DOCSLIB.ORG

Concert Version Meredith Monk & Vocal Ensemble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Concert Version Meredith Monk & Vocal Ensemble MARCH 5 7:30 PM THURSDAY MEMORIAL HALL BEASLEY-CURTIS AUDITORIUM 75 MINUTES, NO INTERMISSION CELLULAR SONGS: CONCERT VERSION MEREDITH MONK Composed by MEREDITH MONK MEREDITH MONK, voice and keyboard & VOCAL ALLISON EASTER, voice ELLEN FISHER, voice KATIE GEISSINGER, voice ENSEMBLE ALLISON SNIFFIN, voice, violin, and keyboard structure, which may look deceptively simple. The 75-minute work is scored for piano, keyboard, violin, and the PERFORMANCE shimmering chorus of women’s voices AS A LIFE SCIENCE that animate the space. BY BONNIE MARRANCA The work of Monk as composer, performer, director, choreographer, and filmmaker has “AS ARTISTS, WE’RE ALL achieved a singular prominence in the world CONTENDING WITH WHAT TO of performance. Her range extends from DO AT A TIME LIKE THIS. I wanted solo performance to site-specific works, to make a piece that can be seen as an from theater and opera to compositions alternative possibility of human behavior, for orchestra, chamber ensembles, and where the values are cooperation, solo instruments. Monk’s sense of scale interdependence, and kindness, as an antidote is equally versatile in works large and PHOTO BY CHRISTINE ALICINO CHRISTINE BY PHOTO to the values that are being propagated right small, as varied as Quarry, Education of the now.” After a half-century as an influential Girlchild, Facing North, The Games, and the figure in the creation of contemporary more recent mercy, impermanence, and performance culture, Meredith Monk goes Songs of Ascension. Starting with her own right to the heart of the challenge. ecological consciousness and recent readings in medicine, she was drawn naturally to Cellular Songs is conceived for five women the dimensions of the cell. “The cell is the performers—Monk and her vocal ensemble fundamental unit of life, but it can also reflect consisting of Katie Geissinger, Allison the fundamental units of the universe, so that Sniffin, Ellen Fisher, and Allison Easter. it’s got this sense of us as part of a much Dressed in layers of white and beige-toned bigger whole. I’ve become fascinated by their clothes, the women sing, dance, and play wit and their vibrancy. What is going on in the the piano together, all the while modeling cell is so complex and it’s a real prototype of behavior of care, comfort, companionship, the possibility of what a society could be if and collaboration. Glorious colors of sound you take those same principles and expand arise from the intricate musical textures. The them.” Monk has always been interested only words of the piece are in Monk’s song of in the reflective power of microcosm and wisdom, “Happy Woman.” Bodies alone make macrocosm, a theme explored in her the landscape. previous music-theater offering, On Behalf of Nature (2013). Cellular Songs inhabits its own special realm of music-theater in its soulful interweaving of What is distinctive in the experience of music, theater, image, and movement. Monk Cellular Songs is to watch its ethical describes her process in spatial terms: “Some fundamentals unfold over time in the of the pieces have much more dissonance and performance on multiple levels: structurally, chromatic kind of harmonies, and the forms musically, and thematically. A philosophic are almost like three-dimensional sculptures. worldview is viscerally demonstrated in Earlier, my music had much more to do with the way the performers use their bodies to layering. Now you can almost see or hear generate a social world. The women literally the piece rotating as if it were a sculpture breathe into the space, creating the feeling in space, though it’s just a musical form.” of radiance. If, for Monk, the cell is the A visual architecture is built into its rigorous fundamental unit of life, she also affirms her CAROLINAPERFORMINGARTS.ORG 17 CELLULAR SONGS: CONCERT VERSION MEREDITH MONK & VOCAL ENSEMBLE belief in the purity of perception: MEREDITH MONK is a composer, ELLEN FISHER is a movement- “Over the last 10 years I’ve had singer, director, choreographer, based performance artist whose the impulse to boil down what I filmmaker, and creator of new work integrates gestural actions am doing to its essence. It is a opera, music-theater works, films, with visual elements such as very worthwhile thing to take on and installations. Considered film and shadow play. Fisher’s a theme that you can spend time one of the most unique and performance work is informed by contemplating, a theme that can influential artists of our time, she her ethnographic research in the never be answered and can only is a pioneer of what is now called rituals and trance dances of South be hinted at and glimpsed. Literally, “extended vocal technique” and Asia, particularly Sri Lanka, for the process of making a piece “interdisciplinary performance.” which she has received ACCNY is the process of