the upper right hand corner (called the Countdown) reaches zero. You do this by moving around the stage, knocking down walls, and using your surroundings to keep yourself safe. There are no weapons in the game so you must use your surroundings and the physics in each level to survive. When the countdown reaches zero you are then transported to the next stage. Throughout each level, malicious cubes attack you and set off traps to stop your progress. If you are hit by any of these cubes 4 times your character dies or as it is called in the game you are "deleted". Every 5 levels there is a cut scene that tells more of the story. And as you progress throughout the game "Blue" moves faster and the levels become more challenging.
Scoring
Scoring in Get Outta My Face is based on the character's movement throughout each level. When the player moves in any direction or leans into objects the score is increased. In each level there are areas that are safer then other, this gives the player a balance between surviving to get to the next level and moving around to obtain the high score.
Characters
Blue
You play as a blue cube named "Blue". In the year 5047 everything in the universe has been downloaded into cubes for storage. One day all these storage materials merged to form a life. And that is how Blue came to life. Throughout the game you are trying to figure out what you are doing here, and why. Because your face is on the top of the cube, it can't see anything. It talks about how it feels something moving it(sometimes thought to be referring to the player playing the game) and Blue sometimes talks about looking into the "Dark black sky" and seeing a face. This is thought to refer to the person playing the arcade game.
Malicious Cubes
There are many different types of enemies throughout the game who try to "Delete" you. They knock you off the stage, and bump into you removing health. Sometimes they will set off traps which set off bombs that blow up the entire level. The reason they are after you is revealed as you complete the game.