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She spent five years in the Netherlands working for Shell Global solutions as a sustainable development consultant, including leading innovation programs in sustainable building processes and stakeholder engagement practice. She has international working experience in South Africa and the Netherlands, leading strategic planning processes for a local peasant community project, and the development of assessment tools for human rights assessment in extractive business. He served as an instructor, program coordinator, and consultant in government and non-government institution in Ethiopia. He has worked in partnership with government ministries and international partners such as WRI, UNDP and IIED. While with the consulting company, he assisted a diverse client base in providing advisory services and solution in the area of climate change. One of the well-known projects he has worked on include the development of the Addis Ababa GHG Inventory Report in 2012 using the GPC. This report was done in partnership with WRI and he worked in collaboration with a Technical Working Group comprising representatives from various sectors. During this time, WRI also gave three on-site capacity building training and follow-up webinars. Vanesa was recently Finance and Operations Manager at Pro Bono Economics, a charity helping other charities to understand and improve their impact. Prior to this she was Finance and Operations controller at Trillion Fund, a loan based crowdfunding platform for renewable energy projects. She has also worked at IDOM, a global architectural and engineering consultancy firm, Quiet Revolution, a vertical axis wind turbine firm and Waste Watch, a sustainability charity. Alongside this, she worked on the Urban Futures Research Domain of King’s College London, creating the website and managing content on the blog and the social media accounts. She also managed the social media accounts for the Italian start-up Urban Symbiosis Design. She has also completed an online course on Sustainable Cities organized by the SDG Academy and led by Aromar Revi, Director of the Indian Institute for Human Settlements. He has over 15 years experience of managing projects on environment, climate change and natural resources. He worked with the International Union for Conservation of Nature (IUCN) from 2005 as national coordinator before joining the Norwegian Embassy in Dar es Salaam in 2008 as Programme officer for 10 years. When working at the Norwegian Embassy, he facilitated establishment of the National Carbon Monitoring Centre (NCMC) which is mandated to collect and report carbon emission from deforestation and other land use changes. His passion in city greening lead him to establish DarNature, a centre with natural settings for education, research and recreation situated in Dar es Salaam. Yassin Holds a PhD from the University of Dar es Salaam where he studied the role of storytelling in climate change initiatives.
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By the time you saw the Sackler script, had the two subplots from the novel—the mayor’s mob JAWS (1975) 199 connections and the adulterous affair between Hooper and the Police Chief’s wife—been completely eliminated. GOTTLIEB: I’m not positive, but I think both elements survived in the Sackler draft. GOTTLIEB: They were, and I remember that we were still arguing about them even while Steven was shooting the film. The mob aspect was definitely the first to go since it was truly extraneous to the focus of the movie. But the affair between Ellen Brody and Hooper was much more complicated since it would greatly affect the film, and we were still debating its ramifications right up to principal photography. Since the first things Steven shot on location were the party on the beach, the discovery of the body, and the first day in the Brody’s new house, we were able to postpone dealing with the issue for another week or two, but then we finally had to make a decision. Earlier, the problem was further complicated by the fact that Jan Michael Vincent was being considered for the role of Hooper, which would have added a natural sexual energy to the relationship, but, eventually, we agreed that he wasn’t right for the part. Eliminating the adultery not only helped the relationship between the husband and the wife, but it also created the strong bond at the end between Brody and Hooper. GOTTLIEB: Right, which is why Hooper gets killed at the end in the novel. But we didn’t want to do that to our young hero, whom the audience is rooting for and wants to succeed. Besides, it’s quite a formulaic construction to have the adulterous male punished—in this case eaten by a shark— in spite of his good deeds, so, in the end, we were happy to see it go. Did you ever discuss the screenplay with either Peter Benchley or Howard Sackler while you were rewriting the script. GOTTLIEB: No, I never met Sackler, and I never talked to Peter Benchley until after the film was completed. Is it true that you actually took a dangerous plunge into the ocean. GOTTLIEB: I did, and it resulted in a wonderful film clip that we showed on The Tonight Show. At one point early in the metamorphosis of the script, the body of Ben Garner was discovered by Hooper, Brody, and 200 CLASSIC AMERICAN FILMS Meadows in the daytime. On the day we tried to shoot it, the ocean was very rough, but we had a schedule to meet, and we went out in our little boats to film the scene. The original staging required me to lean over the edge of our search boat and discover the mutilated remains, but while we were doing the shot, the center of gravity shifted, and the boat tipped, and I fell headfirst into the water between the two boats. There was lots of shouting, but I wasn’t that uncomfortable, and they got me out of the water within thirty seconds.
