Ben 10 Ultimate Alien Final Episode Tamil
Vicki Patolot
Ancient Aliens explores the controversial theory that extraterrestrials have visited Earth for millions of years. From the age of the dinosaurs to ancient Egypt, from early cave drawings to continued mass sightings in the US, each episode in this hit HISTORY series gives historic depth to the questions, speculations, provocative controversies, first-hand accounts and grounded theories surrounding this age old debate. Did intelligent beings from outer space visit Earth thousands of years ago?
Yeah. And so, because it's such a contested topic right now. And both top, you know, running candidates, you know, President Biden, and then also former president, and, you know, and top, top candidate Donald Trump, you know, they want they went out to Texas, recently, and sort of competing for the public attention for how they're approaching immigration, right? And so that, the way in which those discourses or those conversations often get discussed, I think it's very binary. And so my contribution with the symposium and the, where everything comes, hopefully contribute and give folks some language. But then also, to identify that performance is so important, you know, for helping us think about new ways for discussing these issues. Obviously, I've chosen artists, who are themselves either formally undocumented, are citizens, or have temporary protective status, and who have various different categories of legality, to talk to those different experiences, not to assume that, oh, we know when we're talking about immigration work, you know, that each artist has the same experience . They don't. And so hopefully, by bringing these artists together, and talking about these different experiences will also help us think about the presidential election that might be coming up and hopefully have students here at PMA and at Cornell, develop some specific language for processing these discourses that oftentimes get very polarizing, and be able to look at performances and to help usher in those questions.
And you mentioned that these are artists that are chosen very purposefully. Is there anything you want to share about the backgrounds and the differing approaches that these artists have to their work? Like individually?
Well, yeah, so it's interesting because Tanya Aguiiga, you know, works across different mediums. And so she uses wearable technology, both that is digitalized, but also not. For example, she did this piece called metabolizing the border, which takes rusted material from the border separating Tijuana and San Diego, and she churned the rusted material, and created this wearable, these wearable encasings that are all glass. And she puts it, she put this, the rusted material that she kind of churned into fine particles and covered her mouth, her eyes and her ears with it, to illustrate the point in which the border is quite literally internalized in our bodies, right. And she, she does this performance where she wears this entire regalia. And so the, the glass, she has a flashlight, she has these sandals that are made out of glass so that when she's walking, it breaks as she's walking. So that that way, it gives a sense of the fragility of movement that happens, you know, that immigrants experience specifically, you know, undocumented immigrants. And she also then, then the remainder of that, of those becomes an art exhibit. So she's working with wearable technologies, not necessarily digital, but in this case, technologies that sort of enter our bodies. And quite literally, she says metabolizing the border that we process. The idea of the border, whether it's symbolic material in a very lasting way, and how it enters the air, our ears and our mouth.
And if you go, it's a PBS, Art21 is a PBS series. And if you go to Art21, yeah, if you look up Art21 on any search engine, it'll pop up and, and they can look up that series that they did on different artists focusing on the key word called Borderlands.
Yeah, so the, the symposium is going to be taking place in the film center, a film forum here, film forum here in PMA. That's on Thursday at 5:30. And the performance is going to be taking place also here in the Schwartz Center in the Flex Theater at 7:30 on Friday.
Yes. So, Zo, and myself and the wonderful PMA production crew has been working behind the scenes in advance of their arrival to make sure that they're in a space that can adequately support this type of performance. And so we've been talking about rigging, and they have all the resources here to be able to support that. But also, Zo is a specialist. And so she's gonna bring her own equipment. But yes, it is something that is unique, you have to make sure that you have the adequate grid and the support beam to be able to support that level of work.
Leah Ingalls 20:11
One thing we keep forgetting to mention is that tickets are totally available, and they are free. So if you want tickets to either of these events, any of these events, just visit pma.cornell.edu/ticket. And you can get yourself a ticket. Yeah, to attend. Yeah.
