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"content": "\u003cp>When you name the spaceship in your movie “Sorrowful,” you’ve pretty much tipped your hat to the viewer from the get-go. (The added bonus is that you don’t have to worry about spoiler alerts.)\u003c/p>\n\u003cp>Will the happy astro-travelers of the \u003ci>Aniara\u003c/i> arrive at their distant destination in one piece? Absolutely not. \u003c/p>\n\u003cp>In their feature film adaptation of Harry Martinson’s 1956 epic poem “Aniara,” co-directors Pella Kågerman and Hugo Lilja kept his title (also translated as “sad” or “despairing”) and the relentless sense that all hope is lost. If \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Das_Boot\" rel=\"noopener\" target=\"_blank\">Das Boot\u003c/a>\u003c/em> (1981) brought out your inner claustrophobe, the visuals in \u003cem>Aniara\u003c/em> should multiply that feeling, I’d estimate, upwards to about infinity. \u003c/p>\n\u003cp>Way back in the 1950s, Martinson, a Swedish Nobel Prize-winning author, was one of many Cassandra-like figures who prophesied that humans were destroying the \u003ca href=\"https://www.un.org/en/climatechange/reports.shtml\" target=\"_blank\" rel=\"noopener\">Earth\u003c/a> (but nobody ever believes a Cassandra-like figure).\u003c/p>\n\u003cfigure id=\"attachment_13857105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_a.jpg\" alt=\"A scene from 'Aniara,' 2019.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara,’ 2019. \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Aniara\u003c/em> begins in the future after the 32nd World War. That’s right, the 32nd one. The good news is it took thirty more world wars to completely annihilate the place. The bad news: Earth is completely annihilated. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Kågerman and Lilja’s movie is light on explosions. \u003cem>Aniara\u003c/em> has more in common with Ingmar Bergman’s entire oeuvre and Andrei Tarkovsky’s drama \u003cem>The Sacrifice\u003c/em> than it does with Hollywood space junk like \u003cem>Armageddon\u003c/em> or \u003cem>Independence Day\u003c/em>. In this Swedish take on a trip to Mars that goes awry, the end of human existence isn’t made into an occasion to display Ben Affleck’s mighty pectorals.\u003c/p>\n\u003cp>I spoke with Pella Kågerman in a transatlantic phone conversation that meaningfully recreated what it must feel like for an astronaut (or cosmonaut, or yuhangyuan) to call ground control while floating in a silver suit from high up above. There was plenty of echoing reverb and a 10-second delay between each question and answer.\u003c/p>\n\u003cfigure id=\"attachment_13857106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_e.jpg\" alt=\"Pella Kågerman and Hugo Lilja, directors of 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pella Kågerman and Hugo Lilja, directors of ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What made you want to adapt Martinson’s poem? \u003c/strong>\u003c/p>\n\u003cp>In Scandinavia, but mostly in Sweden, it’s almost impossible to avoid it or not know about it. It has been made into theater plays, exhibitions and even operas. So it’s all over the place. Our current generation was forced to read it in school, but this is the first ever film adaptation.\u003c/p>\n\u003cp>I was very close to my grandmother growing up and we used to read books together. We went to see a musical version of “Aniara.” After that, she had a stroke and ended up in this huge hospital. I was by her side and reading the poem out loud to her. As she was getting better, we started to role-play. This enormous hospital was the big spacecraft. All the patients were passengers and the doctors: they were the crew. My grandma was this artificial intelligence called Mima. That’s when I realized, “Oh my god, this story is amazing and I have to make a movie of it.”\u003c/p>\n\u003cfigure id=\"attachment_13857107\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_b.jpg\" alt=\"Emilie Jonsson in 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emilie Jonsson in ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your film presents a bleak and disturbing vision of humanity.\u003c/strong>\u003c/p>\n\u003cp>I’m not surprised that that’s the feeling that you left with. But somehow, I think we had the idea that when you were walking out of the screening you’d basically be feeling like it’s shitty weather and we say, “Thank god that I’m here on Earth and that I’m not onboard the ship.” And that we haven’t come that far, even if it seems like that’s the way we’re heading now.