DOCSLIB.ORG

Abridged Curriculum Vitae (English)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abridged Curriculum Vitae (English) Gonzalo Varela - Curriculum Vitae (abridged) – Last update: 28 September 2021 GONZALO VARELA Composer, Sound Designer, Audio Programmer and Guitarist Master of Fine Arts, Columbia College Chicago Bachelor of Music, Universidad de la República Bachelor of Musical Performance, Universidad de la República This CV includes only a selection of my experience. More information can be found in additional documents and pages on my website. Personal information: Full name: Gonzalo Fabián Varela Silva Date of birth: 26 of November of 1990 Place of birth: Montevideo, Uruguay Place of residence: Montevideo, Uruguay Phone number: (+598) 092 884 556 Postal code: 11800 Email address: [email protected] Website: www.gonzalovarela.com Current positions: Assistant Professor (Grade 2) of Technology Applied to the Audiovisual Recording in Music. August 2021- Present. Escuela Universitaria de Música (University School of Music) and Facultad de Información y Comunicación (Faculty of Information and Communication), Universidad de la República (University of the Republic), Montevideo, Uruguay. Courses: “Audiovision” (elective course for the Bachelor of Communication). 2nd semester 2021. Role: lecturing of the course (work done together with Leonardo Croatto). Teacher of Elective Courses. March 2017-December 2017 and August 2021-Present. University School of Music, Universidad de la República (University of the Republic), Montevideo, Uruguay. Courses: “Harmonic Dictations 1” (elective course for all bachelor’s degrees). 1st semester 2017. Role: development of the syllabus and lecturing of the course (work done together with Antonio Laviano). “Harmonic Dictations 2” (elective course for all bachelor’s degrees). 2nd semester 2017. Role: development of the syllabus and lecturing of the course (work done together with Antonio Laviano). “Introduction to Pure Data” (elective course for all bachelor’s degrees). 2nd semester 2017. Role: development of the syllabus and lecturing of the course. “Music Composition for Films” (elective course for the Bachelor of Music, profile: Composition). 2nd semester 2021. Role: development of the syllabus and lecturing of the course. Researcher. June 2021-Present. Facultad de Información y Comunicación (Faculty of Information and Communication), Universidad de la República (University of the Republic), Montevideo, Uruguay. 1/9 Gonzalo Varela - Curriculum Vitae (abridged) – Last update: 28 September 2021 Projects: “CETA, expanding tangible interaction oportunities at schools” (project funded by the National Agency for Research and Innovation -of Uruguay-, the Ceibal Foundation -of Uruguay- and the International Development Research Centre -of Canada-, in the Education Sectorial Fund: Digital Inclusion). 2021-2022. Role: support in the fieldwork, codesign workshops, adaptation of informatic applications, creation of sound design with emphasis on accessibility. Coordinator: Fernando González Perilli. Music studies: Master of Fine Arts, profile: Music Composition for the Screen. September 2018-August 2020 (5-semester program - finished). Music Department, Columbia College Chicago, Chicago, Illinois, United States. Degree conferred in August 2020. Bachelor of Musical Performance, profile: Guitar. March 2014-September 2021 (8-semester program - finished). University School of Music, Universidad de la República (University of the Republic), Montevideo, Uruguay. Bachelor of Music, profile: Composition. March 2011-September 2016 (8-semester program - finished). University School of Music, Universidad de la República (University of the Republic), Montevideo, Uruguay. Degree conferred in October 2016. At Columbia College Chicago professors of mine included Kubilay Uner, Joel Goodman, Ronit Kirchman and Chance Thomas. At the Universidad de la República professors of mine included Osvaldo Budón, Luis Jure and Leonardo Secco. Also studied composition with Coriún Aharonián, as well as music genres such as Flamenco, Tango, Jazz, Candombe and Javanese Gamelan with various teachers. Honors: 2021: Ministry of Education and Culture (Uruguay): Justino Zavala Muniz SCHOLARSHIP of the Artistic Education and Creation Stimulus Fund. 2021: New Zealand Fringe Festival Awards: NOMINATION in the Best in Fringe category, with Animalismo, for the theatre play “Habbuk”. 2020: National Music Awards 2020 (of the Ministry of Education and Culture -Uruguay-): THIRD PRIZE in the For Children category, for the composition “Nana para esquivar la distancia”. 2020: Albert P. Weisman Award (of Columbia College Chicago, United States): AWARD, for the installation “Empty Homes” (work done together with Alina Markina). 2019: String Quartet Smackdown V (of Golden Hornet, United States): FINALIST, for the composition “Como Animales”. 2018: Florencio Awards 2018 (of the Association of Theatre Critics of Uruguay): NOMINATION in the Musical Theatre category, with El Galpón, for the theatre play “Lorca en las trincheras de Madrid”. 