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The barrel is threaded and uses a really big can, it kind of looks like the threaded tips for a DIY oil filter suppressor. Further, why in the world was a SILENCED weapon made for use in a VEHICLE which makes noise just in running the engine, forget driving to the target, whatever that is! We can show you more items that are exactly like the original item, or we can show you items that are similar in spirit.
This bothers me now for a while: I have a huge list of Zombie processes whenever my system runs for a while as you can see in my gnome-system monitor. Close TomBoy and all the zombies will disappear (right-click the Tomboy icon in the lower right notification area if you're using Gnome Shell). Not the answer you're looking for?Browse other questions tagged zombie or ask your own question. Software development: Is it appropriate to tell my boss and coworkers that it is difficult for me to discuss specs verbally? An interview with the Jim McGinn, choreographer for "Interview with a Zombie," Galaxy Dance Festival, Butoh and a bomb, Heidi Duckler Dance Theatre NW and more. McGinn is the artistic director of Top Shake Dance and has been a staple in the Portland dance community for more than 20 years.
At this point I should describe McGinn’s previous work to you, but that feels like an impossibility.
To help suss out the meaning behind Interview with a Zombie and get a deeper look into McGinn’s creative process, I interviewed him via email. Also happening this weekend is the Galaxy Dance Festival, an annual, multi-day festival produced by Polaris Dance Theatre that features a wide selection of free dance classes and performances by a variety of dance companies from around the Northwest. As part of a week-long exhibition of artwork reflecting on our nuclear legacies, visual artist Yukio Kawano, butoh dancer Meshi Chavez, and composer and performance artist Lisa DeGrace will perform a work focusing on Kawano’s sculpture Little Boy, a hanging installation in the shape of an atom bomb created from Kawano’s grandmothers’ kimonos and woven with Kawano’s hair. Hosted by Polaris Dance Theatre, this three-day, family-friendly, community oriented festival features a variety of free dance classes and performances in the beautiful outside setting at Director Park in downtown Portland.
Four dancers will inhabit the burned-out, beautifully graffitied remains of the old Taylor Electric Building, drawing attention to the unexpected and bringing it back to life once more.
Curated by Stacey Tran and Danielle Ross, Pure Surface is a performance series that encourages cross-disciplinary practice and performance by bringing together movement, text and film in the spirit of improvised collaboration.
I tend to make dances about things in life that amuse me which have nothing to do with dance. My main influence for phase two, the generation of movement material, is dominated by my past history in sports and other non-dance activity.
IwaZ developed out of an ongoing train of conversations between my wife, Jamie Bluhm, and I on futurist subjects which are perhaps the common questions of our times that many if not most people are discussing.
The IwaZ choreographic process was common to most of my projects and is as follows: I read, write, and think about the concepts when out of the studio, which provides a framework for working while in the studio. Having said all this, it may be useful to point out that I really do not care much about performing or even seeing the work fully realized. Knowing in advance that this dance is occurring in the summer of 2016 amidst what could be a destabilizing national U.S.
Supplemental mobility has been beautifully treated in full-length works by Marie Chouinard and perhaps others.
Fast on the heels of advanced prosthetics for supplemental mobility are implantables leading to a next wave of artificial intelligence.
Spoiler alert, there is a spoken word section of IwaZ and the references to this portion were to be discussed within the spoken word monologue. As previously mentioned in one of the above questions I stated that “… the desire to leave an edifice in the wake of life” has been one of the discussion subjects of Jamie and me.
It’s similar in design to Obrez Mosin Nagants which where chopped for easy concealment. A majority of the products we review are purchased by ourselves, however a few items are provided free of charge. If that’s you, take a friend for support to Interview with a Zombie, opening Friday night, by Portland choreographer Jim McGinn. I don’t see him continuing with a constant choreographic thread of an idea from one piece to another.