contemplating Over the last six decades Monk grants and a Fulbright. She began something. To contemplate the has received numerous awards performing with Meredith Monk/The ineffable is a wonderful way to and honors including a MacArthur House in the 1970s. spend your life.” “Genius” award and Officer of the Order of Arts and Letters by KATIE GEISSINGER has performed Art takes many forms to address the Republic of France. Recently, with Meredith Monk worldwide global crises as a way of Monk received three of the highest beginning with ATLAS in 1991, comprehending reality. Monk’s honors bestowed on a living artist and can be heard on the majority work has chosen a path different in the United States: induction of Monk’s recordings with ECM. than the response that is a direct into the American Academy of Recent performances include statement of conditions, following Arts and Letters (2019), the 2017 Julia Wolfe’s Steel Hammer in instead her Buddhist grounding in Dorothy and Lillian Gish Prize collaboration with Anne Bogart's art as spiritual practice. Subtly, in and a 2015 National Medal of Arts SITI Company and The Bang on recent years, she has been offering from President Barack Obama. In a Can All-Stars. Katie is also audiences a genre that has a certain conjunction with her 50th season of a member of the professional luminosity and softness, emotion performing and creating work, she Cathedral Choir of St. John the without sentimentality, sweetness was named Carnegie Hall’s 2014-15 Divine under the direction of along with the dissonance. Her work Debs Composer’s Chair. Celebrated Kent Tritle. honors the human need for the internationally, Monk’s work has feelings of joy and love and beauty. been presented at major venues ALLISON SNIFFIN, a multi- In the integrity of its regard, Cellular throughout the world. instrumentalist, singer, and Songs is of this world but also composer, has been a member of beyond this world, like all poetic ALLISON EASTER is a dancer, Meredith Monk & Vocal Ensemble works of the imagination. • singer, teacher, director, and since 1996. Sniffin has received producer. She has worked with grants from Meet the Composer Bonnie Marranca is founding Meredith Monk since 1985’s revival and Concert Artists Guild for her publisher and editor of the Obie- of Quarry, and was a performer compositions. She is a frequent Award winning PAJ Publications and and rehearsal director for STOMP, arranger/orchestrator for The PAJ: A Journal of Performance and the Off-Broadway percussion Stonewall Chorale and Melodia Art, which celebrated its 40th year show. Allison has directed and/or Women’s Choir, NYC. in 2016. She has written or edited produced at The Ensemble Studio 15 books on theater and the arts. Theater and The NY Fringe Festival, JO STEWART is a poet and theater taught at NYU Tisch School of the maker. She uses a combination of ©2017 Brooklyn Academy of Music, Arts, and is on the faculty at Pace gesture, voice, and text to make Inc. All rights reserved. University. performance that investigates entrapment, borders, and freedom. Jo has previously been an artist in 18 TICKET SERVICES 919.843.3333 CELLULAR SONGS: CONCERT VERSION MEREDITH MONK & VOCAL ENSEMBLE residence at Azule (2019), the Old MEREDITH BELIS (production/ CREDITS American Can Factory (2019), the stage manager) works as a stage YOSHIO YABARA Anderson Center at Tower View manager and theater technician in Costume Designer (2018), among others. She is the performance spaces around New JOE LEVASSEUR newest member of Meredith Monk & York City. Artists she has worked Lighting Designer Vocal Ensemble. with include Wendy Whelan, Brian Brooks, Neil Greenberg, Dean ELI WALKER Sound Designer YOSHIO YABARA (costume design, Moss, and Gwen Welliver. She is scenography) received a B.A. in a graduate of Bennington College MEREDITH BELIS Production/Stage Manager Linguistics in his native Japan, and and is the Production Manager for studied stage design at the German the Dance Department at Sarah MEREDITH MONK state art universities in Stuttgart Lawrence College. Video Scenarios and West Berlin. He began his KATHERINE FREER professional career as a costume KATHERINE FREER Video Design designer for the Oscar-winning film (video design) is a multimedia BEN STECHSCHULTE The Tin Drum. Monk collaborations designer working in theater, Cinematography include ATLAS, the feature film Book events, and installation. Her work Developed in collaboration with of Days, impermanence, Songs of is driven by the love of storytelling Ellen Fisher, Katie Geissinger, Ascension, and On Behalf of Nature. and belief in its power to shift Allison Sniffin, and Jo Stewart. Mr. Yabara has also worked as a reality. Frequent collaborators All compositions by Meredith Monk costume designer, stage designer, include Ping Chong, Liz Lerman, © 2018 Meredith Monk Music (ASCAP) or art director for many theatrical Tim Bond, Kamilah Forbes, and Incorporated in 1971, The House and film productions in Europe, the Talvin Wilks.
