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Hi Paige and Hannah,

Following up from Action Plan Meeting today, here are a two colleges anti-racist and anti-ableist efforts that the white student accountability group was looking at over break. I'm posting these here so everyone in the Bard community has access and can add other colleges/universities plans, efforts, and responses below. Paige feel free to post your research.

Thank you both for your work and transparency!

Ginevra

Cooper Union—Collective Student Response to Creating an Actively Anti-Racist Institution:
https://docs.google.com/document/d/181d5Cw4AaIrwM8blzEPp8cED0eAvcMU4vVyNG1I3kCk/edit

RISD Anti-Racism Coalition:
https://risdarc.cargo.site/

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Jennie C Jones at Alexander Grey in Germantown

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Jennie C Jones at Alexander Grey in Germantown

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So good! Congrats Jennie!

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Tuition free workshop with Omotara James for NYC-based poets of color 

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Tuition free workshop with Omotara James for NYC-based poets of color 

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After La vida nueva, great online exhibit,  Curated by the 2019-20 Curatorial Fellows of the Whitney Independent Study Program

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After La vida nueva
Curated by the 2019-20 Curatorial Fellows of the Whitney Independent Study Program

Raúl Zurita, documentation of La vida nueva, 1982. Courtesy the artist. Photo by Ana María López. [Blotted smoke-dots curve across a vast blue sky, spelling out the phrase "MI DIOS ES PARAISO", above a jagged skyline of red brick buildings. The photograph is taken from the vantage point of the Flushing Airport, where a pile of debris, which appears to be torn-up asphalt, and a few puddles litter the runway. Three planes are parked in the lower fourth quadrant.]

On a sunny, cloudless day in June 1982, five decommissioned World War II planes took off from Flushing Airport in Queens, New York. In white smoke-dots blotted across the sky, they typed out a poem, "La vida nueva", by the artist and poet Raúl Zurita as he and a group of friends and artists looked on. The work referenced the 1973 U.S.-led military coup against the democratically elected government of Salvador Allende and the subsequent dictatorship in Chile. After La vida nueva takes its name from this work of Zurita's and turns back to this era that was full of the promise and violence of the new, to bring us a sense of a moment in time lost and imperfectly recovered. Through video, installation, sculpture, poetry, performance and archival documentation, the works explore constructions of self and nation by sifting through the unstable terrain of the past. Drawing on histories and archives of feminist, queer, and Third World liberation movements and responding to the uneven forces of neoliberalization, the artists suggest the pursuit of a new life that is concomitant with new ways of being together.

Due to the coronavirus pandemic, After La vida nueva consists of an expanded catalogue, available for download, and an online component, hosted by Artists Space, where a weekly series of "spotlights" of different works in the exhibition will include screenings, archival documents, images, and text.

The exhibition features works by Amelia Bande, Theresa Hak Kyung Cha, Electronic Disturbance Theater 2.0/b.a.n.g. lab, Renée Green, Rummana Hussain, Caroline Key, Alan Michelson, Rashaad Newsome, Catalina Parra, Cici Wu, and Raúl Zurita.

August 8 - 15: Theresa Hak Kyung Cha, Renée Green, Caroline Key, and Cici Wu

August 16 - 23: Electronic Disturbance Theater 2.0/b.a.n.g. lab, Alan Michelson, Rashaad Newsome, and Catalina Parra

August 24 - 31: Amelia Bande, Rummana Hussain, Third World Gay Revolution and Juan Queiroz, and Raúl Zurita

Curated by Weiyi Chang, Sofia Jamal, Colleen O'Connor, and Patricio Orellana, the 2019-20 Helena Rubinstein Curatorial Fellows of the Whitney Independent Study Program.

Theresa Hak Kyung Cha, Renée Green, Caroline Key, and Cici Wu
August 8 - 15

Theresa Hak Kyung Cha, still from Mouth to Mouth, 1975. Video, black and white, sound; 8 minutes. Courtesy University of California, Berkeley Art Museum and Pacific Film Archive. [A mouth silently forms the shape of the eight Korean vowel graphemes while video noise or 'snow' threatens to drown it out.]

