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                <text>Adding a complexity to Chris Marker's film 'Statues also Die,' the use of African masks play a more interesting role in the use of relational space between the physical and the metaphysical, 'According to the anthropologist Frank Herreman:&#13;
One of the most dramatic manners whereby the contact between humans and the supernatural acquires a visible form is at the moment that spirits under the form of masks appear. According to our understanding, the mask is a means of partially or wholly covering the face or the body to render it unrecognisable, and through which the masker acquires another identity. In large parts of the world the original function – associated with the supernatural – has declined, and masking has evolved into a form of profane recreation coming to the fore only once or at most a few times per year, for example during carnival. In West and Central Africa, the function of a number of masks has remained much closer to its original significance. Consequently, such masks still manifest at crucial moments during the cycle of the seasons, and within the course of an individual’s life cycle as well. The mask wearer in this context is, therefore, a more important person than someone who masks for purely recreational motives. In the African context the mask wearer is always an initiated person whose identity is not made known. He undergoes not only a physical, but also a psychic transformation. He comes under the spell of the spirit that he incarnates, and one believes that he so disposes of the supernatural characteristics of the latter. Since the supernatural stands outside the law of the living, one supposes that the mask acts according to its own whimsy. In these acts, however, sits a structure that is dictated by the priest, the magician, the society, the elders, or other forms of the power structure. They must watch over the observance of religious rules, the common law, and the maintenance of various rituals which must be carried out within the scope of events in life’s cycle. Thus, the masks are important instruments that aid in the consolidation of the position of power of the various authority structures.'</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Digital Dérive: Socialism and the LGBT Community</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="4206">
                <text>Scott Valentine</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This diagram is the data companion to the video 'A Condensed History of Homosexuality and Communism'. This diagram demonstrates a very simple path chosen, pointing to the method one could take in exploring this topic.  Rather than examining the full narrative, I have chosen to present the lineage and linkage between Stalin's criminalization of homosexuality.  Prior to Stalin's rise to power, homosexuality was accepted by the socialist state.  In this diagram, we see a very particular branch of the story, Stalin's homophobic legacy still present in today's post-Soviet/ post-Socialist countries.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2015</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="4210">
                <text>Scott Valentine</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4211">
                <text>Scott Valentine</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Still Photo</text>
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        <src>https://s3.amazonaws.com/atg-prod-oaas-files/eurasia/original/1593720958f49b6fa4f6376c27066794.jpg</src>
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          <name>Dublin Core</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>The Project of Becoming:  The LGBT Movement’s Elastic Resistance in Post-Soviet Countries </text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>LGBT rights and Post-Soviet Contemporary History</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>What began as a digital anthropological project, rhizomed into a project not contained to one specific discipline.   ‘The Project of Becoming’ critically investigates the multivalent uses of maps in exposing the contemporary LGBT community of post-socialist states in Eastern Europe. As full citizenship  being denied due to their sexual orientation, this purportedly  ‘off the grid’ community becomes a case study exposing the dilemma of collecting data while remaining ethical to the community one is trying to render in the name of research.  This project retraces the multiple research circuits used in coming to this conclusion.  It is through these taxonomies a recycling of the term Queer Space is ultimately reanimated and shown crossing the multiple territorial divisions among: digital technology, the humanities and public displays of activism, where each becomes sites of resistance for critical engagement.</text>
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              <name>Creator</name>
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                <elementText elementTextId="4182">
                  <text>Scott Valentine</text>
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              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                  <text>2001-2015</text>
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              </elementTextContainer>
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              <name>Language</name>
              <description>A language of the resource</description>
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                  <text>English</text>
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              <name>Type</name>
              <description>The nature or genre of the resource</description>
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                  <text>Multi-Media mapping methods</text>
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              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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                <elementText elementTextId="4186">
                  <text>Scott Valentine</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Map of Warsaw Pride Route, 2014</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This abstracted map was created by reviewing hours of footage from the Warsaw Pride Parade.  During research it became apparent these routes are not publicly distributed online leading one to speculate this removal from the public domain could be for safety concerns.  Not unique to this region, pride parades often see a fair share of protests by anti-LGBT advocates.  More pressing to this region has been the often recorded violent reactions to these parades. By not having a map, it makes it harder for those against homosexual rights to protest these ephemeral critical masses.  It would make logical sense to remove these from the internet thus allowing them  to continue while curbing these violent reactions. Here, I parallel this notion,  removing any physical mention of the city and place with the exception of the background map of Poland. The use of the 'pink curtains' is a term developed in reference to LGBT cultural in the post-Socialist countries, weaving together the idea of the Iron Curtain with the unofficial color of the LGBT movement: pink.</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4215">
                <text>Scott Valentine</text>
              </elementText>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4216">
                <text>2015</text>
              </elementText>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="4217">
                <text>Scott Valentine</text>
              </elementText>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4218">
                <text>Scott Valentine</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="4219">
                <text>Still Life</text>
              </elementText>
            </elementTextContainer>
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      <tag tagId="679">
        <name>LGBT</name>
      </tag>
      <tag tagId="687">
        <name>Movement</name>
      </tag>
      <tag tagId="573">
        <name>Poland</name>
      </tag>
      <tag tagId="686">
        <name>Pride Parade</name>
      </tag>
    </tagContainer>
  </item>
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