2/9 Gonzalo Varela - Curriculum Vitae (abridged) – Last update: 28 September 2021 2017: 12º National Video Game Contest (of the Uruguayan Game Developers Association): SECOND PRIZE in the PC/Web/Console category, with SebaGamesDev, for the video game “Fight’N Rage”. 2017: Fulbright Commission in Uruguay (United States and Uruguay) and the National Agency for Research and Innovation (Uruguay): SCHOLARSHIP of the Fulbright Foreign Student Program to study a Master program in the United States. 2017: SIME 2017 International Electroacoustic Music Composition (of International Week of Electroacoustic Music, France): NOMINATION, for the composition “Pasillo”. 2016: Young Movement 2016 (of the Municipality of Montevideo, Uruguay): SPECIAL MENTION in the Theatre category, with Animalismo, for the theatre play “Elixir”. 2016: Florencio Awards 2016 (of the Association of Theatre Critics of Uruguay): NOMINATION in the Best Sound Design category, for the work in the theatre play “Bang Bang You're Dead” (work done together with Franco Paolo Grosso). 2016: Graffiti Awards to Uruguayan Music, XIV Edition (Uruguay): NOMINATION in the Best Electronic Music Album category, for the album “Dreamnesia”. 2015: National Music Awards 2015 (of the Ministry of Education and Culture -Uruguay-): SECOND PRIZE in the Murga category, for the composition “Amanecer”. 2015: Ministry of Education and Culture (Uruguay): DECLARATION OF CULTURAL INTEREST and FUNDING to my participation in the 41st International Computer Music Conference, in Denton, Texas, United States. 2015: 3rd Biennial of Choral Composition and Arrangement (of the Uruguayan Choral Association): FIRST PRIZE in the Choral Arrangement category, for the arrangement of “Los que iban cantando”. 2015: 2015 Carnival Inaugural Parade Contest (of Associated Directors of Carnavalesque and Popular Shows of Uruguay): SECOND PRIZE in the “Revistas” category, with Krisis. Performances of works of mine: Works of mine have been played in concerts, festivals and workshops in Argentina, England, Germany, Iran, Mexico, Portugal, Scotland, Spain, the United States, Uruguay and Wales. Musicians and ensembles that have performed live and/or recorded compositions of mine include: An orchestra of more than 75 Los Angeles session musicians (United States). The Sodre Symphony Orchestra (Uruguay). The Unison Orchestra (United States). The string quartet Invoke (United States). The saxophone quartet Fukio (Germany and Spain). The recorder quartet Quartet New Generation (Germany). The microintervallic guitar quartet Cuarteto de guitarras microinterválicas (Uruguay). The trombone and piano duo Alfaro-Bosch (Argentina). The saxophone and piano duo of Ricardo Figueira and Mayra Hernández (Uruguay). Cellist Tina Guo (China and United States). 3/9 Gonzalo Varela - Curriculum Vitae (abridged) – Last update: 28 September 2021 Flutist Richard Craig (Scotland). Guitarist Ramiro Agriel (Uruguay). Pianist Andrés Bedó (Uruguay). Pianist Irene Porzio (Uruguay). Guitarist and flutist Agustín Pardo (Uruguay). Violinist Diego Swallow (Brazil and Uruguay). Audio for Media: Video Games: 2020: “Firebop” (United States) (development and publishing: independent; platform: Windows). Role: composer, sound designer, audio programmer, musical performer and sound technician. 2017: “Fight’N Rage” (Uruguay) (development: SebaGamesDev; publishing: SebaGamesDev, BlitWorks, eastasiasoft and Limited Run Games; platform: Windows, Nintendo Switch, PlayStation 4 and Xbox One). Role: composer, musical performer and sound technician. Second Prize at the 12º National Video Game Contest (of the Uruguayan Game Developers Association) in the PC/Web/Console category. Second Prize at the XI National Video Game Contest 2016 (of the Uruguayan Game Developers Association) in the PC/Consoles category (under the name “F.A.R.M.” -“Fight Against the Revenge of the Mutants”-). The association Arcade Vintage (Spain) made an Arcade version of the game, in 2017. 2014: “Skate Bird” (Spain) (development and publishing: Iteration Mobile S.L; platform: iOS and Android). Role: composer, musical performer and sound technician. Feature Films: 2021: “13 Washington Square” (re-release) (United States) (production: Universal Pictures). Role: preparer of recording session material. 2020: “Padre no hay más que uno 2: La llegada de la suegra” (Spain) (production: Bowfinger International Pictures and others). Role: preparer of recording session material. Short Films: TBA: “The Forfeit” (United Kingdom) (production: independent). Role: composer, musical performer and sound
Load more

Recommended publications
  • Holland America's Shore Excursion Brochure
