A Trip to the Philly Zine Fest

“I work at a bakery across the street, and I saw more alternative-looking people around the Rotunda than usual, so I decided to check it out” – Haverford alum on her reasons for visiting the zine fest

On November 9, 2014, two Haverford students made their way to the Philadelphia zine fest, thanks to the Student Arts Fund, to distribute a zine they made collaboratively. They were none other than Courtney Lau ’17 and Katy Frank ’17. FULL DISCLOSURE: the author of this blog post is, also, Katy Frank ’17, hence the shift into the first person. (Zines and blogs have certain artistic similarities, no?)

Corey, Courtney, Katy

Corey, Courtney, Katy

As Courtney and I arrived, we set up our half-table in a corner of the Rotunda. The Rotunda, on 40th and Walnut, is a multiuse arts space with some pretty neat murals. We were in between two groups of people: on our right, two best friends from childhood, a man and a woman both named Corey. On our left, a group of all-black-clad vegan punks. We were in good company. We even met a Bryn Mawr graduate who now lives in an artists collective house in West Philly, Yonnic Daze.

We were at the zine fest for a total of about six hours from set-up to put-everything-away. The zine fest was incredible because we got to be surrounded by fellow artists, writers, and zinesters. We saw zines ranging from the irreverent “pics of stics” (beautiful photos of various pieces of driftwood, kindling, etc) to the extremely urgent “danger unheard,” about police brutality towards deaf people. The afternoon was as fun as it was educational – and proved that those experiences can go hand-in-hand.

Our zine, called “Naked Scoot,” and authored by our dynamic conceptual art collaborative persona, “flaunk,” is admittedly a rather cryptic and surreal zine … and it’s all the more fun for it! Zines are super duper fun to make both for yourself and distribution. They can be diary-esque or loud, public manifestos. We were so thankful to be able to experience the beauty and quirky artistry of the Philly Zine Fest! If anyone would like to nab a copy to peruse, check out the book exchange station at Lunt Cafe!

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Zoe Strauss’ ‘Sea Change’ Brings Climate Change Home

On Friday, January 23rd, the Cantor Fitzgerald Gallery was so packed it was hard to maneuver through the crowd – and for good reason. Students came from throughout the Tri-Co, and the local community also showed up in full force to try and absorb Zoe Strauss’ stunning and awe-inspiring photographs. The pictures are awe-inspiring in more ways than one, as they combine a journalistic sense of cataloging with extreme artistry. They document scenes of extreme destruction with a poignant grace, even as the viewer may feel a tad voyeuristic.

"We’ll Be Back," Mississippi Gulf Coast, Mid September, 2005. Copyright of Zoe Strauss.

“We’ll Be Back,” Mississippi Gulf Coast, Mid September, 2005. Copyright of Zoe Strauss.

As Peter Crimmins writes on WHYY, “There are clusters of images showing rooms destroyed by flooding and mold; another cluster  display rainbow oil slicks on water. There is no way of knowing if these were caused by Katrina, Sandy, or the BP spill.

The point is: all these catastrophes reflect how we live now. Strauss is making a broader statement, about living in a time when a drive for oil and the consequences of its consumption create more frequent ecological disasters.”

The WHYY article contains an audio interview with Zoe Strauss which is definitely worth listening to. Zoe also participated in “Hoagies with Zoe,” where she discussed details of the exhibit with Haverford students. The show ends on March 6th – definitely visit soon if you haven’t seen yet because I can guarantee that you’ll want to go again.

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QUALIA: Innovation with the E. Clyde Lutton Memorial Fund

This spring is looking exciting! Something to look forward to: Arielle Herman’s QUALIA, a multidisciplinary performance project happening this spring thanks to the E. Clyde Lutton Fund Memorial Fund for Performance.

What does the title mean?

[Laughs] I’m not 100% certain that’s what I’m calling it.  But – what Qualia means is the phenomenological quality of subjective experience: the basic example is the color red. You look at red, and other people look at red, and you think, “How do I know they’re seeing red the same way I do?” Qualia refers to the feeling of what red looks like. Red occurs pretty similarly in peoples brains, but there is no way to theoretically describe the experience. You kind of live in your own perceptual vacuum. When it comes to music and art, which are so subjective, qualia is so important. Everyone could potentially be having their own unique experience. In that sense, subjective experience, aesthetic experience, and neurological activity are all the same thing. There isn’t much overlap in the academic world between those concepts, but I think they’re really related.