\u003c/p>\n\u003cp>We have to read the story of this spacecraft as if it were Earth. The apocalypse looks like this. We’re in the middle of it, right? Destroying Earth.\u003c/p>\n\u003cp>\u003cstrong>The most beautiful scenes in the movie come from an A.I. program called “Mima” that recreates the experience of being on Earth for the passengers. It temporarily restores their sanity.\u003c/strong>\u003c/p>\n\u003cp>Mima in the poem was more or less described as a big TV screen. We understood pretty early on that that wouldn’t impress an audience or the people that would go onboard Aniara today. So we thought of it as more of a spiritual practice like yoga—being thrown back to your strongest memories of Earth and nature, and how good it feels to almost experience that.\u003c/p>\n\u003cfigure id=\"attachment_13857108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_d.jpg\" alt=\"A scene from 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As the protagonist, Emelie Jonsson’s character doesn’t lose faith in the possibility of being rescued. She’s the only ray of light in the film. Is that why you cast her in the role?\u003c/strong>\u003c/p>\n\u003cp>We wrote \u003ci>Aniara\u003c/i> with her in mind because she has this naïveté to her. Her character will somehow continue fighting. In this blue, pessimistic world, the main character really has to carry the hope. We think that she has that.\u003c/p>\n\u003cp>\u003cstrong> Could you clarify one plot point? Despite the incredible advance in technology, why can’t the Aniara, this floating city, contact anyone else?\u003c/strong>\u003c/p>\n\u003cp>Because space is enormous. And when the poem was written in the 1950’s, they hadn’t found that many planets. Yes, they would know that they existed. Now they’ve discovered one planet that might actually be inhabited but it would take five million years to get to. Most of space is just empty. And also, you just have this spacecraft that’s been taken off course. No one could have the speed to rescue it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.aniarafilm.com/trailer/\" target=\"_blank\" rel=\"noopener\">Aniara\u003c/a>‘ opens Friday, May 17 at Landmark’s Opera Plaza Cinema in San Francisco and Landmark’s Shattuck Cinema in Berkeley.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you name the spaceship in your movie “Sorrowful,” you’ve pretty much tipped your hat to the viewer from the get-go. (The added bonus is that you don’t have to worry about spoiler alerts.)\u003c/p>\n\u003cp>Will the happy astro-travelers of the \u003ci>Aniara\u003c/i> arrive at their distant destination in one piece? Absolutely not. \u003c/p>\n\u003cp>In their feature film adaptation of Harry Martinson’s 1956 epic poem “Aniara,” co-directors Pella Kågerman and Hugo Lilja kept his title (also translated as “sad” or “despairing”) and the relentless sense that all hope is lost. If \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Das_Boot\" rel=\"noopener\" target=\"_blank\">Das Boot\u003c/a>\u003c/em> (1981) brought out your inner claustrophobe, the visuals in \u003cem>Aniara\u003c/em> should multiply that feeling, I’d estimate, upwards to about infinity. \u003c/p>\n\u003cp>Way back in the 1950s, Martinson, a Swedish Nobel Prize-winning author, was one of many Cassandra-like figures who prophesied that humans were destroying the \u003ca href=\"https://www.un.org/en/climatechange/reports.shtml\" target=\"_blank\" rel=\"noopener\">Earth\u003c/a> (but nobody ever believes a Cassandra-like figure).\u003c/p>\n\u003cfigure id=\"attachment_13857105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_a.jpg\" alt=\"A scene from 'Aniara,' 2019.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara,’ 2019. \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Aniara\u003c/em> begins in the future after the 32nd World War. That’s right, the 32nd one. The good news is it took thirty more world wars to completely annihilate the place. The bad news: Earth is completely annihilated. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Kågerman and Lilja’s movie is light on explosions. \u003cem>Aniara\u003c/em> has more in common with Ingmar Bergman’s entire oeuvre and Andrei Tarkovsky’s drama \u003cem>The Sacrifice\u003c/em> than it does with Hollywood space junk like \u003cem>Armageddon\u003c/em> or \u003cem>Independence Day\u003c/em>. In this Swedish take on a trip to Mars that goes awry, the end of human existence isn’t made into an occasion to display Ben Affleck’s mighty pectorals.