Mouth to Mouth, a video piece by Theresa Hak Kyung Cha made in 1975, illustrates the possibilities of language when address becomes incomprehensible. Cha does this by pulling apart the two elements necessary for speech: the physical body and the immaterial voice. This split is made within the audiovisual medium itself-Cha's editing works against the convention of synchronized audio and video tracks-which the artist maps onto the tension between orality and writing. Her video begins with a slow pan across eight Korean vowel graphemes, followed by a sequence of close-up shots of a mouth silently enunciating each of the eight vowels that alternate with passages of video static. Due to the shift to a virtual exhibition platform, we are only able to show a still from Mouth to Mouth.

Theresa Hak Kyung Cha, Dictée (New York: Tanam Press, 1982), 74 - 75. [A two-page spread from the novel Dictée shows four diagrams of a human larynx and neck on the left-hand page and a page of writing from the novel on the right.]

Cha's profuse practice includes writing as well as art and demonstrates a vested interest in the communal possibilities of such in-between spaces. Her most famous book, Dictée (1982) is an avant-garde novel that takes as its point of departure the Japanese occupation of Korea (1919-1945). The novel's title is derived from the French word meaning "dictation," though it also designates the exercise of typing spoken words, a practice typical of the early stages of learning a new language. Blending Korean, English and French, Dictée's use of language challenges the notion of a "mother tongue," rebuking the use of language as a cultural and political weapon in constructing ideas of the nation, which often silence dissident ways of being and speaking in the world. To the deconstruction of language presented in Mouth to Mouth, Dictée adds a preoccupation with language learning and translation particularly as part of a crucial, if ambivalent, aspect of the process of identity formation.

Renée Green. Partially Buried, 1996. Video, color, sound; 20 minutes. Courtesy the artist, Free Agent Media, and Video Data Bank. [This essayistic video combines footage shot by Green at Kent State University with family photographs and other intertextual ephemera and found footage.]

Renée Green. Partially Buried Continued, 1997. Video, color, sound; 36 minutes. Courtesy the artist, Free Agent Media, and Video Data Bank. [This essayistic video combines footage shot by Green in South Korea with family photographs and other intertextual ephemera and found footage.]

The complexity of historical returns is foregrounded in Renée Green's Partially Buried (1996) and Partially Buried Continued (1997), which are two works in a three-part series that weaves an intertextual collage between the artist's family history, American political events, and American art. In Partially Buried, Green returns to one of Robert Smithson's earthworks, Partially Buried Woodshed (1970), a project executed at Kent State University (KSU) that inadvertently became a symbol of the Kent State Shootings (which took place later that same year) when a student painted "May 4 Kent 70" on the shed's lintel. Green's video relates Smithson's earthwork to her mother's experience of being a student at KSU during this time.

Partially Buried Continued reprises the themes of art and politics, as well as personal and public histories, by focusing on Green's father and particularly his experience as an American officer during the Korean War. Green creates a montage of the Polaroid photographs taken by her father during his deployment with ruminations on Cha's Dictée, combining this with original footage shot during Green's own visit to South Korea as part of a commission. As in Cha's practice, Green plays with the use of spoken versus written language through the interplay between the videos. The art-historical citations of Smithson and Cha, alongside the makeshift genealogy Green constructs from her parent's memories, become an integral way of situating the artist herself within a historically specific yet nonlinear continuity.

Cici Wu, Foreign Object #1 Fluffy Light (anonymous), 2018. Handmade opalescent glass, CDS photo-reflectors, white and orange LED indicator, switch, chargeable battery, electronic board, memory cardboard. 4.5 × 4.5 × 4.5 in. (11.43 × 11.43 × 11.43 cm). Courtesy the artist and 47 Canal Gallery. Photo by Joerg Lohse. [A bulbous light-hued pink sphere-like object rests upon a white plinth. When in use, a red light on the object blinks to signal that the object is functioning correctly.]