What’s your goal for the project?

My goal is to communicate that the art and music you see and hear, the things that you feel and sense, and what happens in your brain are all related to each other.  I also want to show people that they could potentially have their own unique experience of anything, but also that your qualia of anything can overlap with other people’s. I want to communicate how incredible the brain is – I’m going to have the brainwaves projected up on the wall so people can see that the brainwaves are changing.

I want it to be really interactive.  The physical goal, i.e. what this is going to look like: people will be able to change the music by turning dials and pressing buttons on a MIDI controller [a device that allows the user to change different aspects of music].  There will also be a MIDI controller which changes the frequency of synthesizer oscillation, which then controls the frequency of flashing light. Meanwhile, another person could be hooked up to a BCI [a brainwave scanner that uses electrodes] and their brain waves could be projected onto a wall, while a spectrogram tracks how the frequency of their brain waves accords with the music and the flashing light. We might also project a visualization of the brain waves and the music playing on the walls. I’m teaching myself engineering and computer science for this project.

a MIDI controller

a MIDI controller

Whats your approximate timeline for this?

I think the weekend of March 20, for two or three nights. It will be in James House. Above all, it’s a live performance. You go and listen to music and watch cool stuff on the walls. I’m thinking of bringing in some of my musician friends to play music alongside me. It might turn into a collaborative musical effort. This is going to be in James House – at least that’s the plan.

How does this relate to your academic work?

It’s very related. I’m a Psychology major, neuroscience minor. I took “Psychology of Music” last semester, I’m in a Neurobiology class right now. This is really my first effort to wed my interests. This exhibit is philosophy, psychology, computer science, engineering, neuroscience, music, visual art, theater and performance. I want to make neuroscience more accessible for people – to communicate how important it is. Also to make music accessible. These things aren’t as scary as they sound or look. You put three electrodes on your head and you can see brain waves – its so simple! You can investigate yourself.

Is there anything else we should know about QUALIA?

It’s open to anyone who wants to come, including faculty and staff. There will probably be a talk beforehand, and you can come discuss any number of the different disciplines involved in this project.

Check out Arielle’s work at her website!

ariellefherman.wix.com/qualiatik

 

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American Rubble

Paul Farber, a Postdoctoral Writing Fellow at Haverford, answers all your questions about the most exciting First Friday since FAB had that cooking class in Reading Terminal Market.

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1.Can you tell me a little bit about the event? What/Who/Where/When?

American Rubble is an artist residency, symposium, and temporary exhibition on Tuesday, Dec 2 and Friday, Dec 5 that seeks to explore the ways we engage the economic and architectural transformations occurring currently in many contemporary cities, especially Philadelphia.  The events center around artist Stephanie Syjuco’s developing project, American Rubble, in which she seeks to collect and archive pieces of urban rubble, to convey and compare histories of the present. Syjuco will be in collaboration and conversation with students from several Haverford classes, and a group of prominent scholars/artists of cultural memory including Camilo J. Vergara, Susanne Slavick, Joshua Clover, and Salamishah Tillet.

2. When did you start organizing American Rubble? How did the idea start?

I first discovered Syjuco’s work when researching American artists who engage the history and memory of the Berlin Wall. Her series “Berlin Wall” was a critical and creative intervention against Cold War triumphalism, as well as an invitation to consider the multiple ways we imagine and consume history. Syjuco and I began corresponding about her project, and she became one of the artists included in the exhibition “The Wall in Our Heads” I curated this Fall in Washington D.C. (Which will be traveling to Haverford’s CFG Gallery next Fall.) We met for the first time in Berlin last summer, but for months prior had discussed next directions for this work. We realized we had a shared investment into questions about contemporary urban reinvestment and gentrification, and connected those conversations with other faculty members here at Haverford and Bryn Mawr, and critical thinkers in the Philadelphia area. This project is a direct collaboration between many faculty across disciplines (ranging from History to Chemistry to Art to the Library) and involves members of the larger Philadelphia community.