\u003c/p>\n\u003cp>I spoke with Pella Kågerman in a transatlantic phone conversation that meaningfully recreated what it must feel like for an astronaut (or cosmonaut, or yuhangyuan) to call ground control while floating in a silver suit from high up above. There was plenty of echoing reverb and a 10-second delay between each question and answer.\u003c/p>\n\u003cfigure id=\"attachment_13857106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_e.jpg\" alt=\"Pella Kågerman and Hugo Lilja, directors of 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pella Kågerman and Hugo Lilja, directors of ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What made you want to adapt Martinson’s poem? \u003c/strong>\u003c/p>\n\u003cp>In Scandinavia, but mostly in Sweden, it’s almost impossible to avoid it or not know about it. It has been made into theater plays, exhibitions and even operas. So it’s all over the place. Our current generation was forced to read it in school, but this is the first ever film adaptation.\u003c/p>\n\u003cp>I was very close to my grandmother growing up and we used to read books together. We went to see a musical version of “Aniara.” After that, she had a stroke and ended up in this huge hospital. I was by her side and reading the poem out loud to her. As she was getting better, we started to role-play. This enormous hospital was the big spacecraft. All the patients were passengers and the doctors: they were the crew. My grandma was this artificial intelligence called Mima. That’s when I realized, “Oh my god, this story is amazing and I have to make a movie of it.”\u003c/p>\n\u003cfigure id=\"attachment_13857107\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_b.jpg\" alt=\"Emilie Jonsson in 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emilie Jonsson in ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your film presents a bleak and disturbing vision of humanity.\u003c/strong>\u003c/p>\n\u003cp>I’m not surprised that that’s the feeling that you left with. But somehow, I think we had the idea that when you were walking out of the screening you’d basically be feeling like it’s shitty weather and we say, “Thank god that I’m here on Earth and that I’m not onboard the ship.” And that we haven’t come that far, even if it seems like that’s the way we’re heading now.\u003c/p>\n\u003cp>We have to read the story of this spacecraft as if it were Earth. The apocalypse looks like this. We’re in the middle of it, right? Destroying Earth.\u003c/p>\n\u003cp>\u003cstrong>The most beautiful scenes in the movie come from an A.I. program called “Mima” that recreates the experience of being on Earth for the passengers. It temporarily restores their sanity.\u003c/strong>\u003c/p>\n\u003cp>Mima in the poem was more or less described as a big TV screen. We understood pretty early on that that wouldn’t impress an audience or the people that would go onboard Aniara today. So we thought of it as more of a spiritual practice like yoga—being thrown back to your strongest memories of Earth and nature, and how good it feels to almost experience that.\u003c/p>\n\u003cfigure id=\"attachment_13857108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_d.jpg\" alt=\"A scene from 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As the protagonist, Emelie Jonsson’s character doesn’t lose faith in the possibility of being rescued. She’s the only ray of light in the film. Is that why you cast her in the role?\u003c/strong>\u003c/p>\n\u003cp>We wrote \u003ci>Aniara\u003c/i> with her in mind because she has this naïveté to her. Her character will somehow continue fighting. In this blue, pessimistic world, the main character really has to carry the hope. We think that she has that.\u003c/p>\n\u003cp>\u003cstrong> Could you clarify one plot point? Despite the incredible advance in technology, why can’t the Aniara, this floating city, contact anyone else?\u003c/strong>\u003c/p>\n\u003cp>Because space is enormous. And when the poem was written in the 1950’s, they hadn’t found that many planets. Yes, they would know that they existed. Now they’ve discovered one planet that might actually be inhabited but it would take five million years to get to. Most of space is just empty. And also, you just have this spacecraft that’s been taken off course. No one could have the speed to rescue it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.aniarafilm.com/trailer/\" target=\"_blank\" rel=\"noopener\">Aniara\u003c/a>‘ opens Friday, May 17 at Landmark’s Opera Plaza Cinema in San Francisco and Landmark’s Shattuck Cinema in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Quantum Dragon’s 'Do’s and Don’ts of Time Travel' Isn’t Just for Nerds",
