FiSahara celebra su 2ª edición en Madrid

FiSahara celebra su 2ª edición en Madrid

Tras la reciente celebración de su XVI edición en los campamentos del Sáhara, el festival de cine y DDHH llega al Círculo de Bellas Artes del 17 al 19 de diciembre  

FISAHARA celebra su 2ª edición en MADRID homenajeando a la actriz Pilar Bardem

Apenas dos semanas después de la clausura de la XVI edición de FiSahara (Festival Internacional de Cine del Sáhara) en los campamentos de población refugiada saharaui tras dos años de ausencia por la pandemia, la Pantalla del Desierto tendrá su eco en el corazón de Madrid con la 2ª Edición de FiSahara Madrid, que se celebrará del 17 al 19 de diciembre en el Cine Estudio del Círculo de Bellas Artes. Esta edición se realizará en memoria de la actriz Pilar Bardem, muy querida por el pueblo saharaui y gran defensora de la causa desde el inicio del conflicto en el Sáhara Occidental.

FiSahara Madrid toma el relevo del FiSahara celebrado en Ausserd con su lema #RompamosElSilencio, acercando el Sáhara Occidental a públicos internacionales en un momento crítico en el que la reanudación del conflicto armado en el Sáhara cumple un año, la población saharaui en el Sáhara ocupado por Marruecos sufre una ola de brutal represión y se libra otra guerra, ésta por los recursos naturales saharauis, en el Tribunal de Justicia Europeo.

“Pilar significó mucho para nuestro pueblo, estuvo a nuestro lado desde que Marruecos invadió nuestra tierra y siempre alzó su voz por la justicia, señalando sobre todo al gobierno de España como responsable de nuestra tragedia”, asegura Tiba Chagaf, director Nacional de Cine y Teatro del Ministerio de Cultura de la RASD. “Por eso queremos recordarle y darle las gracias en su ciudad, Madrid, y agradecer a su familia haber estado también a nuestro lado. Es la segunda vez que traemos el festival a Madrid y lo hacemos, además, tras el éxito de la XVI edición de FiSahara en campamentos, lo que nos llena de orgullo e ilusión para seguir llevando nuestra causa por todo el mundo a través del cine y la cultura”.

La programación de esta edición “es cañera, ágil, impactante, porque es urgente que despertemos ante un conflicto que también es nuestro, es necesario que sepamos que nuestro país exporta armas a Marruecos y que en nuestros platos hay pescado y tomates robados al pueblo saharaui, y es imprescindible que aprendamos qué podemos hacer para no ser cómplices de esta enorme injusticia”, según María Carrión, directora ejecutiva de FiSahara. “Queremos que el público esté al borde de su asiento tanto durante las proyecciones como en los coloquios, y que se levante habiendo descubierto cómo un pequeño pueblo como el saharaui sigue sacando de su baúl herramientas creativas y sorprendentes para defenderse contra Goliath, que es Marruecos”.

El evento conjuga el cine y la fotografía — a la entrada el público podrá disfrutar de la exposición fotográfica de la Plataforma Saguia El Hamra — con la participación de expertxs, artistas y activistas que en diferentes mesas redondas ofrecerán las claves de la resistencia saharaui en escenarios tan diversos como la cultura, la economía global, los tribunales internacionales o el rescate de la memoria histórica.

Expolio, minas antipersona y cine 100% saharaui

FiSahara Madrid echará a andar el 17 de diciembre con una velada dedicada al expolio de los recursos naturales en el Sáhara Occidental, un tema de rabiosa actualidad tras la reciente anulación por parte del Tribunal de Justicia Europeo de los acuerdos comerciales entre la UE y Marruecos por incluir recursos naturales en Sáhara ocupado por Marruecos. Una serie de cortometrajes ilustrará el impacto del expolio: Ocupación SA nombra a empresas españolas que lo realizan, Delivery se centra en los esfuerzos de dos activistas por llegar hasta el CEO de otra empresa expoliadora y Sólo son peces, candidata a Mejor Cortometraje Documental en la edición de los Goya de 2021, muestra el impacto de la ocupación y el expolio para la población refugiada saharaui que vive de la ayuda humanitaria.

Y para conocer la realidad de saharauis bajo ocupación que luchan contra el expolio se estrenará el corto documental Sultana Libre, producido por el colectivo saharaui Equipe Media, que relata un año de arresto domiciliario y brutal represión por parte de agentes marroquíes que sufre la conocida defensora de DDHH Sultana Jaya, con imágenes grabadas por la propia activista desde su casa de Bojador. El arresto de Jaya, que ha sido denunciado por numerosas organizaciones internacionales de DDHH y por la ONU, se debe a su militancia a favor de la autodeterminación pero también por su lucha contra el expolio.