Load more

Recommended publications
  • Advance Program Notes John Hollenbeck Large Ensemble Sunday, February 10, 2019, 7 PM
    Advance Program Notes John Hollenbeck Large Ensemble Sunday, February 10, 2019, 7 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. John Hollenbeck Large Ensemble Ben Kono, soprano/alto/tenor sax and flute Jeremy Viner, clarinet and tenor sax Dan Willis, soprano/tenor sax Anna Webber, flute and tenor sax Bohdan Hilash, clar/bass clarinet and bass sax Mark Patterson, trombone Mike Christianson, trombone Curtis Hasselbring, trombone Jennifer Wharton, bass trombone Jon Owens, trumpet and flugelhorn James De La Garza, trumpet and flugelhorn Dave Ballou, trumpet and flugelhorn Matt Holman, trumpet and flugelhorn Chris Tordini, acoustic and electric bass Matt Mitchell, piano, organ, and keyboard Patricia Brennan, vibes, marimba, and glockenspiel John Hollenbeck, drums and composition Theo Bleckmann, voice JC Sanford, conductor Stepan Dyachkovskiy, sound engineer The program will be announced from the stage and will include selections from All Can Work, A Blessing, and eternal interlude. Program Notes From the Liner Notes of All Can Work After pondering many titles for this record, I realized All Can Work epitomizes the flexible, optimistic resolve that is needed by everyone involved to do a record like this. This phrase, “All Can Work,” and the lyrics in this title track are taken directly from the emails in my inbox from Laurie Frink, our beloved trumpeter, whom we lost in 2013. When I first moved to NYC and started playing with and hearing big bands, Laurie was a special thread that wove through them all—it seemed like she played in every band I saw! A master of the short, perfect email reply, Laurie was also the consummate team player, the type of personality that is profoundly needed in a large ensemble.
    [Show full text]
  • MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
    The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • The Concept of Self and the Other
    Tel Aviv University The Yolanda and David Katz Faculty of the Arts Department of Theatre Studies The Realm of the Other: Jesters, Gods, and Aliens in Shadowplay Thesis Submitted for the Degree of “Doctor of Philosophy” by Chu Fa Ching Ebert Submitted to the Senate of Tel Aviv University April 2004 This thesis was supervised by Prof. Jacob Raz TABLE OF CONTENTS TABLE OF ILLUSTRATIONS................................................................................................vi INTRODUCTION...................................................................................................................... 1 ACKNOWLEDGEMENTS ....................................................................................................... 7 I. THE CONCEPT OF SELF AND THE OTHER.................................................................... 10 Introduction ............................................................................................................................ 11 The Multiple Self .................................................................................................................... 12 Reversal Theory...................................................................................................................... 13 Contextual Theory ................................................................................................................. 14 Self in Cross‐Cultural Perspective ‐ The Concept of Jen................................................... 17 Self ..........................................................................................................................................