Read an interview with Cici Wu and Yong Soon Min from the exhibition catalogue.
At a rare screening of Theresa Hak Kyung Cha's unfinished film White Dust from Mongolia at the Museum of Art and Design in New York in 2017, artist Cici Wu attended with a prototype of her project Foreign Object #1 Fluffy Light -a portable light-reading device that translates light-waves into binary code that is then recorded on an SD-card. Wu's act of bootlegging Cha's film also becomes a point of abstraction, one that can be thought of as the attempt to extract Cha's unfinished work, to recall an image lost to history. By not faithfully reproducing the fragments of Cha's film that do remain, Wu's work also questions the necessity of the image in its documentary mode, its scopophilic making visible of the subject. The abstract images reflect on the (im)possibility of historical transmission and objectivity. Neither Cha nor Wu are able to see or produce the images they desire, and their respective projects exist in the realm of the unfulfilled.

Caroline Key. Speech Memory, 2007. 16mm film on video, color, sound; 23 minutes. Courtesy the artist. [The artist interviews her grandfather who appears against a bright blue screen. Footage of the interview is intercut with a black screen with white text which captions the words spoken by the artist's father as he tells her about his experiences with his father, the artist's grandfather.]

In Caroline Key's film Speech Memory (2007), the artist uses her own family to consider the ways in which imperial power is normalized through the control of language. The bulk of the film's narrative is told through a dialogue between Key and her father, which is spoken in Korean but translated into English subtitles that appear printed over a black screen. These moments highlight the act of translation and are interspersed with untranslated footage of Key's father signing a form of pidgin Japanese sign language. Having never formally studied Japanese sign language, Key's father learned only basic sign by communicating with his father. Together, they developed their own language-both a product of necessity but also the result of the brutal effects of colonialism and its tendency to enforce monolingualism in the construction of national unity.

Biographies

Theresa Hak Kyung Cha
1951-1982, Busan, South Korea

Theresa Hak Kyung Cha's profuse artistic practice considers the productive space between languages, often using such spaces to symbolize social and physical distances. Born in Busan, South Korea, her family emigrated to San Francisco when she was 13 years old. Cha studied literature, art, and film at the University of California, Berkeley, and obtained four degrees while also working part-time at the Pacific Film Archive. Fluent in Korean, English, and French, Cha frequently incorporated multiple languages in both her artistic practice and her writing. Her performances and videos critically illustrate the experience of displacement while also interrogating notions of community and spectatorship. In the early seventies, Cha turned towards performance and video art just as these genres were beginning to enter artistic consciousness. For her performance Aveugle Voix (1975), the artist dressed entirely in white and was blindfolded and gagged with strips of white fabric printed with black text that read, "VOIX" (voice) and "AVEUGLE" (blind), respectively. She then unfolded a banner that read "WORDS - FAIL - ME - SANS - MOT - SANS - VOIX - AVEUGLE - GESTE" (WITHOUT - WORDS - WITHOUT - VOICE - BLIND - GESTURE) and began interacting silently with the textile, toying with the sensory apperception of the written words.

After moving to New York in 1980, Cha began working at Tanam Press, an imprint founded by artist Reese Williams. Through Tanam she published Apparatus, Cinematographic Apparatus: Selected Writings (1980), an anthology of essays on film theory presented as an artist's book that features contributions from Roland Barthes, Dziga Vertov, Christian Metz, and others. The anthology also includes graphics that illustrate the cinematic apparatus, translating its sense-making mechanisms into diagrammatic form. Dictée (1982), also published with Tanam, is Cha's most famous book, and since its publication has become a canonical text in avant-garde writing and Asian-American literary studies.

