Professional Documents
Culture Documents
2025
1. Whoriskey, Peter. New Study Shows Architecture, Arts Degrees Yield Highest Unemployment.
Washington Post. 04 Jan. 2012. Web. 13 Nov. 2013.
2. National Advisory Board. A Diverse Palette: What Arts Graduates Say About Their Education and
Careers. Strategic National Arts Alumni Project. N.d. Web. 3 Dec 2013. <http://snaap.indiana.edu>
3. Ibid.
4. National Advisory Board.An Uneven Canvas: Annual Report 2013. Strategic National Arts Alumni
Project. N.d. Web. 10 Nov. 2013. <http://snaap.indiana.edu>
5. Ibid.
6. Ibid.
7. Gaiman, Neil. Neil Gaiman: Keynote Address 2012. The University of the Arts. May 2012. Web. 3
Dec 2013. <www.uarts.edu/neil-gaiman-keynote-address-2012>
_ Emily Stewart
_ Anthony Deng
its cramping
_ Christopher Lineberry
One of Christopher Topher Lineberrys final research papers of his undergraduate career investigates Arthur Tress photograph, Superman Fantasy, as it relates to
narratives of queer liberation and its limits in 1970s New York City. One major finding
was the works misattribution to photographer Philip Trager in the digital scholarly
database, ARTSTOR. Dressed as Superman, Lineberry calls Tress using the phone
number listed on the photographers website. Lineberry leaves a voicemail alerting
Tress to the error. His phone call hopefully results in saving an archive relevant to
his own body, while generating a queer cross-generational response to the male myth
of Superman. Lineberry performed the voicemail one day before the deadline for this
publication and eagerly awaits a response.
untitled
_ Megan Donnelly
I was laying upside down in bed looking at my legs today and I found bruises I dont
remember that lead me to scars that held stories. I began to trace through the years
of my life by the stories that left marks on me. A scar on my foot from when I couldnt
wait for my dad to walk through the door that I sat waiting in the path of the door.
Scars on my knees from attempting to rollerblade on dirt paths in Turkey and playing
soccer on broken concrete courts. I found one on my foot from the winning move of a
capture the flag game. On my shin from jumping out of the way from a spinning car. A
wound on my leg from the mountains in Nepal that never fully healed. I felt the one on
my cheekbone from skiing into a tree. Between the scars were the recent stories; the
bruises and cuts, their presence still fully felt. Most from soccer, as if trying to keep it
around a little longer. Others from bar-tending. Each showing a level of commitment
to an action. Not so much a constellation of pain; its more than pain. But rather each
mark justifying the action that created it. None of them out of pure stupidity but rather
a committed decision from that moment. Each mark brought me back to a mindset,
the person I was at the time; where the injury was part of a choice I saw as worth it.
All my life I have found comfort in maps, I used to say that it was where all my worlds
came together in one place, but I missed the most obvious map. I missed the one
that is written on my skin, on the surface of my being, open for everyone to see, for
everyone to connect as they see fit. Its weird how scars and stories form into the
concept of time and history; how structures of age/time perpetuate the history born
within them. I love that I have a living memory of my history written on my body... And
now, Ill never be able to see these marks as anything less than that.
Why Art
(in approximately 100 words)
_ SaraMarie Bottaro
Using visual art to interrogate social justice issues in our culture is intuitive. Art
uses visual and/or physical mediums to represent experience in a visual way. Because
of the necessary confrontation between viewer and image, it is also a great prompt
for conversation. People encountering art have been socially trained to share their
opinions of it, and often do so automatically, since visual actualization has something
inherently immediate about it. A purely textual academic paper has very different
distribution channels and audiences than a drawing shown in a gallery context does.
The socioeconomic barriers to accessing both cannot be ignored, but through visual
representation issues availability are greatly expanded.
Simon Remiszewski, Advertisement Transcription 01: 05/2015
I tried to do everything Beyonce did when she came here. People around here will
remind you that she did this thing or took a photo of her bbq falafel.