    Continental Capers Travel and Cruises ms Westerdam November 27, 2020 shore excursions Page 1 of 51 Welcome to Explorations Central™ Why book your shore excursions with Holland America Line? Experts in Each Destination n Working with local tour operators, we have carefully curated a collection of enriching adventures. These offer in-depth travel for first- Which Shore Excursions Are Right for You? timers and immersive experiences for seasoned Choose the tours that interest you by using the icons as a general guide to the level of activity alumni. involved, and select the tours best suited to your physical capabilities. These icons will help you to interpret this brochure. Seamless Travel Easy Activity: Very light activity including short distances to walk; may include some steps. n Pre-cruise, on board the ship, and after your cruise, you are in the best of hands. With the assistance Moderate Activity: Requires intermittent effort throughout, including walking medium distances over uneven surfaces and/or steps. of our dedicated call center, the attention of our Strenuous Activity: Requires active participation, walking long distances over uneven and steep terrain or on on-board team, and trustworthy service at every steps. In certain instances, paddling or other non-walking activity is required and guests must be able to stage of your journey, you can truly travel without participate without discomfort or difficulty breathing. a care. Panoramic Tours: Specially designed for guests who enjoy a slower pace, these tourss offer sightseeing mainly from the transportation vehicle, with few or no stops, and no mandatory disembarkation from the vehicle Our Best Price Guarantee during the tour.
    [Show full text]
  • Montevideo, Uruguay, 2 - 3 October 2019
    Report on the IX Reflection Forum 2019 “Building inclusive societies under the new development paradigm” Montevideo, Uruguay, 2 - 3 October 2019 Executive Summary On 2 and 3 October 2019 the IX EU-LAC Reflection Forum took place in Montevideo (Uruguay), jointly organised by the Uruguayan Agency for International Cooperation (AUCI), the Uruguayan Ministry of Foreign Affairs, the Development Centre of the Organisation for Economic Cooperation and Development (OECD), the Economic Commission for Latin America and the Caribbean of the United Nations (ECLAC), the EUROsociAL+ Programme and the Ibero-American General Secretariat (SEGIB). In accordance with its mandate to promote debate on matters of priority to the EU-LAC Strategic Association and to encourage contributions to the inter-governmental process from the economic and academic sectors and other sectors of civil society, the EU-LAC Foundation regularly organises Reflection Forums in its member states. The specific objectives of the Reflection Forums are: (i) to provide an informal platform for discussion between officials and academic experts and other sectors of civil society, concerning EU-LAC relations, (ii) to discuss progress made and challenges encountered in bi-regional relations and (iii) to feed into analyses with fresh perceptions, as well as to make recommendations for action. Discussions in the Reflection Forums take place under “Chatham House” rules, and the format attempts to generate an atmosphere of respect and mutual trust, thus facilitating the open and informal exchange of points of view and perspectives between the participants, in a truly bi-regional approach. The specific topic of the IX Reflection Forum was: “Building inclusive societies under the new development paradigm”.
    [Show full text]
  • Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism
    sustainability Article Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism Eva-María Martínez-Carazo 1, Virginia Santamarina-Campos 1,* and María de-Miguel-Molina 2 1 Department of Conservation and Restoration of Cultural Heritage, Universitat Politècnica de València, 46022 Valencia, Spain; [email protected] 2 Department of Business Organisation, Universitat Politècnica de València, 46022 Valencia, Spain; [email protected] * Correspondence: [email protected]; Tel.: +34-629729388 Abstract: The purpose of this research was to analyze open-air mural painting museums in Uruguay as a model of tourism resilience, sustainability, and social development, being one of the first Latin American examples to demonstrate the ability to adapt to change and overcome external shocks through the creation of creative community landscapes. To do so, documentary research, photographic documentation, and field research were carried out in order to explore the opportunities of mural tourism in small locations in Uruguay. In the nineties, a new type of artistic production was created in Uruguay, initially characterized by its decentralization. This was somewhat of a revolution in the muralist field as, until this time, Montevideo had been the center of cultural tradition, considered the intellectual focus of the country, and had concentrated the largest number of murals. For this reason, the birth of new muralist nuclei in small rural enclaves, which traditionally had not had much access to culture and no link to muralism, is remarkable. Secondly, this new movement sought to diversify economic activity given the consequences of the severe economic crises and environmental catastrophes that were and are still prevalent in these areas.