"headTitle": "Quantum Dragon’s ‘Do’s and Don’ts of Time Travel’ Isn’t Just for Nerds | KQED",
"content": "\u003cp>For a region as tech-friendly as the Bay Area, it’s surprising that more theaters don’t cater to the computer-age canon.\u003c/p>\n\u003cp>Indra’s Net, in Berkeley, specializes in plays specifically about science and scientists, including Heisenberg, Darwin, and Hawking. Dreams on the Rocks Productions puts on rambunctious reenactments of nerd-camp movie fare such as \u003cem>Flash Gordon\u003c/em> and \u003cem>Barbarella\u003c/em>. But only Quantum Dragon Theatre, active since 2016, has fully embraced the dramatic potential of \u003cem>speculative fiction\u003c/em>. Producing work that runs the gamut from space travel to spellcraft to classic science fiction, Quantum Dragon offers audiences a chance to geek out via one of our most classically analog art forms, and have fun doing it.\u003c/p>\n\u003cp>In their current production—\u003cem>The Do’s and Don’ts of Time Travel\u003c/em>, by Pennsylvania-based playwright Nicholas Wardigo—Quantum Dragon serves up a smart, compelling drama about the personal implications and motivations for time travel. In addition to the play’s emotional arc, the audience is treated to one character’s thesis on time travel in movies, and why there’s always a moment in the plot where logic fails. More than just a clever gimmick to explain away any logical fallacies found within the play, this thesis sparks an opportunity to ruminate on the science behind the fiction, both during the play, and after.\u003c/p>\n\u003cfigure id=\"attachment_13848748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miranda Reilly as Zoey and Marisa Darabi as Rachel in ‘The Do’s and Don’ts of Time Travel’ at Quantum Dragon Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Presented by the character Rachel (Marisa Darabi), the thesis breaks time travel into three basic methods: Force of Machination (as found in \u003cem>Back to the Future\u003c/em>, \u003cem>The Terminator\u003c/em>, and \u003cem>Hot Tub Time Machine\u003c/em>), Force of Nature (as in \u003cem>Army of Darkness\u003c/em> and\u003cem> Time Bandits\u003c/em>), and Force of Will (\u003cem>The Time Traveler’s Wife\u003c/em>, \u003cem>Slaughterhouse Five\u003c/em>, and \u003cem>Donnie Darko\u003c/em>). It’s this third method that our lead time traveler, Zoey, avails herself of. Zoey is actually two Zoeys, played by Miranda Reilly and Kitty Torres (who swap their respective roles each night), and although Rachel points out several times the fallacy of your future self and past self meeting up in time together, they immediately do just that. Circling each other warily in a laundromat, matching ombre-dyed blue wigs framing their watchful faces, Zoey 1 and Zoey 2 are clearly uncomfortable with their encounter, even though—it’s intimated—they’ve done it all before.\u003c/p>\n\u003cfigure id=\"attachment_13848746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitty Torres as Zoey and Miranda Reilly as Zoey circle each other in the laundromat. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You see, Zoey’s been traveling in time for many years. A “looper,” she relives the same two years over and over, trying to change the outcome: the long painful decline of her partner, Claire (Caitlin Evenson). It’s the motivation behind her “Force of Will” method of time travel, one which baffles her friend Rachel, both in terms of the relationship and of the chosen loop. But it’s this motivation, and the evolution of Zoey’s approach, that gives the play its emotional resonance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s because at its core, \u003cem>Do’s and Don’ts\u003c/em> is as much about the heart as about the practical how-to’s of traveling in time. Set in a world much like our own, except that the play’s young lovers still use answering machines, there are no great leaps in perception or deep knowledge of time traveling as leitmotif required of the audience. Being a time traveler is just one of several character traits in Zoey’s arsenal, which also include a love of James Bond, a curious inability to sort her own laundry, and an irrepressible free spirit. Her need to relive the same tragic two years may have the appearance of an unexplainable masochism, but to her, it’s the mark of a serious commitment, one that Evenson’s Claire doesn’t make easy.