3. How did you choose the site of Ryan Gym for the temporary art exhibit?

My office is located in Ryan Gym, and even after over a year of being on campus, each day when I enter the building I see something new that catches my eye. Sometimes, it’s a fascinating architectural detail, or a new beam of light, or a different student activity in the gym, but I find it remarkable that a building so tied to the past traditions of Haverford can be so dynamic. Ryan is located at the physical heart of the campus and continues to invite speculation on what it could be for our campus – and its immediate future includes an exciting transformation into a well-resourced space for student creative and collaborative work. We want to celebrate that approaching evolution. When Syjuco visited Haverford back in August, we spent a lot of time in Ryan and thought about it as a building that could both be a venue for this project and is itself a statement about the passage of time. Our goal is to temporarily transform the space, to respect it and also create a venue for critical and collective dialogue.

4. What is so American about rubble? Why not trash or garbage in the title?

The title is an invitation to thinking about American culture and the future legacies of this era. The title signifies in a few directions – it is play on the mythologized cultural figure of the “American Rebel” to think about the causes and values of urban building projects; an ode to symposium speaker Camilo Vergara’s powerful work American Ruins; and an invitation to think about the physical condition of American cities that experience shocks and upheavals, even as they regrow.

Syjuco has pointed out previously, “Rubble is a transitional state – debris created by tearing something down. It is meant to be cleared away, an architectural folly, a failure of construction that is stigmatized and not to be looked at. By salvaging these objects, [my] project aims to critique the propensity to create souvenirs out of almost any event, instead turning the public’s attention on to objects that are a reminder of collapse.”

5. What do you hope Haverford students will walk away with after attending any or all of the three events?

We hope Haverford students and faculty involved in the project see themselves as co-producers of an emergent form of creative civic engagement. The participants are at once collaborators, conversants, critics, writers, and neighbors along Lancaster Avenue. Many of us involved with this co-curricular project, linking Syjuco and students across classes, also hope our students value working together to build platforms for critical thinking and creative expression. And finally, we hope Haverfordians comes out to view this transformation of Ryan Gym firsthand on December 5.

For more information, visit hav.to/americanrubble

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WHAT IS Re:Humanities?

If you have ever had a single question about Re:Humanities, from the most basic logistics to the most esoteric academic references, this is the blog post you’ve been waiting for. Katrina Obieta (BMC ’15), part of the Re:Hum working group, answers all.

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1. What is Re:Humanities, logistically speaking? What/Who/Where/When?

Re:Humanities ’15: Save, Share, Self-Destruct. will be held at Swarthmore College on April 9-10, 2015.

2. And: why?

The symposium is a two-day conferences that showcases undergraduate research on digital humanities. Our goal in this symposium is to empower undergraduates with the unique opportunity to playfully engage in scholarly research, challenging them to produce and collaborate in a sphere traditionally reserved for graduates and professionals. The theme this year lies at the intersection of digital scholarship and the public realm. The tools of new media allow for innovative academic research and streamlined social contact, yet present significant trade-offs. Privacy breaches, personal digital trails, and the effects of technology in daily life remain prominent issues in public and academic circles. These concerns raise fundamental questions for both scholars and the community: What do we save? Why do we save it? What do we trade for access? How much data is too much?

3. How can students access and learn about the digital humanities in the Tri-Co beyond this conference?

Re:Humanities is supported by both the Tri-Co Digital Humanities and Haverford College’s Hurford Center for the Arts and Humanities. They have many different programs and opportunities for students to learn more about digital scholarship. Learn more here:

tdh.brynmawr.edu

www.haverford.edu/HCAH/

4) Feminist scholar Donna Haraway writes, “I seek my siblings in the nonarboreal, laterally communicating, fungal shapes of the queer kin group that finds lapdogs and laptops in the same commodious laps” (When Species Meet, 10). How can the Digital Humanities navigate the differences and similarities between lapdogs and laptops?

Digital Humanities and especially the Re:Humanities Symposium both sit at the intersection between lapdogs and laptops. The Digital Humanities not only allow media and technology to advance, but research and scholarship in this field are constantly thinking about ways in which in can be put to everyday use in academia and beyond. This application and sharing of digital advances and scholarship from academia into the public realm is exactly what this year’s symposium hopes to explore.

5) What advice would you give students who want to submit to Re:Humanities 2015?

Two pieces of advice for students looking to submit proposals: one, is to submit early / on time and two, is to have a clear proposal topic or question. The Working Group is not necessarily looking for finished projects, but having a clear direction will be helpful. This year’s theme reaches out far and wide, so we can’t wait for all the different kinds of submissions and proposals we will receive!

For more information, visit http://blogs.haverford.edu/rehumanities/

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Portraiture, Disability, and Identity: Explorations with Mellon Creative Resident Riva Lehrer

"At 54," a self-portrait by Riva Lehrer. 2013.