Tras las proyecciones y durante el coloquio “¿Estamos comiendo pescado saharaui robado? Del mar a nuestro plato: radiografía del expolio”, el público podrá interactuar con activistas y expertxs en primera línea de la lucha contra el saqueo de recursos naturales del Sáhara como Erik Hagen (Western Sahara Resource Watch), Juan Soroeta (Profesor Titular de Derecho Internacional Público y Relaciones Internacionales en la UPV/EHU) o Abdulah Arabi, representante del Frente Polisario en España.

La segunda jornada (18 Dic), dedicada al Cine y Artivismo Saharaui, proyectará la película, Mutha y la muerte de Hamma-Fuku, cortometraje preseleccionado este año para los Premios Goya 2022 que narra la historia de una joven saharaui que se juega la vida para desminar el muro de separación marroquí que parte el Sáhara Occidental en dos, donde Marruecos ha sembrado más de siete millones de minas antipersona — y actual escenario del conflicto armado.

Y directamente de la Pantalla del Desierto de Ausserd llegarán los cortos saharauis de cineastas de la Escuela de Formación Audiovisual (EFA) Abidin Kaid Saleh, creada por FiSahara en 2011 en el campamento de Bojador: Toufa (1er Premio en la última XVI edición de FiSahara), En busca de Tirfas y El Precio de la Belleza (ambas 2º Premio ex-aequo en XVI FiSahara), con historias sobre el exilio, el desempleo juvenil y los cánones de belleza. Cerrará ese día la video-semblanza realizada por el colectivo Saharawi Voice de Tiba Chagaf, director de la EFA Abidin Kaid Saleh, que participará en el coloquio “La revolución del cine saharaui” junto a Mutha Hamma Feccu, protagonista de Mutha; Salma Mustafa, guionista del El Precio de la Belleza; Lafdal Mohamed Salem, director de En busca de Tirfas y estudiante en el Instituto del Cine Madrid (ICM) y Nadhira Mohamed Buhoy, protagonista de Wilaya (Pedro Pérez Rosado) y estudiante en el ICM.

Premios Goya 2022 y homenaje a Pilar Bardem

Los Premios Goya 2022 también estarán presentes en FiSahara Madrid con la proyección el sábado de la cinta de Arturo Dueñas, Dajla: Cine y Olvido, seleccionada por la Academia de las Artes y las Ciencias Cinematográficas para competir como Mejor Cortometraje Documental esta próxima edición. La película muestra la rutina que se vive en el campamento de población refugiada de Dajla y cómo ésta se rompe con la llegada de FiSahara para, concluida su celebración, volver a caer en el olvido por parte de la Comunidad Internacional.

Ese mismo sábado 18 de diciembre FiSahara Madrid rendirá un sentido homenaje a la actriz Pilar Bardem, fallecida el pasado mes de julio. La actriz y expresidenta de Aisge siempre estuvo comprometida con la causa saharaui, convirtiéndose en una de las voces más poderosas a favor de la libertad y los DDHH en el Sáhara Occidental.

FiSahara Madrid pondrá su broche final el domingo 19 de diciembre con la premier de Un viaje hacia nosotros, película de Luis Cintora protagonizada por Pepe Viyuela quien, siguiendo los pasos de su abuelo republicano, refugiado en Francia tras la Guerra Civil, conecta esa historia con la del pueblo saharaui, refugiado en los campamentos de Argelia. Le seguirá el coloquio “La memoria y el presente, cuestión de identidad”, en el que participarán Pepe Viyuela y Tiba Chagaf, con la periodista Ebbaba Hameida como moderadora.

La venta de entradas para FiSahara Madrid (3€ euros por sesión) ya está disponible en la página web del Círculo de Bellas Artes.


Time is passing by

CSS selectors all exist within the same global scope. Anyone who has worked with CSS long enough has had to come to terms with its aggressively global nature — a model clearly designed in the age of documents, now struggling to offer a sane working environment for today’s modern web applications. Every selector has the potential to have unintended side effects by targeting unwanted elements or clashing with other selectors. More surprisingly, our selectors may even lose out in the global specificity war, ultimately having little or no effect on the page at all.

Any time we make a change to a CSS file, we need to carefully consider the global environment in which our styles will sit. No other front end technology requires so much discipline just to keep the code at a minimum level of maintainability. But it doesn’t have to be this way. It’s time to leave the era of global style sheets behind.

It’s time for local CSS.