\u003c/p>\n\u003cfigure id=\"attachment_13848744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Evenson as Claire and Kitty Torres as Zoey confront each other in the hospital. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perfectly contained within the cozy confines of the Phoenix Theatre, a miniature revolving stage (designed by Katie Whitcraft) allows for simple set changes with a minimum of disruption, while the equally effective costuming (by Emily Dwyer) offers a quick visual shorthand to the interior selves of each character. Director Anna Smith’s light touch imbues the production with a matter-of-fact realism that makes even the most scientifically improbable moments entirely natural. Without a need for flashy special effects or stagecraft, this understated foray into fantasy feels more down-to-earth and perfectly plausible than any number of “living-room” dramas.\u003c/p>\n\u003cp>As such, \u003cem>The Dos and Don’ts of Time Travel\u003c/em> will certainly appeal to a broader spectrum than those who self-identify as nerds. Anyone who recognizes theater’s potential for grappling with the bigger questions of our human existence, regardless of genre, will find resonance in this production.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dos and Don’ts of Time Travel’ runs through Jan. 26. \u003ca href=\"https://www.quantumdragon.org/the-dos-and-donts-of-time-travel/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a region as tech-friendly as the Bay Area, it’s surprising that more theaters don’t cater to the computer-age canon.\u003c/p>\n\u003cp>Indra’s Net, in Berkeley, specializes in plays specifically about science and scientists, including Heisenberg, Darwin, and Hawking. Dreams on the Rocks Productions puts on rambunctious reenactments of nerd-camp movie fare such as \u003cem>Flash Gordon\u003c/em> and \u003cem>Barbarella\u003c/em>. But only Quantum Dragon Theatre, active since 2016, has fully embraced the dramatic potential of \u003cem>speculative fiction\u003c/em>. Producing work that runs the gamut from space travel to spellcraft to classic science fiction, Quantum Dragon offers audiences a chance to geek out via one of our most classically analog art forms, and have fun doing it.\u003c/p>\n\u003cp>In their current production—\u003cem>The Do’s and Don’ts of Time Travel\u003c/em>, by Pennsylvania-based playwright Nicholas Wardigo—Quantum Dragon serves up a smart, compelling drama about the personal implications and motivations for time travel. In addition to the play’s emotional arc, the audience is treated to one character’s thesis on time travel in movies, and why there’s always a moment in the plot where logic fails. More than just a clever gimmick to explain away any logical fallacies found within the play, this thesis sparks an opportunity to ruminate on the science behind the fiction, both during the play, and after.\u003c/p>\n\u003cfigure id=\"attachment_13848748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miranda Reilly as Zoey and Marisa Darabi as Rachel in ‘The Do’s and Don’ts of Time Travel’ at Quantum Dragon Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Presented by the character Rachel (Marisa Darabi), the thesis breaks time travel into three basic methods: Force of Machination (as found in \u003cem>Back to the Future\u003c/em>, \u003cem>The Terminator\u003c/em>, and \u003cem>Hot Tub Time Machine\u003c/em>), Force of Nature (as in \u003cem>Army of Darkness\u003c/em> and\u003cem> Time Bandits\u003c/em>), and Force of Will (\u003cem>The Time Traveler’s Wife\u003c/em>, \u003cem>Slaughterhouse Five\u003c/em>, and \u003cem>Donnie Darko\u003c/em>). It’s this third method that our lead time traveler, Zoey, avails herself of. Zoey is actually two Zoeys, played by Miranda Reilly and Kitty Torres (who swap their respective roles each night), and although Rachel points out several times the fallacy of your future self and past self meeting up in time together, they immediately do just that. Circling each other warily in a laundromat, matching ombre-dyed blue wigs framing their watchful faces, Zoey 1 and Zoey 2 are clearly uncomfortable with their encounter, even though—it’s intimated—they’ve done it all before.