    [Show full text]
  • Hedwignites 2019 Consultant
    Hedwig Dances Board of Directors Jan Bartoszek, Founder & Artistic Director Amanda Zinn, President Julie Volkmann, Director of Operations and Kay Burnett, Chair Development Daniel Weathersby, Treasurer Maray Gutierrez Ramis, Artistic Associate Karen Yan, Secretary Victor Alexander, Resident Choreographer Ken Bowen, Director Jacob Buerger, Dancer Jeffery Mau, Director Rigoberto Fernandez Saura, Dancer Marla Philpot, Director Olivia Gonzalez, Dancer Michael Reed, Director Crystal Gurrola, Dancer Mary Lass Stewart, Director Jessie Gutierrez, Dancer Jan Bartoszek, (ExOfficio) Oksana Kuzma, Dancer Taimy Ramos, Dancer Sharon Eiseman, Emeritus 2019 Frank Fishella, Emeritus Jan Patterson, Emeritus Staff Advisory Board Chris Frerichs, Development Consultant Janet Carl Smith, Former Deputy Commis- Vin Reed, Graphic Design sioner of Cultural Affairs, Chicago (Retired) Nike Whitcomb Associates, Inc., Jeffrey Usow, Attorney, MayerBrown LLP Fundraising Consultant Karen VanderLinde, Consultant, Michael Anestor, Volunteer PricewaterhouseCoopers (Retired) Kathrene Wales, Arts Management Hedwignites 2019 Consultant Our Funders Support Us nites Hedwig Dances is funded in part by The Arts Your support is critical to Hedwig Dances ability Work Fund for Organizational Development, a to continue its mission of creating, cultivating and donor advised fund of the Chicago Community performing contemporary dances that provoke Foundation; The MacArthur Fund for Arts and emotion, connection and wonder. Culture at the Richard H. Driehaus Foundation; You may make your checks payable to The Chicago Community Foundation; The Hedwig Dances or you may donate online now at National Performance Network (NPN bit.ly/HedwigNites2019 Performance Residency Program, Creation Fund and Forth Fund); The John D. and Catherine T. Hedwig Dances is a 501 (c) 3 not for profit organization MacArthur International Connections Fund; in good standing.
    [Show full text]
  • A. Mihalyi: Meredith Monkl, WAM Casopis, Recenzije, Glazba, Classical
    MAGIJA VOKALA MEREDITH MONK Aleksandar Mihalyi Ako bi smo odabrali kreativno uspješnu i jedinstvenu skladateljicu i vokalisticu temeljem uspješnosti njezinog dosadašnjeg djelovanja te glasovnih mogućnosti koje izmiču uobičajenim klasifikacijama, onda bi se Meredith Jane Monk nametnula kao prvi izbor. Dodatni povod je i obilježavanje njezinog 70. rođendana ove godine – rođena je 1942. godine u New Yorku, SAD. Njezina pozicija vodeće umjetnice u američkoj avangardnoj glazbi traje od Karijeru je započela kasnih šezdesetih kao plesačica i koreograf kada je samih početaka minimalizma, a već i tada je imala izdvojenu poziciju jer je izučila umijeće poniranja do esencijalne ekspresivnosti pokretom, te nedugo vokalnu tehniku temeljila na istočnjačkim tradicijama (tzv. ekstenizirani glas zatim i glasom prije nego riječima. Monk u ovom kontekstu ističe da se – ponajprije upotrebom posebnih tehnika disanja) te u ponavljanju kratkih riječima štitimo od direktnog iskustva – tijelo treba pustiti da se fraza sličnim mantri (što su činili i ostali minimalisti). Na tu njenu izdvojenu izražava/reagira glasom (vokalizama) i pokretom. Potom, u vrijeme poziciju ponajviše je utjecalo njezino rano pohađanje škole euritmije koje tolerantne klime za diletantizam kada otkriva u sebi: „.. snažniji kreativni joj je potom i usmjerilo karijeru, odnosno interese ka povezivanju glazbe sa od interpretativnog impulsa“, ona započinje i svoju glazbenu karijeru kao pokretom s ciljem da glazbi scenom i koreografijom doda mitsko i povijesno pjevačica (inače ima izniman lirski sopran širokog raspona) i skladateljica, tumačenje. No, teško se kod nje ne može govoriti o eklekticizmu budući da kompletirajući tako autorstvo svojim scenskim djelima, koja se, uz neke Monk ponajprije asimilira ono što drži potrebnim za tehnički aspekt njezinih ograde, mogu svrstati u glazbeni teatar.