Well, at the most basic level, it's just to know these artists. I mean, these artists are amazing. I mean, that's the first, the first part, for them to get to know who these artists are, you know, some of these artists are, well, all these artists are seminal artists, they've established, you know, illustrious careers. And they've also given us new language for talking about the role of performance in describing these complex issues, right for how we define belonging. And, and so because of that, you know, that both the symposium and the performance I hope it gives, you know, the those attendees an opportunity to say okay, they're giving us new language to talk about their work, but also, they're also showing us and hopefully, it will invoke some type of feelings and sensations. Because one of the things that, you know, that I mentioned earlier that is worth repeating, is that they're compelling us to also think about how we move and part of that involves hearing about the discourses and then on, but also just being present. And choreography is wonderful for that capacity, for its capacity to be able to compel us to move to see something and to say, this is help, this compelled me to move and feel in a way that I'm not accustomed to, that might be a little bit different than talking about it. And so that would hopefully, spark a desire to watch more performances about these things, whether it's these artists or others, but that would be an invitation to say we need performance at the center of these conversations, for these reasons, because performance helps us process issues of immigration and citizenship, you know, across the aisle across perspectives in a very different way than sitting and talking or in a different way than receiving, you know, media bites, and the television set. So those be sort of some of the two big takeaways, and hopefully, the folks becoming familiar with these artists, but also just invite them, you know, to other, if someone's visiting from a student group, or if someone's visiting from a different class, that they would be compelled to invite them back again to Cornell.
And if folks feel moved by this performance, are there any other spaces or performances, whether on campus or in Ithaca, that you know of that they could maybe look to that continue or expand on a different part of this discourse around immigration?
So we had one other person who was going to be present with us today and due to some some unforeseen circumstances, not here. Anything you want to discuss in terms of, I guess their role was assistant producer?
I completely understand all of that, because I rely on Leah completely when it comes to interacting with students, because sometimes I feel like I'm just really, outside of it. Yeah, I'm older than I realize sometimes.
So you mentioned a bit that student interaction with these works is also very important. I figured this could maybe be a good space, if there was anything you wanted to share with the audience about the courses that you're teaching on immigration, if there's anything you want to share about, you know, what you hope students could take away? Or if there's anything that you'd want someone to know, if they were maybe considering pursuing studying something like that in an academic setting?
Yeah, yeah. Well, first of all, I just want to say, to your last point, it is possible to pursue the study of performance in an academic setting, especially when it comes to immigration. I mean, it's one of the things that, you know, compels me to, to address these issues. And myself as a specialist in it, you know, I often get invited to conferences or events where folks from, you know, from, who study immigration or citizenship come from American studies, or sociology, or psychology, and those are wonderful disciplines, and obviously come from a very different approach, having studied obviously, in anthropology, which is a link. But specifically in performance studies, like, it is possible to do, and that's what I tell students. You can focus on studying performance, and contribute significant insight to some of the most pressing issues of our time. And that's just the first thing, right, to say, like, there is value and there is worth, and we're using performance as a lens, but also as a practice, for contributing greatly to how we think about, you know, collective, how to respond to collective harm. But then also, how do we develop collective visions, you know, for making this world just a little bit less oppressive, right. And so because of that I am I do teach a course called Performance and Immigration, where I guide students through a course for thinking about different approaches to addressing just the topic of immigration, right, across different times, across different geographies. Just because we talk about performance and immigration as key terms, it doesn't mean that the methods of addressing immigration don't change, but also that immigration itself as a discourse doesn't change over time. And they do. We have immigration policies that constantly change. And that impacts how artists respond within a specific period. And so, the class gives the students the tools for thinking about how to look closely and precisely, not just that there is a performance about sort of the plight of immigration, but to say, what are the conditions that make this specifically at this time? And so, you know, part of inviting these, all these artists, is, is to contribute to that conversation of being compelled to look at performance as in, as like, Oh, this is a hard story, like, yes, but it's not just that. We also have to look at how you know, how the conditions around it made it. And we might also find that in the stories we find wonderful, exciting examples of resilience, of creativity, of imagination. And that's what you know, I hope that students in the Performance and Immigration class get and that they also get from attending this symposium.
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