\u003c/p>\n\u003cfigure id=\"attachment_13848746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitty Torres as Zoey and Miranda Reilly as Zoey circle each other in the laundromat. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You see, Zoey’s been traveling in time for many years. A “looper,” she relives the same two years over and over, trying to change the outcome: the long painful decline of her partner, Claire (Caitlin Evenson). It’s the motivation behind her “Force of Will” method of time travel, one which baffles her friend Rachel, both in terms of the relationship and of the chosen loop. But it’s this motivation, and the evolution of Zoey’s approach, that gives the play its emotional resonance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because at its core, \u003cem>Do’s and Don’ts\u003c/em> is as much about the heart as about the practical how-to’s of traveling in time. Set in a world much like our own, except that the play’s young lovers still use answering machines, there are no great leaps in perception or deep knowledge of time traveling as leitmotif required of the audience. Being a time traveler is just one of several character traits in Zoey’s arsenal, which also include a love of James Bond, a curious inability to sort her own laundry, and an irrepressible free spirit. Her need to relive the same tragic two years may have the appearance of an unexplainable masochism, but to her, it’s the mark of a serious commitment, one that Evenson’s Claire doesn’t make easy.\u003c/p>\n\u003cfigure id=\"attachment_13848744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Evenson as Claire and Kitty Torres as Zoey confront each other in the hospital. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perfectly contained within the cozy confines of the Phoenix Theatre, a miniature revolving stage (designed by Katie Whitcraft) allows for simple set changes with a minimum of disruption, while the equally effective costuming (by Emily Dwyer) offers a quick visual shorthand to the interior selves of each character. Director Anna Smith’s light touch imbues the production with a matter-of-fact realism that makes even the most scientifically improbable moments entirely natural. Without a need for flashy special effects or stagecraft, this understated foray into fantasy feels more down-to-earth and perfectly plausible than any number of “living-room” dramas.\u003c/p>\n\u003cp>As such, \u003cem>The Dos and Don’ts of Time Travel\u003c/em> will certainly appeal to a broader spectrum than those who self-identify as nerds. Anyone who recognizes theater’s potential for grappling with the bigger questions of our human existence, regardless of genre, will find resonance in this production.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dos and Don’ts of Time Travel’ runs through Jan. 26. \u003ca href=\"https://www.quantumdragon.org/the-dos-and-donts-of-time-travel/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kehlani’s been pretty busy over the past year with her pregnancy, her healthy-living \u003ca href=\"https://floraliving.com/\" target=\"_blank\" rel=\"noopener\">app\u003c/a> and her \u003cem>Sunday Gems\u003c/em> \u003ca href=\"https://www.hotnewhiphop.com/kehlanis-new-beats1-podcast-sunday-gems-will-discuss-life-love-and-beyond-news.66747.html\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>, but fans have been anxiously awaiting new music since her last album, \u003cem>SweetSexySavage\u003c/em>, in 2017.\u003c/p>\n\u003cp>On Twitter, the Oakland-raised singer has been teasing her upcoming mixtape, and she gave fans a taste Thursday with a new track and music video, “\u003ca href=\"https://www.youtube.com/watch?v=I99qCuWx1mI\" rel=\"noopener\" target=\"_blank\">Nights Like This\u003c/a>,” featuring Ty Dolla $ign. In the sci-fi music video, a cyborg love interest happens upon Kehlani’s doorstep. Serving major mad scientist vibes, Kehlani takes her into her workshop and brings her back to health; the two fall in love, and Kehlani teaches her cute cyborg bae to be human by re-potting houseplants and painting her nails.\u003c/p>\n\u003cp>But as Kehlani sings the refrain, “You was mine but you decided to be with him, though,” things take a dark turn. The cyborg puts her hands on Kehlani’s heart and appears to take over her body. When Kehlani wakes up, she burns her girlfriend’s lifeless body (wait, what?!) and repeats the heart-stealing operation on Ty Dolla $ign when he arrives at her secluded lair to sing his featured verse.