    [Show full text]
  • Memory Rings
    2016 BAM Next Wave Festival #MemoryRings Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Memory Rings BAM Harvey Theater Nov 17—19 at 7:30pm; Nov 20 at 3pm Running time: approx. one hour & 20 minutes, no intermission Phantom Limb Company Conceived by Jessica Grindstaff and Erik Sanko Choreography by Ryan Heffington Direction and design by Jessica Grindstaff Original music and puppet design by Erik Sanko Costume design by Henrik Vibskov Lighting design by Brian H Scott Sound design by Darron L West Projection design by Keith Skretch Dramaturgy by Janice Paran Creative producer Mara Isaacs/Octopus Theatricals Season Sponsor: Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The SHS Foundation The Shubert Foundation, Inc. Additional support provided by The Jim Henson Foundation. Memory Rings CAST Toby Billowitz Rowan Magee Marissa Brown Aaron Mattocks Emeri Fetzer Daniel Selon Takemi Kitamura Carlton Cyrus Ward ADDITIONAL CREDITS Stage manager Randi Rivera Production manager Corps Liminis Design architect Gia Wolff Fragrance design Douglas Little Rehearsal director Aaron Mattocks Cello recording Jeffrey Ziegler Producing associate/Company manager Bryan Hunt Bramble costumes designed by Jessica Grindstaff Costumes fabricated by Henrik Vibskov Studio Bramble costumes fabricated by Daniel Selon and Kaitlyn Horpedahl, Sarah
    [Show full text]
  • Influencersnfluencers
    Professionals MA 30 The of the year IInfluencersnfluencers december 2015 1. GEOFFREY JOHN DAVIES on the cover Founder and CEO The Violin Channel 2. LEILA GETZ 4 Founder and Artistic Director 3 Vancouver Recital Society 1 5 3. JORDAN PEIMER Executive Director ArtPower!, University of CA, San Diego 2 4. MICHAEL HEASTON 10 11 Director of the Domingo-Cafritz Young 6 7 9 Artist Program & Adviser to the Artistic Director Washington National Opera Associate Artistic Director Glimmerglass Festival 15 8 5. AMIT PELED 16 Cellist and Professor Peabody Conservatory 12 6. YEHUDA GILAD 17 Music Director, The Colburn Orchestra The Colburn School 13 Professor of Clarinet 23 Colburn and USC Thornton School of Music 14 7. ROCÍO MOLINA 20 Flamenco Dance Artist 22 24 8. FRANCISCO J. NÚÑEZ 19 21 Founder and Artistic Director 18 Young People’s Chorus of New York City 26 25 9. JON LIMBACHER Managing Director and President St. Paul Chamber Orchestra 28 10. CHERYL MENDELSON Chief Operating Officer 27 Harris Theater for Music and Dance, Chicago 30 11. MEI-ANN CHEN 29 Music Director Chicago Sinfonietta and 18. UTH ELT Memphis Symphony Orchestra R F Founder and President 24. AFA SADYKHLY DWORKIN San Francisco Performances President and Artistic Director 12. DAVID KATZ Sphinx Organization Founder and Chief Judge 19. HARLOTTE EE The American Prize C L President and Founder 25. DR. TIM LAUTZENHEISER Primo Artists Vice President of Education 13. JONATHAN HERMAN Conn-Selmer Executive Director 20. OIS EITZES National Guild for Community Arts Education L R Director of Arts and Cultural Programming 26. JANET COWPERTHWAITE WABE-FM, Atlanta Managing Director 14.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • INT 84AH: Special Relativity for Pedestrians ”
    Seminars are restricted to students currently enrolled in the College Honors Program through College of Letters and Science, or students in the College of Creative Studies. These two-unit courses provide an opportunity for research exploration in various disciplines and consider advanced studies beyond college. Honor seminars are 1st-2nd year students. To earn honors credit, seminars must be completed with a letter grade of B or higher. Eligible students may take 8 units maximum of INT 84 seminars and 8 units maximum. *Add codes are not required for most Honors Seminars, with a few exceptions (if you are prompted for an add code, please contact the instructor for more information) ***INT 84 Honors Seminars are lower-division and designed with first and second-year students in mind. First and second-year students in the Letters & Science Honors Program who have exceeded the "Senior" unit standing limitation for INT 84 may request an exception to bypass this restriction by emailing me at [email protected] – (Please include your PERM). Third and fourth-year students are not eligible to bypass the Senior unit standing restriction. Students who receive access to bypass the restriction must still enroll through GOLD during an active pass time while the course has space remaining. *Please note if your class is not a 10-week course the add/drop deadline may be earlier. INT 84AH - “INT 84AH: Special Relativity for Pedestrians ” • Seminar Type: Honors • Department: Physics • Instructor: Tengiz Bibilashvili • Instructor Email: [email protected] • Day - Time - Room: Wednesday 4:00-5:50 Online • Enroll Code: 52712 Course Description: The goal of the seminar is to teach Special Relativity (SR) using Einstein Notation (EN).
