Magical Truthsaying Bastard Shadesong (shadesong) wrote,
Magical Truthsaying Bastard Shadesong

Wiscon Schedule!

I'm arriving on Thursday and leaving on Monday (during Sign-Out). Yes, I'll be at Geekeoke! If you are going to Wiscon I do want to hang out with you. Let's work something out. Also I clearly need someone to take a shift at the IAF table at the Gathering!

1:00-3:45: Coffee, Tea, and Subversion! Enjoy coffee, tea, ice water, and/or cookies! Members of the Interstitial Arts Foundation serve up refreshments and a bit of chat about the interstitial arts and the work of the Foundation.

2:30-3:45: Disability on TV: Auggie Anderson on Covert Affairs is blind, Carrie Mathison on Homeland has bipolar disorder, there are several regular and recurring Deaf and Hard of Hearing actors playing Deaf characters on Switched at Birth, Michael J. Fox is now playing a character who also has Parkinson's on a sitcom named after himself, Cracked is a show about a mentally ill police officer who teams up with a psychiatrist to solve crimes with a psychiatric component to them, and last summer Sundance gave us a second season of a documentary show called Push Girls about four female wheelchair users. Let's talk about depictions of disability on TV, the difference between crip drag and when an actor with disability or Deaf actor gets the role, and instances of ableism in our shows. With Jim Leinweber, sophy, Sasha_Feather, and S.E. Smith.

4:00-5:15: Women Destroy Science Fiction—Science Fiction Changes the World: In response to yet another ill-conceived article bemoaning diversity is destroying what is science-fictiony in science fiction Lightspeed Magazine responded with a woman-themed issue. Every time you turn on the internet there seems to be a new complaint about too many women and people of color in the SFF community. If this is backlash, now may be the best time for writers to explore non-dominant narratives and radically reimagine the future. What are ways to encourage more work by all POC and other women? Some ideas have been: pressuring magazine editors to be more inclusive, small presses such as Aqueduct catering to the market for these works, the increasing ease and improved reputation of self-publishing. What works, what doesn't? And let's put together a booklist of what we should BUY. [Shira's note: Yes, I will be specifically addressing how calls for women do not solve the problem as they exclude nonbinary people.] With Kimberley Long-Ewing, Megan Arkenberg, and vylar_kaftan.

9:00-10:15: Spindles and Spitfire: Join us for a reading packed full of sinister whimsy, folkloric sensibilities, dark humor, and SNACKS! Lisa Bradley dances with the skeletons in her closet. Gwynne Garfinkle is a red headed hellion who will capture your heart and put it in a jar above her writing desk. Shira Lipkin has returned from the castle beyond the goblin city. She brought you a present. Patty Templeton does not appreciate when ghosts keep her up at night. [Shira's note: Yes, it's late. It'll be worth it. Do this, then hit the parties with us!]

10:00-11:15: What’s in a Name? Language and Naming in Speculative Fiction: The names of your characters and the language(s) that they speak and abide in can bring layers of cultural specificity to the genre. Which stories do this well? How was naming and non-English language used to convey the culture of the fictional environment? How does it affect your reading of the text? If the race/culture does not reflect your own does it affect your ability to empathize? With Kimberley Long-Ewing, Mia Coleman, Sally Wiener Grotta, and Alberto Yáñez.

2:30-3:45: A Very Special Disability Panel Redux: Like Not Another Fucking Race Panel, but with disability, and I'm moderating! With S.E. Smith, Sasha_feather, Shayla Dunn, and Carlie Forsythe.

Nothing. Wanna get lunch?

10:00-11:15: Mecha Tropes and the Subversion Thereof: In a year where the Hugo-nominated Pacific Rim arguably brought mechas into the mainstream, what are our favorite and least favorite mecha tropes? And what are series that take on these tropes, either with full enthusiasm or with interesting twists? Are intensely emotional plots in the very DNA of mecha stories, or are they secondary? Will audiences ever tire of giant robots punching monsters in the face? With Susan Raminrez, Anonymous, Oyceter, and Andrea Horbinski.

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