Suspended Moment is a participatory storytelling project that connects audiences with the living experiences of those whose voices have been silenced throughout history. Each month a new group of artists is brought together in the intimate, open-air setting of Valentine’s, and performance is made.
I have never made a dance about dance, perhaps because I might not be expert enough in the field of dance to take on a dance about dance project. This movement history comes through in my improvisation and gets imprinted in my dance-making. Living in a time of accelerating climate change, increased pollution, and more powerful drugs, along with the increased use of personal electronics, drives home the basic questions of human adaptability which are often forefront in our conversations. I develop most of my material by improvisational movement that prolifically bursts forth in the studio. My main passion in movement is really about the process of working in the studio and solving choreographic challenges. Characters in the dance are mostly human inasmuch as they have the recognizable four limbs. IwaZ takes a different approach, as will be obvious to the viewer, where choreographic exercises were used to generate this movement material. IwaZ briefly gives a faint nod to this new realm, which may or may not be noticed by the audience. In my view, IwaZ draws a weak squiggly line from that edifice as the establishment of a belief system (religion) to a new path of redemption. McGinn describes the show as “a peek into some possible future of post-human adaptation to changing environmental and biological landscapes.” Interview with a Zombie probes our response to pervading uncertainty by asking questions such as: what are the neo-neurobiologies that we shall soon inhabit? Instead I see brand new ideas emerging in every new work that require a new environment to exist in and a new way of moving the body through it.
Kawano is a third-generation hibakusha, or nuclear bomb survivor, who grew up in Hiroshima decades after the bombing.
Wysong, an environmental design and social practice artist, continue a 25-year, collaborative dialogue revolving around Portland’s layered and ever-changing landscape. This month’s artists are poet Samiya Bashir, filmmaker Julie Perini, and interdisciplinary artist Rosana Ybarra. Or perhaps I am simply more amused by ideas outside the dance world than ideas inside the dance world.
Some prevalent discussion subtopics for Jamie and me have included, among many others, the cults of body modification, becoming invisible to society, the lines between the grotesque and obscene, and the desire to leave an edifice in the wake of life. I work about six days per week alone in the studio in 1.5 hour sessions resulting in approximately 7-13 seconds of movement per session that I video-bank. However the limbs and other body parts are morphed into less functional or differently functional entities and are not always used for the more normal contemporary pedestrian purposes. The above-mentioned discussions between Jamie and me have been in response to the pervading uncertainties of this time. While these are some of my favorite portions of the dance, I have tried to not overuse them. IwaZ could be viewed as a veiled threat to someday take the stage with implanted dancers engaged in direct computer-to-brain-driven movement instructions. If a religion is created to achieve a particular outcome, which never materializes, then a new religion must be created to achieve the newly different outcome.
From artificial intelligence to supplemental mobility, how are we preparing for our survival? Since starting to dance in my 30s I have invested time into dance and so that seems to be my current go-to medium for expressing performative ideas. Other non-dance movement influences abundant in my dance-making include amusement rides, cartoon characters, and the rodeo. Hence, just as futurist thinkers, writers, and filmmakers expend a life career within their niche fields, I or any other choreographer could easily spend a lifetime creating futurist dances. Over the 18 months that we have been working on this, perhaps a majority of that time has been learning to navigate these new movement modalities. IwaZ traces some sort of path from uncertainty to neurology shown by movement, lighting, and costume.


If the zombie is considered as an attempt at an eternal life, then we must have rules and a religion for the zombies and a new view of redemption. Getting the stage set from a CAD model to a reality has been accelerated by Dustin Ordway and Kiel Price. Who are the untouchables in our lives, and what possible paths of redemption are acceptable? Among many others, movement sourced from golem, cowboys, and cowgirls appear frequently in my dance-making.
So, one step at a time, we have tried to carve out a limited chunk of ideas to place into this work.
Over time I start to understand the conceptually unique movement vocabulary, and that gives me a foothold into the refinement and real development appropriate to the concepts.
There is a stage set that I created that is loaded with symbolism, some obvious, some less obvious, but speaks to the future, to a decay of the past civilizations, and to the dawn of a new environment. Always an inspiration to me was the David Cronenberg film Crash in which a body modification cult staged automobile accidents, causing significant disfigurement leading to the implementation of prosthetic devices.
As I see the work come together I am amazed by the strong cooperation among the dancers and all the collaborators who have taken on this concept and made it a cohesive and beautiful dance. I watch opera from a composer’s perspective, somehow gaining tools which inform my dance-making. By contrast, one rare dance influence upon my dance making is the Charleston, which also frequently appears in my dances and is used quite extensively in IwaZ (Interview with a Zombie). With more of an emphasis upon intended body modification, unintended physical adaptation, and group behavior modification we embarked on IwaZ, where we have chosen the zombie as the symbolic archetype of our future adaptations. Furthermore, the stage set serves a pivotal role as an interactive behavioral modifying landscape. I sometimes like to promote my thinking that those who are leaders of extreme body modification are paving the way for new modalities of human, or if you wish, post-human survival. Therefore, phases one and three of my dance-making, which are the conceptual development of a performative work, and the shaping orchestration, and dramaturgy are most influenced by the tools I learn through watching opera. Inside of IwaZ we have created our own human altered environment, or by its fancy name, an anthropocene. Then I spend several months refining the vocabulary until I then codify the set of principles that are specific to and define the vocabulary. Most importantly the dancers of TopShakeDance have excelled for 18 months of rehearsals, shedding their skin and wrestling with uncertainty: Kelly Koltiska, Celeste Olivares, Dustin Ordway, and Rachel Slater. While I require my dances to have a clearly specific and idiosyncratic movement vocabulary that is custom developed for the particular project, I am not disciplined enough to stay purely within that as I tend to add many layers to the material which support by reference but may not be strictly adherent to the movement vocabulary that was specifically custom-created for this project. This statement is meant to calibrate the audience expectation that they will be entering one idea of a futuristic vision.
Hence this dance is set clearly into a double cliche, first the cliche of the vastly prevalent zombie films and second, the cliche common to young dancers who make a zombie dance, then quickly learn not to do that again. Using this method I build phrase material over time that I then teach to the Top Shake Dance dancers.
I am pleased that we chose to step firmly into cliche rather than hide behind a facade of abstraction.
I often give the dancers developmental projects to modify the material along prescribed lines to further shape the choreographic look. I do my own orchestration and sometimes my wife, Jamie, helps me with dramaturgy but she was not available to dramaturg IwaZ. Ultimately, I do listen to the dancers as they are the best guide to what is working and what is not working.



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