    [Show full text]
  • Academic Affairs Division Newsletter, October 2014
    San Jose State University SJSU ScholarWorks Academic Affairs Division Newsletter Administration and Leadership Fall 10-1-2014 Academic Affairs Division Newsletter, October 2014 San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/acadaffairsdiv_newsletter Recommended Citation San Jose State University, "Academic Affairs Division Newsletter, October 2014" (2014). Academic Affairs Division Newsletter. Paper 13. https://scholarworks.sjsu.edu/acadaffairsdiv_newsletter/13 This Newsletter is brought to you for free and open access by the Administration and Leadership at SJSU ScholarWorks. It has been accepted for inclusion in Academic Affairs Division Newsletter by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Click here to view the Academic Affairs Division Newsletter Archive View this email in your browser Powering Academic Success Appointment Upcoming Events Center for Faculty Development Workshops Wednesday, November 5, 3:00-4:00pm, IRC 101 - Tea and Talk. Featured speaker is Dr. Jennifer Dinalo, Namrata Shukla Named Senior Assistant Librarian at Associate Dean of the CIES our own MLK Library. Namrata or “Nami” Shukla has been Wednesday, November 12, named Associate Dean for the College 12:00-1:00pm, IRC 101 - of International and Extended Studies Understanding Our Students (CIES). She started her new position brown-bag series. This October 27 after being Interim session's topic: Veterans and Associate Dean since January of this their families. year. Thursday, November 13, 12:00-1:00pm, IRC 101 - As the Associate Dean, Nami provides Educated Person Dialogue leadership in the development and brown-bag series. This delivery of extended education session's topic: Recognizing programs and services.
    [Show full text]
  • OOT 2020 Packet 10.Pdf
    OOT 2020: [The Search for a Middle Clue] Written and edited by George Charlson, Nick Clanchy, Oli Clarke, Laura Cooper, Daniel Dalland, Alexander Gunasekera, Alexander Hardwick, Claire Jones, Elisabeth Le Maistre, Matthew Lloyd, Lalit Maharjan, Alexander Peplow, Barney Pite, Jacob Robertson, Siân Round, Jeremy Sontchi, and Leonie Woodland. THE ANSWER TO THE LAST TOSS-UP SHOULD HAVE BEEN: Henry Packet 10 Toss-ups: 1. Rana Sweid and Eyal Goldman attend this tournament in the experimental film Strangers. The manager of one team in this tournament said after one match that ‘Jesus Christ may be able to turn the other cheek, but [one player] isn't Jesus Christ’. Another player was called ‘the most hated man in Trinidad and Tobago’ after pulling Brent Sancho’s dreadlocks before scoring a header for England in this tournament. Valentin Ivanov handed out four red cards and sixteen yellows during a match in this tournament between Portugal and the Netherlands called ‘the Battle of Nuremberg’. David Trezeguet missed the only penalty in its final. Zinedine Zidane was sent off for head-butting a player in the final of, for 10 points, what football tournament hosted by Germany? ANSWER: 2006 FIFA World Cup [prompt on World Cup with ‘which year?’] <GDC> 2. A hypothesis named for a thinker from this country claims that scientific advancement is mainly the result of the work of mediocre researchers. One thinker from this country tried to resolve the conflict between experience and reason by developing the concept of ‘ratio-vitalism’. That thinker from this country argued for a life lived nobly as opposed to as a ‘mass-man’ in their work The Revolt of the Masses.
    [Show full text]