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Through abject, simulated acts of immolation and cannibalism, the artists will confront the extreme cultural unease surrounding female bodies and identities. This exhibition was first shown at Kings ARI, and will be shown at FELTspace in later 2018. Drawing on ideas of ritual, exchange, and the idea that desires come at a cost, viewers were instructed to light one candle in exchange for one prayer, wish or curse, thus accepting my offer that my effigies act as the necessary sacrificial vessel required to bring their desires into fruition. It was exhibited in my Master’s examination exhibition, Monsters, Meat and Meta: an artist’s guide to making a friend of the horror genre. I initially engaged with virtual reality to offer viewers another way to experience my 3D models before realising the potential for such technology to create fictional worlds and environments. The resulting work consists of an environment comprised of images and photogrammetric scans of my body, scaled to enormous sizes, that the viewer can navigate using virtual reality equipment. Created using the game engine Unity, it is what gamers might consider a “walking simulator”, that is, an environment one can explore without the overarching narrative or goal that characterises most video games. All You Have To Do Is Ask was created as exploration of the tensions between voyeurism and agency; the faces on its walls watch the person who traverses the bodies below, gargantuan faces loom out of the darkness, the gaze emphasized by the torch illuminating where it is directed. It is an experience mediated by the agency of the viewer, both as they traverse the terrain and when they placed the virtual reality headset on their head, but ultimately ruled by my decision to allow them this opportunity to interact with virtual facsimiles of my body. It is an experience that occurs in the gallery; the viewer might be alone in the virtual environment, free to do as they will, but in the gallery, there is always the potential that they become the object being watched. My research sought to understand how, given the dominance of film within the contemporary horror genre, visual artists might incorporate horror within practice. Drawing upon major works of horror scholarship, my research sought to identify horror’s dominant thematic concerns and characteristics, and through studio practice, identify strategies artists could employ to respond to these concerns or otherwise fulfil the social function of the horror text. My research suggests that horror’s theories fall under three broad categories; Monsters, that is, monster stories, Meat, stories of victim-hood and our fear of our corporeal vulnerability, and Meta; stories driven primarily by the media used to tell horror’s stories and fear arising from the increased sophistication of the media and devices we use to tell stories or otherwise make sense of the world. These works, and the research from which they stem, respond to these three pillars of horror to demonstrate the rich conceptual and material terrain they offer the artist. From the exhibition text: This body of work seeks to demonstrate how the visual artist might make a friend of horror; that is, how they might successfully engage with the thematic concerns of the horror genre within practice. Realised across two and three-dimensional media, these works seek to examine and subvert the social functions of horror’s narratives or use horror’s motifs as mechanisms to confront fears and anxieties, both personal and collective. Drawing upon literature, film, and visual art’s own violent canon, these works seek to demonstrate the artist’s place in a genre which is both contemporary and enduring. This was my first exhibition comprised of only photographic works, and allowed me to investigate the potential of presenting photographs outside of installation works or without accompanying sculptural works, as I had tended to do previously. The first in a series of three, 1000 Forms of Fear - All Due Restraint is Taylor’s most ambitious installation of 3D printed works to date, featuring fifty 3D-printed figurines.