\u003c/p>\n\u003cp>Cyborgs have a long history in queer and feminist theory. In 1984, scholar Donna Haraway wrote the essay “A Cyborg Manifesto,” about how cyborgs defy the binary of human and machine. In doing so, they invite us to rethink other dichotomies such as gender, opening a new world of possibilities of how we relate to our identities and sexualities.\u003c/p>\n\u003cp>“The cyborg is a creature in a post-gender world,” Haraway writes.\u003c/p>\n\u003cp>We’ll see how this theme plays out in Kehlani’s new mixtape, which is reportedly coming soon.\u003c/p>\n\u003cp>https://youtu.be/I99qCuWx1mI\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani’s been pretty busy over the past year with her pregnancy, her healthy-living \u003ca href=\"https://floraliving.com/\" target=\"_blank\" rel=\"noopener\">app\u003c/a> and her \u003cem>Sunday Gems\u003c/em> \u003ca href=\"https://www.hotnewhiphop.com/kehlanis-new-beats1-podcast-sunday-gems-will-discuss-life-love-and-beyond-news.66747.html\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>, but fans have been anxiously awaiting new music since her last album, \u003cem>SweetSexySavage\u003c/em>, in 2017.\u003c/p>\n\u003cp>On Twitter, the Oakland-raised singer has been teasing her upcoming mixtape, and she gave fans a taste Thursday with a new track and music video, “\u003ca href=\"https://www.youtube.com/watch?v=I99qCuWx1mI\" rel=\"noopener\" target=\"_blank\">Nights Like This\u003c/a>,” featuring Ty Dolla $ign. In the sci-fi music video, a cyborg love interest happens upon Kehlani’s doorstep. Serving major mad scientist vibes, Kehlani takes her into her workshop and brings her back to health; the two fall in love, and Kehlani teaches her cute cyborg bae to be human by re-potting houseplants and painting her nails.\u003c/p>\n\u003cp>But as Kehlani sings the refrain, “You was mine but you decided to be with him, though,” things take a dark turn. The cyborg puts her hands on Kehlani’s heart and appears to take over her body. When Kehlani wakes up, she burns her girlfriend’s lifeless body (wait, what?!) and repeats the heart-stealing operation on Ty Dolla $ign when he arrives at her secluded lair to sing his featured verse.\u003c/p>\n\u003cp>Cyborgs have a long history in queer and feminist theory. In 1984, scholar Donna Haraway wrote the essay “A Cyborg Manifesto,” about how cyborgs defy the binary of human and machine. In doing so, they invite us to rethink other dichotomies such as gender, opening a new world of possibilities of how we relate to our identities and sexualities.\u003c/p>\n\u003cp>“The cyborg is a creature in a post-gender world,” Haraway writes.\u003c/p>\n\u003cp>We’ll see how this theme plays out in Kehlani’s new mixtape, which is reportedly coming soon.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I99qCuWx1mI'\n title='//www.youtube.com/embed/I99qCuWx1mI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "New Art Space Cloaca Projects Fills a Small Room with Big Ideas",
"headTitle": "New Art Space Cloaca Projects Fills a Small Room with Big Ideas | KQED",
"content": "\u003cp>One of San Francisco’s newest visual art spaces is also one of the trickiest to say out loud with confidence. (Runners-up in this category include \u003ca href=\"http://kadist.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">KADIST\u003c/a> and \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://cloacaprojects.com/\" target=\"_blank\" rel=\"noopener\">CLOACA PROJECTS\u003c/a>, the voice on the internet dictionary tells me, is pronounced \u003ca href=\"https://www.youtube.com/watch?v=kvvq0CAgsdI\" target=\"_blank\" rel=\"noopener\">cloh-AY-kuh\u003c/a>. Politely put, it’s named after the orifice that serves certain animals as an “all-purpose hole” for their digestive, reproductive and urinary tracts.\u003c/p>\n\u003cp>Cool, right? It’s not often you get a biology lesson with your art viewing. Pronunciation and etymology confirmed, you can now stride purposefully through the Bayview warehouse of \u003ca href=\"http://www.huntprojects.org/\" target=\"_blank\" rel=\"noopener\">Hunt Projects\u003c/a> (a studio and fabrication space) and into the back patio space that houses CLOACA PROJECTS, fittingly described as facilitating the “reproduction and evacuation of art.”