Renée Green
b. 1959, Cleveland, Ohio

Renée Green is an artist, filmmaker, and writer whose works have been exhibited around the world. Across her practice, Green engages a variety of methodologies in order to interrogate the transmission and displacement of both cultural ideas and diasporic communities. Often taking the form of installations, Green's practice is expansive in scope, drawing out connections across art, literature, music, politics, and cinema. One of the aspects of her 1992 installation, Import/Export Funk Office, presented the artist's collection of music, books, and magazines alongside cultural theorist and curator Diedrich Diederichsen's collection of objects relating to African diasporic cultures, as well as the international spread of hip-hop music and culture. First exhibited in Cologne and subsequently at the 1993 Whitney Biennial, these juxtapositions reinterpreted notions of cultural appropriation and brought to light the conceptual and cultural connections between German intellectual traditions and Black cultural criticism.

Green's labyrinthine research-driven practice is also sketched out in her extensive body of writing which blends the essayistic with critical theory and cultural criticism through her perceptions as an active participant and producer in the international cultural field. Her books include Other Planes of There (Duke University Press, 2014), a collection of essays spanning nearly thirty years, and Shadows and Signals (Fundació Antoni Tàpies, 2000), which includes the scripts for her "Partially Buried" series (1996-97). Her writing has also been published in Transition, October, and Texte zur Kunst, among others. Since 2011, she has been a Professor in the Program in Art, Culture and Technology at the Massachusetts Institute of Technology.

Cici Wu
b. 1989, Beijing, China

Cici Wu's multi-media practice-comprising film, video, sculpture, and drawing-is rooted in an intertextual approach to archival research. Her most recent work, an installation titled Unfinished Return of Yu Man Hon (2019), investigates cultural memory through deconstructing the cinematic apparatus. The centerpiece of the project is a video comprising 16mm film and VHS home-movie footage which traces the unsolved disappearance of Yu Man-hon, an autistic 15-year old who accidentally wandered across the Hong Kong-Shenzhen border into mainland China and, to this day, has not been found. Wu's video imagines Yu Man-hon slowly recovering his memory of his identity and of leaving home, as the camera follows him on his ambulatory path through transitional and public urban spaces. The video is accompanied by a series of hybrid light sculptures that use readymade lamps sourced from a Hong Kong film prop warehouse. With titles like Subtitle 01 (Justice and Hope) (2019) and Subtitle 01 (Forgotten Place to Forget) (2019), these bamboo and paper assemblages point to processes of linguistic and cultural translation while also evoking the primacy of light in cinema and visuality. The assemblages also link this function with the colonial history of Hong Kong. Wu moved to the US from Hong Kong in 2013, where she earned an MFA in Sculpture from the Maryland Institute College of Art in Baltimore. She has had solo exhibitions at 47 Canal, New York (2018), Bonnevalle, Noisy-le-Sec, France (2018), and has participated in group exhibitions at Interstate Projects, Brooklyn (2019), Para Site, Hong Kong (2018), and Triangle Art Association, Brooklyn (2017), among others. She also co-founded PRACTICE, a studio, residency, and exhibition space based in New York which has been operating since 2015.

Caroline Key
b. 1980, Los Angeles, California

Caroline Key works in film and video, exploring the construction of subjectivities under conditions of precarity, alterity, and displacement. Speech Memory (2006) consists of a dialogue between the artist and her father. The conversation focuses on Key's grandfather, a deaf-mute Korean man born in Japan in 1920, during Japan's occupation of Korea. The film offers a reflection on Japanese imperialism and post-coloniality in the United States. Grace Period (2015), a feature film which premiered at the New Museum, combines documentary-style footage and digitally manipulated imagery that portray women sex workers in the Yeongdeungpo district of Seoul, Korea. For this work, which was completed while Key was in-residence at the Independent Study Program of the Whitney Museum, the artist received a Fulbright Research Fellowship. Key is currently working on Fascinating Vacation, a continuation of Speech Memory. This new work, which combines 16mm film with cellphone camera footage, finds the artist once again in dialogue with her father, this time exploring the intertwining of personal and historical events through his memories of the Gwangju Uprising in 1980 and his involvement in the Vietnam War as a soldier for the Korean army, which at the time was allied with the United States. Key has received awards from the Foundation for Contemporary Arts, the Jerome Foundation, the Sarah Jacobsen Film Grant, and the NYSCA/ARTS Council of the Southern Finger Lakes. Her films have been shown at the Arsenal Cinema in Berlin, the Smithsonian Hirshhorn Museum, the Seoul Independent Film Festival, the Margaret Mead Film & Video Festival, the Chicago Underground Film Festival, and the Images Festival in Toronto.