In other languages, it’s accepted that modifying the global environment is something to be done rarely, if ever.

In the JavaScript community, thanks to tools like Browserify, Webpack and JSPM, it’s now expected that our code will consist of small modules, each encapsulating their explicit dependencies, exporting a minimal API.

Yet, somehow, CSS still seems to be getting a free pass.

Many of us — myself included, until recently — have been working with CSS so long that we don’t see the lack of local scope as a problem that we can solve without significant help from browser vendors. Even then, we’d still need to wait for the majority of our users to be using a browser with proper Shadow DOM support.

We’ve worked around the issues of global scope with a series of naming conventions like OOCSS, SMACSS, BEM and SUIT, each providing a way for us to avoid naming collisions and emulate sane scoping rules.

We no longer need to add lengthy prefixes to all of our selectors to simulate scoping. More components could define their own foo and bar identifiers which — unlike the traditional global selector model—wouldn’t produce any naming collisions.

import styles from './MyComponent.css';
import React, { Component } from 'react';
export default class MyComponent extends Component {
 render() {
    return (
      <div>
        <div className={styles.foo}>Foo</div>
        <div className={styles.bar}>Bar</div>
      </div>
    );
  }

The benefits of global CSS — style re-use between components via utility classes, etc. — are still achievable with this model. The key difference is that, just like when we work in other technologies, we need to explicitly import the classes that we depend on. Our code can’t make many, if any, assumptions about the global environment.

Writing maintainable CSS is now encouraged, not by careful adherence to a naming convention, but by style encapsulation during development.

Once you’ve tried working with local CSS, there’s really no going back. Experiencing true local scope in our style sheets — in a way that works across all browsers— is not something to be easily ignored.

Introducing local scope has had a significant ripple effect on how we approach our CSS. Naming conventions, patterns of re-use, and the potential extraction of styles into separate packages are all directly affected by this shift, and we’re only at the beginning of this new era of local CSS.

process.env.NODE_ENV === 'development' ?
    '[name]__[local]___[hash:base64:5]' :
    '[hash:base64:5]'
)

Understanding the ramifications of this shift is something that we’re still working through. With your valuable input and experimentation, I’m hoping that this is a conversation we can have together as a larger community.

Note: Automatically optimising style re-use between components would be an amazing step forward, but it definitely requires help from people a lot smarter than me.


Me Myself and I

Many years ago, I worked for my parents who own a video production company. Because it is a family business, you inevitably end up wearing many hats and being the czar of many different jobs. I mainly managed projects and worked as a video editor. On production, there were times that I was called on to work as an audio tech and was made to wear headphones on long production days. In those days, having a really good set of headphones that picked up every nuance of sound was essential to making sure the client got what they needed.

First impressions.

Naturally, my first impression of these headphones is based off of the look of them. They have a classic over-the-ear style that is highlighted by a blue LED light that indicates the power for the noise canceling. The padding on the ear pieces seems adequate for extended usage periods.
They are wired headphones, but the 3.5mm stereo mini-plug cable is detachable. Something else I noticed right of the bat was the very nice carrying case that comes with them. It has a hard plastic exterior with a soft cloth interior that helps to protect the surface of the headphones from scratches. I never truly appreciated cases for headphones until I started carrying them from place-to-place. Now I can’t imagine not having a case.

A perfect fit.

Once I gave the headphones a thorough once-over exam, I tried them on. As I mentioned, they have a classic over-the-ear style and just looking at them, the padding on the ear pieces seem adequate and the peak of the headband seemed to be a bit lacking, but you don’t really know comfort unless you try on the product. So, I slipped the headphones on and found them to be exquisitely comfortable.

It’s safe to say that because of my unique professional experiences, I’ve tested out a lot of headphones.

Quality.

Now that I had the headphones on my head, I was finally ready to plug and play some music. I plugged the provided cable into the jack on the headphones and then the one on my iPhone 6. Then I called up Pandora. I tend to have a very eclectic music purview and have many stations set up for different moods. From John Williams to Fallout Boy, the sound quality of these headphones was remarkable. There is an amazing depth of sound and incredible highs and lows that make listening to music a truly breathtaking experience.

In order to test how voices sounded, and the overall art of sound mixing, I pulled up Netflix on my iPad Air 2 and watched a few minutes of a movie to hear all the nuances of the film. None of them were lost. In fact, I ended up hearing sounds that I hadn’t heard before. Echoes…birds chirping…wind blowing through trees…breathing of the characters…it was very impressive what the headphones ended up bringing out for me.

I would highly recommend these to any sound mixing specialist.