“At 54,” a self-portrait by Riva Lehrer. 2013.

Mellon Creative Resident Riva Lehrer is returning to Haverford this Thursday to deliver her lecture, “Jarred: Self-Portrait in Formaldehyde”, inspired by an encounter with a fetal specimen at the mutter museum. Riva has exhibited her work in museums and galleries across the country, and has also curated numerous exhibitions. Her work focuses on issues of physical identity and the socially challenged body.

Riva’s visit is a continuation of her work with Professor Kristin Lindgren’s course “Disability, Identity, Culture,” part of the 360° Program, “Identity Matters.” The cluster of three courses focuses on representations of illness and disability in the arts. Over fall break, Riva Lehrer and students in the 360 spent five days at Camphill Village, an intentional community in Kimberton, PA that includes adults with developmental disabilities. During the trip, students created textual and visual portraits of Camphill residents.

I spoke with student Sula Malina, BMC ‘17, about the class’ trip to Camphill Village and Riva Lehrer’s residency.

Can you tell me a little bit about the structure of the Camphill Village visit?

We visited Camphill for five days, from a Sunday to a Thursday, so we could get a glimpse of the most active days of the week for the villagers. Each of us were paired with a villager who had volunteered to take part in the experience, and we were meant to follow them around, either shadowing or helping out, with their various activities throughout the day. We stayed at a nearby camp, ate our breakfast there each morning, and then drove over to Camphill.

We also worked with our villagers and Riva on drawing, and followed them to their second work assignment of the day. We usually went back to our campsite for dinner, and then took about an hour to an hour and a half during which we reflected on our day and our relationships with our villagers.

"Lynn Manning: Comet," by Riva Lehrer. 2007.

“Lynn Manning: Comet,” by Riva Lehrer. 2007.

How did you go about creating the visual and textual portraits of the residents of Camphill?

Before we took our trip, Riva came to visit our classes several times. We worked on a number of different projects—we drew our younger bodies, we did writing exercises, and we drew our “fantastical bodies” (if our bodies could represent literally all of the strengths we wished to have). We worked outside of class on realistic self-portraits, and the first night there, Riva gave us a crash course on anatomy and facial structure so we could revise the self-portraits.

We had discussed how we were going to create portraits of the Camphill residents, and had decided that we wanted to represent the many interesting and amazing facets of our partners—either literally or symbolically. When we first got together with our partners in the drawing space, we asked each other questions to get to know each other and each other’s interests better. We then discussed with Riva how we could put all of their many interesting sides into a portrait, cohesively. From then on, we worked each day on developing those ideas—first sketching lightly, then defining our lines, and finally, adding color. While we worked on this, our partners worked on portraits of us and of anything else they wished to draw. When we were finished with our stay at Camphill, we held a sharing circle with the 360 students and our partners, and explained each piece of art we had created.

What was particularly exciting or challenging for you?

I learned a great deal from visiting Camphill, and from working with Riva. As far as drawing goes, I am not much a visual artist, and I’ve never been very interested in learning. However, I found myself dramatically improve as I went from the first draft of my self-portrait to my more guided, accurate draft. Frankly, it was inspirational. I had never realized I could improve at anything that much in such a short period of time, and that was certainly thanks to Riva’s teaching. After that, I was incredibly excited to work on drawing each day, especially with our new villager friends.

"Mom," a self-portrait by Riva Lehrer. 1997.

“Mom,” a self-portrait by Riva Lehrer. 1997.

The Camphill visit itself was emotional and complicated. All of us went into the trip needing a real break from a very emotional and rigorous set of classes, and having already spent a little too much time together. So spending each night in the same cabin put even more strain on that relationship. Somehow, though, we ended up closer than ever. I think this was due, in part, to the fact that we all changed so much, on a very personal level, from working with our partners and observing the functioning of Camphill. Most of us had had minimal experience working with individuals with developmental disabilities, so this was certainly an exercise in compassion and understanding, as well as patience. We really did have to be “on” all the time—interacting not just with new people, but with people who held conversations in very different ways than many of us were used to. Adapting to this was certainly challenging, but incredibly rewarding as well. By the end of the trip, we all felt incredibly deep connections with our villagers, and many tears were shed during the final circle share.

Thanks so much, Sula!

Make sure to stop by Riva Lehrer’s talk at 4:15 this Thursday in Stokes 102!

