Caseena Karim

Process book for Left Unsaid

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Workplan for Spring 2018

Dec 7: First draft of first film completed

December 13: Live performance in deans office

Winter Break: Editing of first two videos, continue filming lived experience for third film, look for spaces

Jan. 22-29: Continue editing, secure a space

February 12: Have finalized videos, or final drafts

Febuary13-May: work on creating an online site, finalize space to show work in (if possible).

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Goal for the end of the semester 12/14/17: To have drafts of 2 films that have a nonlinear narrative, they can be looped and are constantly in motion/influx. As well create a live performance in the deans office. Create films that re-imagine worlds through fantasy in order to critique a current corrupt system.

Goal for May 2018: To create an exhibition that is also a performance of QTPOC video artists created by QTPOC artists, and feature films as well as a performance that is not recorded, but is taken in only by those who are there/an online archive or space for QTPOC artists to sell their work, showcase work and privately show work through www.cravemorebk.com

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left unsaid performance draft

This is "left unsaid performance draft" by Aggy Bby on Vimeo, the home for high quality videos and the people who love them.

Left Unsaid footage of live performance in the Deans Office. Footage needs to be re-edited for May.

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LEFT UNSAID 10 MINS VIDEO

This is "LEFT UNSAID 10 MINS VIDEO" by Aggy Bby on Vimeo, the home for high quality videos and the people who love them.

Left Unsaid Live Performance: This is the video that was projected onto the other side of the whiteboard in the Deans Office. It is a 10 Minute long video made for an installation space with 4 surrounding speakers. 

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Left Unsaid

This is "Left Unsaid" by Aggy Bby on Vimeo, the home for high quality videos and the people who love them.

Left Unsaid Performance #1 Draft

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Home

The Bell elevates the voices of NYC students & empowers them to lead the fight for their futures.

The Bell Podcast in collaboration with Teens Take Charge is a podcast and organization for NYC students to come together to speak about and fight for education equality. NYC education system is the most segregated in the country and this is just one small initiative aimed to address that. I recently photographed and filmed their conference in Harlem with government officials. Unfortunately I cannot share the photos as of yet. This is part of my ongoing research on education equality for QTPOC students. 

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Left Unsaid Live Performance 2 Proposal 

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Research for Left Unsaid 

other images are archived at https://www.pinterest.com/mlicaseena/ars-visual-culture-caseena-karim/

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3eyes puppet animation (draft)

This is "3eyes puppet animation (draft)" by Aggy Bby on Vimeo, the home for high quality videos and the people who love them.

Left Unsaid 3rd video performance, avatar 1. 

Self-portrait representing all of the different parts of my identity working together within one body. 

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Peace of me

Start Dead End Stop Making ruts in the same circles making cuts til my skin purple i find myself only in the in between where i dont feel sorry for being me

I will be continuing to edit this video for the third video performance. “Peace of Me” is about finding the in-between spaces in which you can be at peace. Navigating the world as a QTPOC can be inherently dangerous, and we often turn to the internet to present ourselves more freely, however that can be another trap in itself. By finding moments to be at peace, hacking the system so that you can be happy, in small and big ways can be somewhat of a resolve to an imperfect situation. 

Using spaces on the internet that are unused or unactiviated for QTPOC: Omegle, Pokemmo, etc. 

this was filmed with a laptop, gopro, and DSLR. 

[caseenakarim]

Im Kali I'm an indian goddess and I kill

This is "Im Kali I'm an indian goddess and I kill" by Aggy Bby on Vimeo, the home for high quality videos and the people who love them.

Draft for Video Performance 3: Video collage 

“I’m Kali I’m an Indian Goddess and I Kill”

My Bindi is Bleeding

These White girls say its their third eye 

my culture is dying while you sit with your pride

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The Experience Magazine ; Born Creatives in the world of the arts

Experience Mag and Artsy Window are collectives that exhibit and document the works of young POC artists (NYC native) and will be a possible site for collaboration. 

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Crave More BK is my QTPOC collective. This is the site I will be editing in order to turn it into an online video archive. 

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Embroidery “I am” filming set-up Work in Progress 

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Merriem Benanni “Shiham and Hafida” 

Meriem Benanni’s Siham and Hafida explores the intergenerational conflict between two chikha performers in Morocco and is enhanced by 3D animation and projection mapping to display a multi-faceted narrative of resistance. Historically using the tradition of chikha for resistance; has now been leaked to an online global society, and provides conflicts between two singers from different generations about its use and purpose. The entire exhibition is made up of one nonlinear film that loops on several different screens. Each screen is slightly different, some cylindrical, tilted, or round, all overlaid on top of one another in a physical space. The use of 3D animation and tracking are used to enhance the documentary style film, making it seem like something from a place of fantasy. The different screens and effects are used to enhance the conflict that leaves a society feeling torn between different ways of resisting and culture. As well, it can represent the struggle to understand a history that is made up of oral tradition and differing views on the uses of chikha. Here, the goal is not to say that one is better than another; rather, that this is an ongoing dilemma that is made to question our own traditions and conflicting views between generations. As well, it highlights all of the different parts of a resistance movement, and how they are all important to bringing about change as a whole.

The 3D animation and advanced editing techniques in Siham and Hafida, enhances the documentation of chikha into a space of fantasy that allows the viewer to question modes of resistance. When the singers perform, Bennani animates glistening sweat onto them, in order to make it seem as if they are shining. The themes of movement, and years of hard work done by unnamed muslim women are highlighted through this editing style. Animation is used to enhance reality with digital imagery, in order to create dynamic and unapologetic representations of Moroccan women who resist through the performance of chikha. Moreover, the film is edited to be nonlinear and looped, allowing for the viewer to enter at any point and become a part of the physical installation space, and artificial digital environment. This re-constructs traditional fine art film by using multiple surfaces, with different consistencies, and different animations onto each surface that turn a one-channel film into multi-faceted moving images. This visually represents the generational divides between the main characters’ usage of chikha. As well, this collection of different surfaces represent the collection of individual narratives from all walks of life that produce a multi-faceted resistance movement. While many movements seem to be defined by college scholars and academic research, they are often distilled to leave out different perspectives and silence low-income marginalized people who often don’t have access to academia. Patricia Colins in Black Feminist Thought, points out that people of color do not have to be college educated in order to contribute to the narratives of resistance. It is the collection of individual narratives from all walks of life that produce a multi-faceted movement. Bennani plays with this idea through projecting a film onto multiple surfaces, each with their own individual animations and differences to highlight that there is not one story of chikha. She creates a digital environment that acts as a fantasy world, allowing for an imagined space of positive and dynamic representations of muslim women in media. While she is not using artificial intelligence, her work is considered new media art because of the innovative editing techniques and styles that she employs to direct her messages of resistance to a larger audience.