\u003c/p>\n\u003cp>This Saturday, Feb. 3, Los Angeles and Berlin-based artist \u003ca href=\"http://www.sonjagerdes.com/\" target=\"_blank\" rel=\"noopener\">Sonja Gerdes\u003c/a> opens an exhibition at CLOACA elaborately titled \u003ci>Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Breath Amorph Genderless. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova.\u003c/i>\u003c/p>\n\u003cp>The show draws from Gerdes’ ongoing body of work called \u003ca href=\"http://www.oxygenenergizer.com/\" target=\"_blank\" rel=\"noopener\">Oxygenenergizer (OE)\u003c/a>, a conceptual science fiction project about the accessibility of air. Within OE, Gerdes imagines a future in which machines create energy from oxygen. The project manifests as “sculpture, performances, writings, spirit channeling and social activation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past examples of Gerdes’ work hint at ultramarine blue frameworks draped in black ropey masses, the artist appearing periodically to activate all of the above. To find out just what form \u003ci>Pie of Trouble\u003c/i> takes in this latest iteration, you’ll have to show up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pie of Trouble…’ is on view at CLOACA PROJECTS in San Francisco (1460 Davidson Ave) Feb. 3–April 7, 2018 on Saturdays, 12–5pm. For more information, \u003ca href=\"https://cloacaprojects.com/sonja-gerdes-pie-trouble-stays-trouble-lets-hang-breathe-oxygenenergizer-becoming-breath-amorph-genderless-animal-creature-plant-breath-soul-air-free-spiders-breathe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of San Francisco’s newest visual art spaces is also one of the trickiest to say out loud with confidence. (Runners-up in this category include \u003ca href=\"http://kadist.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">KADIST\u003c/a> and \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://cloacaprojects.com/\" target=\"_blank\" rel=\"noopener\">CLOACA PROJECTS\u003c/a>, the voice on the internet dictionary tells me, is pronounced \u003ca href=\"https://www.youtube.com/watch?v=kvvq0CAgsdI\" target=\"_blank\" rel=\"noopener\">cloh-AY-kuh\u003c/a>. Politely put, it’s named after the orifice that serves certain animals as an “all-purpose hole” for their digestive, reproductive and urinary tracts.\u003c/p>\n\u003cp>Cool, right? It’s not often you get a biology lesson with your art viewing. Pronunciation and etymology confirmed, you can now stride purposefully through the Bayview warehouse of \u003ca href=\"http://www.huntprojects.org/\" target=\"_blank\" rel=\"noopener\">Hunt Projects\u003c/a> (a studio and fabrication space) and into the back patio space that houses CLOACA PROJECTS, fittingly described as facilitating the “reproduction and evacuation of art.”\u003c/p>\n\u003cp>This Saturday, Feb. 3, Los Angeles and Berlin-based artist \u003ca href=\"http://www.sonjagerdes.com/\" target=\"_blank\" rel=\"noopener\">Sonja Gerdes\u003c/a> opens an exhibition at CLOACA elaborately titled \u003ci>Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Breath Amorph Genderless. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova.\u003c/i>\u003c/p>\n\u003cp>The show draws from Gerdes’ ongoing body of work called \u003ca href=\"http://www.oxygenenergizer.com/\" target=\"_blank\" rel=\"noopener\">Oxygenenergizer (OE)\u003c/a>, a conceptual science fiction project about the accessibility of air. Within OE, Gerdes imagines a future in which machines create energy from oxygen. The project manifests as “sculpture, performances, writings, spirit channeling and social activation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Past examples of Gerdes’ work hint at ultramarine blue frameworks draped in black ropey masses, the artist appearing periodically to activate all of the above. To find out just what form \u003ci>Pie of Trouble\u003c/i> takes in this latest iteration, you’ll have to show up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pie of Trouble…’ is on view at CLOACA PROJECTS in San Francisco (1460 Davidson Ave) Feb. 3–April 7, 2018 on Saturdays, 12–5pm. For more information, \u003ca href=\"https://cloacaprojects.com/sonja-gerdes-pie-trouble-stays-trouble-lets-hang-breathe-oxygenenergizer-becoming-breath-amorph-genderless-animal-creature-plant-breath-soul-air-free-spiders-breathe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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