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Play with your Art (Crosslisted: CRYPTIC/CORRUPT)

For the most part, if you’re a college student now, you’re a generation that grew up post-arcade. There was one relatively near where I grew up that was a hotspot for birthday parties, but we never went just to hang out some afternoon. I’m told they used to be dark dens of teenage mischief-making—mazes of weird and inscrutable games, screens smudged with grease, air heavy with smoke… Obviously the arcade has changed—the one I remember is gone (replaced by laser tag, I think? Not all history is progress)—but this figure of the arcade sticks with us, a tangle of metaphorical cables, an unidentifiable stain on the wall-to-wall carpeting of our minds.

I’m running a Student Seminar called Decoding Videogames, in which we attempt to critically analyze games through their outward-facing content and internal mechanics. For Crosslisted last Friday, we decided to display some of the games we’re looking at to the community, for their own investigation. We set up a plastic dining table and covered it in machines: mostly macbooks, a thinkpad, and a couple tablets. Briefly (from noon to one) the Cantor Fitzgerald Gallery Lounge played host to Cryptic/Corrupt, a collection of unusual videogames. There was also a box of pastries. Among the inedible delicacies available to passers-by were:

Nidhogg

I suspect Nidhogg drew the most eyes—its retro-styled graphics are chunky and colorful, and we had it up on a TV surrounded by leather couches. The one-on-one sword-fighting game can be controlled with just two buttons and a directional pad, but the game underneath has enough tactical “I know that you know that I know that you know…” that it doesn’t just look like fencing, it’s something of a digital cousin at a deeper mechanical level.

868-Hack

 

 

 

 

 

 

 

 

An iOS game almost like solitaire chess—if you’re not thinking a couple moves ahead, you won’t make it terribly far. The developer, Michael Brough, is way into letting the mechanics of his games slowly reveal themselves to the player. They’re hard—because they refuse to be understood at first glance—but enticing—because you’re learning more about how they work with every move.

Purgateus

 

 

 

 

 

 

 

I’d initially talked to James about including Proteus, but decided almost last minute that a mod might be more interesting. There’s a huge thread about modding Proteus on one of my favorite game-making community websites, makega.me. Where Proteus is a bright and gleeful first-person island-wanderer (FPIW?), Purgateus takes a slower, darker tone. The trees are burned out, the sky is grey, the graveyards seem more somber.

howling dogs
I’ll recommend this game forever. It’s two or three years old by now, but still one of the best things I’ve ever played. When Richard Hofmeier won IGF 2011 for Cart Life, he decided he’d had enough publicity and converted the booth for his game into a spray-painted display for this one. To compare its author, Porpentine, to Borges and Calvino might feel to you like blasphemy, but if we’re forming a new canon, she’s part of it. If I didn’t think assigning genre were too restrictive, I might call it sci-fi magical realism.

SpyParty

If you’ve ever been at a party and felt like the most uncool person in the room, you have an idea what SpyParty is like. As the Spy, you drink your drink and time your conversation so you can look like a computer player, and as the Sniper, it’s your job to find the party-goer who looks a little too human and shoot them. SpyParty is played on two different computers over the internet, and had some internet-related troubles during our event—Charles ran to get ethernet cables to see if we could connect them via LAN, we tried a few different networks, and unfortunately nothing really worked.

Tarantella Sicilienne
Screen Shot 2014-11-14 at 11.52.07 PM

 

 

 

 

 

 

 

This is another game from a makega.me event, this time a month-long event where games were made based on songs. Thecatamites put together a 11-game summer jams mixtape, and this game stands out as the most immediately readable (which may not be saying all that much). It’s about the daily hardships of peasant life, dealing with loss, and the unstoppable force of war. That’s a lot to pack into a 5-minute flash game, but thecatamites pulls it off without a hitch.

and as an Honorable Mention: 74: 78: 68
Again because of our internet issues and last minute laptop substitutions, this game didn’t quite make it to the table. If you’re a brave soul, and don’t mind possibly crashing your browser, I recommend you give it a go. The goal is to make enough instances of yourself that the game’s frame-rate drops to zero, which, weirdly enough means the game is easier the older your computer is.