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On a sunny, cloudless day in June 1982, five decommissioned World War II planes took off from Flushing Airport in Queens, New York. In white smoke-dots blotted across the sky, they typed out a poem, "La vida nueva", by the artist and poet Raúl Zurita as he and a group of friends and artists looked on.

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13:01:36	 From aristilde kirby : gang gang whats hatnin
13:02:49	 From aristilde kirby : there she is!!!!
13:03:03	 From nataliarolonsotelo : HOT
13:03:07	 From Alex Segade : gloomy
13:03:08	 From aristilde kirby : we got a tropical storm coming in
13:03:14	 From Geneva Skeen : morning marine layer :))))
13:03:19	 From Beatriz Santiago Muñoz : so humid 3 shower day
13:03:51	 From Beatriz Santiago Muñoz : so nice to see your faces everyone
13:03:54	 From nataliarolonsotelo : Berlin is sunny and HOT… its the only 3 days of real summer we will get
13:04:01	 From Hoa Nguyen : lovely and sunny in Toronto. Hello and welcome Denise Ferreira da Silva!
13:04:17	 From aristilde kirby : *Elton john* tell me the climate youre the weather man
13:04:35	 From Apostolos : sunny  and hot in Athens greece
13:04:36	 From Geneva Skeen : los angeles :)))
13:04:48	 From Alex Segade : A california thing
13:04:58	 From michael : tbh it was cold in Michigan this morning… by cold i mean 50s
13:05:05	 From aristilde kirby : Greece Puerto rico...India...germany...we internationale
13:05:06	 From Ricky : 68F which feels cold to me in LA
13:05:07	 From Alex Segade : west side
13:05:20	 From Geneva Skeen : on the east side today, segade!
13:05:32	 From A.L. Steiner : Hi everyone & big welcome to Dr. Ferreira da Silva!
13:06:33	 From aristilde kirby : WOOOOO BLEUE
13:06:40	 From aristilde kirby : that's my girl!
13:07:26	 From aristilde kirby : ok...
13:08:11	 From Mark Wonsidler (he/him/his) : YES!
13:08:13	 From Hoa Nguyen : repost in the chat? it’s not showing
13:08:30	 From Paige Mead : Schedule:



1. Intro from Bleue



2. 30-40 Minute Talk DFdS



3. 20 minute moderated Q&A



(10 minute break)



4. 30-60 minute Tarot Reading



(15 Minute Break)



5. Seminar Groups meet via Zoom links on MFA Blog homepage. We suggest, as an area of focus, that you discuss how DFdS’s work and the issues it raises relates to your artistic practices.



Suggested Practices:



1. Please limit your use of the general chat so that we can all stay focussed on the presentations and discussion.



2. We also suggest that you use “presenter display” rather than “gallery view” so that you can see whomever is talking.



3. Pass to Andrew Lee who will be moderating the questions via the Chat (he will explain procedure)
13:13:46	 From Ariel Goldberg (they/them) : Schedule:
1. Intro from Bleue
2. 30-40 Minute Talk DFdS
3. 20 minute moderated Q&A
(10 minute break)
4. 30-60 minute Tarot Reading
(15 Minute Break)
5. Seminar Groups meet via Zoom links on MFA Blog homepage. We suggest, as an area of focus, that you discuss how DFdS’s work and the issues it raises relates to your artistic practices.