I seized every opportunity because Ive learnt that there is no use in resisting things
that may sound stupid, or to not take the chances that sound dumb or uncool. I had
my reservations on compiling these iphone photographs and scattered texts because
it seemed mundane and a wasted effort for both me and you, the reader.
There is no use to think like that because right now, pause, and now again, you are
new and full of hope at every second. Youre older and much newer than the last time
you washed your hands.
At some seconds youre the ultimate you.
I wanted to feel, all the variations. I wanted to step into the new star grocery museum.
Alone.
He let me in on off hours because I was peeking into the space like an eager jerk,
The man with a scruffy coarse face and a terribly sagging bright red beanie that would
cost $45.00 in the city.
He had 7 dogs at new star grocery museum, the hot dog kind
barking and scratching at the wounds on my knees from Austin, through my tights
He had over 50 lights made out of trash
He had paintings his mother made before she died
He had communist collages
He said he liked strong women
He was a communist
at the new star grocery museum
_ Marie Lopez
_ Will Russack
are standing way inside his personal space, but you feel safe within the virtual reality
world you understand that this is not reality, its a recording of an event that happened. Hes not going to grab hold of you, he says.
To present the concept theorized by Nathan Jurgenson and others, its a classic
case of Strong Digital Dualism where the digital and physical are different realities,
have different properties, and dont interact. A dangerous place to be, given that these
are real people we are dealing with on both ends of the headset. The virtual reality Milk
presents is a document, and he is quick to imply both empathy and disassociation
in the same sentence. Therefore, why does getting up close in someones recorded
face bring me any closer to human experience? While this act may actually present
a real personal security risk for the individual actually present at the protest, it offers
the viewer safety - not in a virtual reality world, but in their own physical and very
present environment. This is not to imply that everyone can and is able to attend a
protest. Milks description is anything but enabling.
I measure the worth of the work Im making on two metrics: the first is how deeply
can I affect other human beings, and the second is how many human beings can I
deeply affect? says Milk.
Furthermore, Millions March was intended to make a stand against the extreme and
systemic violence placed upon actual physical bodies of people of color in America,
so maybe we could push the conversation away from it being some sort of stage for
a technological spectacle? As is common practice when technologies are involved,
we tend to talk about the literal material alone, forgetting the actual world it exists
within. So simultaneously you feel as if you were there, while also understanding that
its a recording of an event. Either way youre not there, and either way youre actually
alright. From iPhone to Gorgon Stare, we can be sure that mediated viewing does
not bring us closer to some sort of reality we cannot otherwise access; it presents
a completely different experience. This experience is not worthless on its own, but
technologies enable utilization, not strong concepts.
Virtual Reality technologies do contain a lot of promise, and at this point the research on empathetic effect in virtual environments is showing some positive results.
For instance, there is strong evidence that VR interactions are proving especially
helpful for those dealing with PTSD. I think we need to be wary of what we might be
forgetting when we talk about these technologies - the realities they bring into being,
the realities we enable with technology, and the histories surrounding such ideals of
progress and their alternatives. A person with a hammer sees everything as a nail, but
the house is already built.
Thats really something else. Like all, all, like... Ill tell you what freedom is to me:
NO FEAR. I mean, really, no fear. If I could have that half of my life. No fear. Lots of
children have no fear. Thats the closest way, thats the only way I can describe it.
Thats not all of it, but it is something to really, really feel... wow... Like a new way of
seeing. Like a new way of seeing something.
- Nina Simone (from bit.ly/ninafreedom)
How could we use these technologies not to just emulate existing experience
and narrative, but to actually create different experiences and narratives? How could
virtual reality technologies enable a communication of existing oppressions, issues,
contexts - and affect change? How can the emergence of a new technology stop enabling tendencies to ignore, and start addressing what has been ignored? Could these
technologies enable a new way of seeing something, and what will we be seeing?
1. http://www.smfa.edu/files/SMFA-SELF-STUDY-Final.pdf
2. Up until this point, we have been accredited through Tufts University.
3. Statistics sourced from http://www.collegeboard.com