And that was our little arcade, hopefully a fun time for all who stopped by. I also hope you’ll check out Crosslisted events in the future—there’s one every Friday at Noon right between the Coop and the Cantor Fitzgerald Gallery. Next week, 11/21, Ghosts in the Archive: A conversation on photography, performance, and the Ghost Dance religion with Assistant Professor of English Lindsay Reckson and Emma Lumeij ’16

Maybe I’ll see you there!

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Spring 2015 Courses by the Hurford Center

Hello there! As you scroll through the course catalog this week, contemplating which classes to take, consider the classes sponsored or supported by the Hurford Center!

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Affirmations of Life: Lucretius, Spinoza, and Nietzsche in the eyes of Gilles Deleuze
M 1:30-4
Peace, Justice, and Human Rights / Independent College Programs

Roy Ben-Shai, Mellon Postdoctoral Fellow and Visiting Assistant Professor of Peace, Justice, and Human Rights

Reading Lucretius’ philosophical poem On the Nature of Things, Spinoza’s Ethics, and Nietzsche’s The Gay Science, alongside interpretative essays by Gilles Deleuze, we will discover an alternative trajectory in the history of philosophy that has been seldom recognized as such. This subversive tradition is bound to challenge some of our deepest held convictions and instincts, since it promises emancipation from evil, injustice, and suffering, not by changing the world or the way we live but by unwaveringly affirming world and life as they are.

More info: rbenshai@haverford.edu

thumbnail-1Anarchisms: Old and New
7:30-10:00pm
POLSH306B01

Andrew Cornell, Visiting Assistant Professor of American Studies and Mellon Postdoctoral Fellow, Hurford Center

An inquiry into anarchist political thought and action from the 19th to the 21st century. We will study anarchist views on human nature, democracy, capitalism, feminism, imperialism, and ecology, comparing them with liberal and Marxist perspectives.

Prerequisite: Limited to juniors and seniors. One political science course or consent of the instructor. Enrollment limited to 15 students.

More info: acornell@haverford.edu

thumbnail-3Advanced Documentary Production (ICPRH343B01)
1:30-4:00
Required weekly film screenings Th 7:00-9:00

Taught by Vicky Funari, Artist in Residence

This studio class will explore the craft of documentary filmmaking beyond the basics. Students will produce fully-developed short documentaries. We will focus on how to translate a non-fiction idea into a time-based media piece with a clear visual and aural aesthetic and a narrative structure. Projects may be generated specifically for this class or may arise from and engage with students’ ongoing scholarly work. Students will further their proficiency in camera work, sound recording, lighting, and editing. The course will also cover some basic producer’s skills: proposal writing, rights and releases, and current trends in distribution. 
Through this semester’s films and readings, we’ll explore three current tendencies in documentary practice: 1) sensory and immersive explorations; 2) community representations; and 3) the expanding use of the conventions of fiction: reenactments, performance, and docufiction.

Prerequisites: One introductory video production class or equivalent experience. Students should have basic competency with prosumer video cameras and either Final Cut Pro 7 or Adobe Premiere. Enrollment limited to 15.

Contact: vfunari@haverford.edu

thumbnail-2NEW COURSE!!
Film on Photography
Independent College Programs / Crosslisted with Film Studies
Tu/Th 10am to 11:30am Lecture 
Th 2:30pm to 4pm Laboratory

John Muse, Visiting Assistant Professor of Independent College Programs

A theoretical and practical study of films that explicitly feature photographs as evidence, as icons, as memento mori, or as technical and formal resources. Through careful viewing films, close reading of relevant texts, and substantial lab work on video production techniques, we will consider how particular films constitute and stage the relation between photography and film.

Contact: jmuse@haverford.edu

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Throwback Thursday 12

Hello y’all!

I’m here with the first Throwback Thursday of this year! Today we’re taking a look at the Lutton Memorial Fund for Performance and what Micah Walter ’14 did with the funding for his senior thesis.

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Micah, a music and computer science major, wrote an original vocal composition which was performed by professional singers with the support of the Lutton Fund. The performance, called “Vespers,” was held in Founders Great Hall.

The deadline for this year has already passed, but if you are an artist, performer, filmmaker, etc., and want to learn more about how you can apply for funding, check out the link below!

www.haverford.edu/HCAH/center/programs_and_grants/student_funding.php

I hope everyone has a great weekend!

Anna M.

 

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THE NEW JAMES HOUSE: a tour!

Welcome to a tour of the newly renovated and updated James House! Enjoy the virtual tour by Courtney Lau ’17, a member of the James House board! Don’t forget to turn up the volume.

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