Suggested Practices:
1. Please limit your use of the general chat so that we can all stay focussed on the presentations and discussion.

2. We also suggest that you use “presenter display” rather than “gallery view” so that you can see whomever is talking.

3. Private message Andrew Lee your questions; please indicate if you want to speak your question, or have Andrew read your question out. We may not get to every question!
13:55:20	 From Andrew Lee (Moderator) : Please send me your questions privately in the chat. Thank you.
14:10:39	 From Denise Ferreira da Silva : EhChO.org
14:23:56	 From Andrew Lee (Moderator) : please keep it concise.  😎
14:33:28	 From Beatriz Santiago Muñoz : thank you so much Denise!
14:33:33	 From Edythe Woolley : Thank you!!!
14:33:39	 From kabircarter : Thank you!
14:33:43	 From Sam Lasko : thank you !!
14:33:43	 From nataliarolonsotelo : thank you
14:33:44	 From Ariel Goldberg (they/them) : See you all at 2:45!
14:33:44	 From ulrike (she/her) : Applause!!
14:33:45	 From Sarah McEvoy : THANKYOU thank you
14:33:46	 From Valerie Hsiung : Thank you Denise!!!
14:33:46	 From Phillip Birch : Thank you!
14:33:50	 From Hannah Barrett : wonderful and very generous, thank you
14:33:56	 From Danielle Lessnau : Thank you!!!!
14:33:57	 From A.L. Steiner : Thank you so much!
14:34:00	 From Michael Bell-Smith : Thank you!!!!! 👏
14:34:01	 From Mark Wonsidler (he/him/his) : thank you
14:34:05	 From Ulrik López : Thanks!
14:34:08	 From Mehves Lelic : Thank you!!
14:34:10	 From Marit Liang : Thank you Denise!!!
14:34:12	 From glenfogel : so great! thank you denise!
14:34:20	 From Apostolos : thank you denise
14:47:24	 From Beatriz Santiago Muñoz : Just in case: Denise has a second camera looking towards the cards, you might need to find it among the zoom squares.
14:47:47	 From glenfogel : I will spotlight it
14:48:07	 From ulrike (she/her) : great thanks glen
14:49:49	 From Andrew Lee (Moderator) : please submit your questions:
14:52:33	 From aristilde kirby : lol
14:54:40	 From Andrew Lee (Moderator) : What do we take with us underground in preparation for this other world that we need to midwife into existence? What should we keep?  What do we not take underground?  What kinds of loves, ideas and abstractions do we take?
14:56:47	 From aristilde kirby : closer!!
14:56:52	 From laliotta : no
14:57:05	 From nataliarolonsotelo : they are a bit small
14:57:25	 From ulrike (she/her) : could the cloth be pulled closer to the camera?
14:57:33	 From glenfogel  To  Andrew Lee (Moderator)(privately) : can you ask her to bring the cards closer?
14:58:01	 From Andrew Lee (Moderator)  To  glenfogel(privately) : yup
14:58:32	 From laliotta : Or maybe Denise can hold up each card to the camera at some point
14:58:51	 From aristilde kirby : just a little bit better
15:05:07	 From shaheen qureshi : what is the deck?
15:05:18	 From aristilde kirby : rider waite
15:05:22	 From Sarah McEvoy : yeah
15:05:23	 From Cori Spencer : Rider Waite smith
15:05:25	 From laliotta : riderwaite
15:06:00	 From ulrike (she/her) : you can easily look up the cards on your phone if you want a closer look
15:14:02	 From laliotta : she wears a mask!
15:14:12	 From aristilde kirby : lol
15:15:53	 From aristilde kirby : fishy!
15:17:41	 From Andrew Lee (Moderator) : We are asking:
What do we take with us underground in preparation for this other world that we need to midwife into existence? What should we keep? What do we not take underground? What kind of loves, ideas and abstractions do we take?