LMZUN

Many years ago, I worked for my parents who own a video production company. Because it is a family business, you inevitably end up wearing many hats and being the czar of many different jobs. I mainly managed projects and worked as a video editor. On production, there were times that I was called on to work as an audio tech and was made to wear headphones on long production days. In those days, having a really good set of headphones that picked up every nuance of sound was essential to making sure the client got what they needed.

It’s safe to say that because of my unique professional experiences, I’ve tested out a lot of headphones.

First impressions.

Naturally, my first impression of these headphones is based off of the look of them. They have a classic over-the-ear style that is highlighted by a blue LED light that indicates the power for the noise canceling. The padding on the ear pieces seems adequate for extended usage periods.

They are wired headphones, but the 3.5mm stereo mini-plug cable is detachable. Something else I noticed right of the bat was the very nice carrying case that comes with them. It has a hard plastic exterior with a soft cloth interior that helps to protect the surface of the headphones from scratches. I never truly appreciated cases for headphones until I started carrying them from place-to-place. Now I can’t imagine not having a case.

A perfect fit.

Once I gave the headphones a thorough once-over exam, I tried them on. As I mentioned, they have a classic over-the-ear style and just looking at them, the padding on the ear pieces seem adequate and the peak of the headband seemed to be a bit lacking, but you don’t really know comfort unless you try on the product. So, I slipped the headphones on and found them to be exquisitely comfortable.

Quality.

Now that I had the headphones on my head, I was finally ready to plug and play some music. I plugged the provided cable into the jack on the headphones and then the one on my iPhone 6. Then I called up Pandora. I tend to have a very eclectic music purview and have many stations set up for different moods. From John Williams to Fallout Boy, the sound quality of these headphones was remarkable. There is an amazing depth of sound and incredible highs and lows that make listening to music a truly breathtaking experience.

In order to test how voices sounded, and the overall art of sound mixing, I pulled up Netflix on my iPad Air 2 and watched a few minutes of a movie to hear all the nuances of the film. None of them were lost. In fact, I ended up hearing sounds that I hadn’t heard before. Echoes…birds chirping…wind blowing through trees…breathing of the characters…it was very impressive what the headphones ended up bringing out for me.

I would highly recommend these to any sound mixing specialist.


DEBATES WORKSHOP

Minimalism and geometric.

When you are alone for days or weeks at a time, you eventually become drawn to people. Talking to randos is the norm. I’ll never forget the conversation with the aquarium fisherman, forest ranger, and women at the Thai market. It’s refreshing to compare notes on life with people from vastly different backgrounds.

When you meet fellow travelers, you’ll find they are also filled with a similar sense of adventure and curiosity about the world. Five days of friendship on the road is like five months of friendship at home. It’s the experiences that bond you together, not the place. A rule I followed that worked well: be the first to initiate conversation. I met some incredible people by simply being the first to talk.

Long term travel is different than a luxury vacation. The point is to see the world, not stay in a 5-star hotel. During the trip, I stayed on a strict budget. The goal was to spend no more than $33 per day on accommodations. After a year, I was able to spend only $26.15 per day by booking through HostelWorld and Airbnb. When I wanted to meet people, I’d stay in a shared room at a hostel. When I wanted to be alone, I’d book a private room with Airbnb.

Take the cost of your rent or mortgage + food per month and divide it by 30. This is how much it costs per day to live at home. You will find that it’s possible to travel the world for roughly the same amount. Or, if you live in an expensive city like San Francisco, far less.

An universal language.

I was surprised how many people spoke English (apparently 1.8 billion people worldwide). Places where English was less prevalent, I made an effort to learn a handful of words and phrases in the local language. Even though it’s passable, I do desire to learn another language fluently. You can only take the conversation so far when all you can say is: “¿Esto contiene gluten?”

It’s possible to communicate a lot without saying a word. For instance, I left my phone at a restaurant in Chile. I pointed at the table where I was sitting, put my hand to my ear like a phone, then shrugged — 2 minutes later, my phone had been retrieved.


I was recently quoted as saying, I don't care if Instagram has more users than Twitter. If you read the article you’ll note there’s a big “if” before my not giving of said thing.
Of course, I am trivializing what Instagram is to many people. It’s a beautifully executed app that enables the creation and enjoyment of art, as well as human connection, which is often a good thing. But my rant had very little to do with it (or with Twitter). My rant was the result of increasing frustration with the one-dimensionality that those who report on, invest in, and build consumer Internet services talk about success.

Numbers are important. Number of users is important. So are lots of other things. Different services create value in different ways. Trust your gut as much (or more) than the numbers. Figure out what matters and build something good.