15:19:17	 From laliotta : I wonder if the 8 of cups can be read as turning our backs on privilege?
15:19:25	 From aristilde kirby : *whispers* hoa?
15:20:53	 From Geneva Skeen : perhaps the number of wands (three, right?) in the spread indicate a kind of inner integrity coming from creativity?
15:20:54	 From laliotta : Thank you Denise
15:23:19	 From Andrew Lee (Moderator) : If going underground is not the destination how do we know when we have arrived?
15:24:19	 From Hoa Nguyen : It seems like the relationship between The Hermit and The Lovers is equal to thinking with infinity.
15:26:03	 From Alex Segade : Do the two of swords and the moon suggest violence, or its potential, I.e. threat, as the conditions in which we are making the choices of what to take (or not) underground?
15:26:03	 From Hoa Nguyen : It’s zero
15:26:15	 From Hoa Nguyen : yes, wheel as infinity
15:29:03	 From Alex Segade : The idea of collaboration seems important as something ti take undergroundrgound
15:30:05	 From Edythe Woolley : the lovers also in the future indicates a collaboration
15:30:40	 From Alex Segade : thank you so much
15:30:43	 From Edythe Woolley : can we be sent a picture of the tarot cards ?
15:30:44	 From nataliarolonsotelo : Seems like one of the things we need to get rid of to go underground is hierarchies.
15:30:45	 From Mónica de la Torre : Can going underground be a metaphor for existing within an interiority/imaginative life that escapes visibility and its pitfalls and celebrates, coexists, and supports the expansive interiority/inner life of others?
15:31:23	 From Beatriz Santiago Muñoz : this has been so amazing Denise
15:31:24	 From shaheen qureshi : ^^^ love this metaphor monica
15:31:25	 From Beatriz Santiago Muñoz : thank you
15:31:25	 From laliotta : Wonderful, so grateful for this time
15:31:26	 From Marit Liang : LOVE this comment monica
15:31:29	 From aristilde kirby : same
15:31:31	 From Edythe Woolley : yes thank you that was so amazing !
15:31:35	 From shaheen qureshi : thank you denise <3 <3 <3
15:31:42	 From Danielle Lessnau : very very wonderful ! Thank you!
15:31:42	 From nataliarolonsotelo : Totally monica!!!!
15:31:43	 From Valerie Hsiung : was just gonna say yes Monica!!! and thank you so much Denise
15:31:47	 From Michael Bell-Smith : thank you Denise!
15:31:49	 From nataliarolonsotelo : Thank you denise¡¡¡
15:31:52	 From Andrew Lee (Moderator) : Thank you Denise!!!!!!!
15:31:55	 From Phillip Birch : Thank you Denise!!!
15:31:55	 From Lauren Tosswill : Thank you so much, Denise
15:31:56	 From Cori Spencer : Thank you Denise!!!
15:31:57	 From andrew_rubin : Thank you so very much
15:31:58	 From iSteinz : so wondrous
15:31:58	 From Weston Olencki : thank you!!
15:31:58	 From Shala : thank you!!!!
15:31:59	 From Jennifer Moon : THANK YOU!!! <3 <3
15:31:59	 From Hoa Nguyen : thank you!
15:31:59	 From mindy solis : Thank you
15:32:00	 From Ginevra Shay : Thank you !!!
15:32:00	 From Katya Tepper : thank you!
15:32:00	 From mira : thank you!
15:32:00	 From Cecilia Bjartmar Hylta : Thank you!
15:32:00	 From aristilde kirby : CIAO
15:32:02	 From Andrea Sisson : Thank you!!!!
15:32:03	 From aristilde kirby : THANK YOU
15:32:03	 From Erika Vogt : Thank you Denise!!! Bye!!
15:32:04	 From Cori Spencer : Bye!!
15:32:05	 From Bill Dietz : Many thanks!
15:32:05	 From Mónica de la Torre : Thank you!!!!!!
15:32:06	 From cameronmartin : Thanks so much Denise.
15:32:07	 From amy (she/her) : thank you Denise
15:32:07	 From Lotte : thank you!! 
15:32:07	 From russellbarsanti : Thank you!!
15:32:08	 From Kamau Patton : thank you
15:32:09	 From sophie : Thank you!!
15:32:09	 From yazan khalili : thank you
15:32:12	 From Sondra Perry : Thank you so very much
15:32:13	 From lucylie : THANK YOU SO MUCH!
15:32:13	 From kabircarter : Thank you Denise!
15:32:15	 From Sam Lasko : thank you bye
15:32:17	 From Namrata Arjun : Thank you!!
15:32:19	 From wib ti : Thank youuuu
15:32:20	 From Edythe Woolley : thank youuu!!!!
15:32:20	 From anselmberrigan : thank you!!
15:32:23	 From Apostolos : thank you
15:32:25	 From bastiengachet : thank you
15:32:25	 From ulrike (she/her) : so generous, thank you
15:32:28	 From Nele Jager : Thank you!
15:32:45	 From aristilde kirby : welp
15:32:53	 From aristilde kirby : shout out bleue
15:32:56	 From Ginevra Shay : Thanks Seminar Committee, Andrew, and Bleue, and Bard admin <3
15:32:56	 From Edythe Woolley : yes thank you andrew!!!
15:32:59	 From Edythe Woolley : and Bleue!!
15:33:00	 From Thomas Mader (he/him) : thanks andrew and bleue
15:33:01	 From amy (she/her) : do we go directly to groups now? thank you everyone.
15:33:02	 From Marit Liang : Yeah thank you Bleue for that amazing intro
15:33:07	 From Christopher Baliwas : and glen with the camera work
15:33:09	 From Edythe Woolley : <3 <3
15:33:10	 From Lauren Tosswill : well done, Bleue and Andrew!
15:33:13	 From amy (she/her) : ok thanks bye!
15:33:14	 From amy (she/her) : x
15:33:19	 From Apostolos : thank you bleue  and andrew
15:33:21	 From Andrew Lee (Moderator) : BLEUE!!!!❤️❤️❤️
15:33:21	 From Andrea Sisson : Bleue 🙌 and Andrew!!
15:33:25	 From Taylor Davis : Yes Bleue and Andrew!!
15:33:27	 From Beatriz Santiago Muñoz : im just hanging around cause my group isn’t today
15:33:39	 From Beatriz Santiago Muñoz : oh you know what
15:33:41	 From Beatriz Santiago Muñoz : Bleue’s idea
15:33:42	 From Rory Rosenberg : Thanks Andrew and bleue
15:34:07	 From Beatriz Santiago Muñoz : And thank you Mark, Glen, Paige
15:34:39	 From rielbellow : We are doing seminar groups?
15:34:47	 From Beatriz Santiago Muñoz : yes
15:34:58	 From Beatriz Santiago Muñoz : ok see you all
15:35:01	 From Beatriz Santiago Muñoz : yes we can hear you
15:35:03	 From Beatriz Santiago Muñoz : :---)
15:35:05	 From Beatriz Santiago Muñoz : bye!

# data[].attributes.headline
American Artist hosting workshop at Wendy's Subway "The Future of Time: Predictive Analytics and Incarceration" in Abolition Reading Group, Sunday August 9th

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American Artist hosting workshop at Wendy's Subway "The Future of Time: Predictive Analytics and Incarceration" in Abolition Reading Group, Sunday August 9th

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the future of time: predictive analytics and incarceration

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the future of time: predictive analytics and incarceration tickets

# data[].attributes.attachment_link.title
The Future of Time: Predictive Analytics and Incarceration

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Eventbrite - Wendy's Subway presents The Future of Time: Predictive Analytics and Incarceration - Sunday, August 9, 2020 - Find event and ticket information.