    [Show full text]
  • Creative Path
    Creative Path TEAM BIOS Ernesto Donas (Uruguay, 1971) Academic & Educational Development | General Production Musician. Degree from the University of Brasilia and the Rubin Academy in Tel Aviv. He took specialization courses in Argentina, Uruguay, Costa Rica, Israel and the United States. He is teacher at the University School of Music (EUM-UdelaR, Uruguay), bassoonist and contrabassoonist of the Montevideo Philharmonic Orchestra since 2008, has acted as an extra musician for the OSSODRE Orchestra and is member (and founder) of Tungue Lé Cuarteto. He is currently a member of the Hornero Migratorio project team, being responsible for the area of ​​educational development. He completed doctoral studies in ethnomusicology at New York City University (CUNY). The research areas of his studies focus on the relationship between music / sound and political processes, memory and place. He co-authored a book with Denise Milstein about the popular song in Uruguay (Cantando la Ciudad, Nordan: 2003) and has written articles and reviews in books and magazines of Ethnomusicology, The World of Music, Anthropológica, Trama and others. He received project support from both the Rockefeller and Ford Foundations and the City University of New York. Sabina Harari (France, 1980) General production | Field Production | Photographer Technician in Cultural Management from the University of Culture (CLAEH), Studies in Social and Cultural Anthropology (FHCE-UDELAR); Photography and Literature. She works as a community cultural manager in the territory for the Culture Corners Program -Department of Culture, Municipality of Montevideo. Together with Francisco Lapetina, creates the sociocultural, artistic and educational project “Hornero Migratorio” with audiovisual and musical imprint, in which she performs general, field and camera production tasks, having traveled much of the national territory as well as abroad, from 2012 to the present.
    [Show full text]
  • Experiences in Conservating and Archiving of the Musical Heritage In
    Experiences of University Institutions in the rescue of the heritage in Uruguay By Yoanna Lizett Diaz Vázquez (*) (*) Member of the Research Center in Musical and Performing Arts of the Salto Headquarters, University of the Republic (Udelar), Uruguay 1.- Introduction Reflections from access and collaboration with Documentation Centers and Music Archives linked to the University of the Republic of Uruguay, through the Research Group of the Department of Musicology (GIDMUS) of the University School of Music (EUM) of Uruguay and the Center for Research in Musical and Performing Arts of the Northwest Coast, in the rescue of the musical heritage of Uruguay. Projects developed along with the cooperation of public and private institutions in Uruguay, and international collaboration. In Uruguay, for several years there were difficulties in accessing the public archives by researchers in music; these "had to face several problems: difficulties for a fluid access, the state of preservation of the documents, the absence of guides, catalogs or even listed non systematic. Neither was there, in most public institutions, competent personnel for the treatment of materials in various supports. By the end of the 20th century, almost all of the country's public collections were in serious deterioration, with very few possibilities for access, much less professional management of documents1. 2.- GIDMUS and CIAMEN collaboration projects for rescuting the Urguayan Musical heritage 2.1.- Center of Documentation, Research and Dissemination of the Performing Arts (CIDDAE as Spanish acronym) CIDDAE was created in 2004 just when the Solís' Theater in Montevideo was reopened. The center is located at Theatre's building, and it contains documents produced by the Theater along time and obtained from private donations.
    [Show full text]
  • 'Garra Charrua' the Unlikely Success of Uruguayan Football
    Kristoffer Grønbakk Kolsrud ‘Garra Charrua’ The unlikely success of Uruguayan football A qualitative study of how 7 professionals describe and experience the Uruguayan culture for player development Master thesis in Sports Science Department of Coaching and Sport Psychology Norwegian School of Sport Sciences, 2018 1 2 Summary This study explores the unique characteristics of the Uruguayan culture for player development in football. The literature on the cultural setting in which player development embedded is scarce, even though many researchers call for more contextual based research. Uruguay with its 3,46 million inhabitants appears to be unique in terms of producing elite football players and achieving results from international competitions with their national team. The purpose of this study was therefore to explore the success of Uruguayan football, which was done through investigating how Uruguayans experience and describe their football culture and how best practice in athlete development is perceived. The study was designed as an explorative case study. The data collection was based on interviews with seven professionals with insight in Uruguayan football (two active players, two ex-professionals, one coach, one football-jurist and one agent) and week of fieldwork in Uruguay, consisting of observations from six games and informal conversations. The Environment Success Factors (Henriksen, 2010) were employed as the conceptual framework for this thesis. The central findings show that the proud history and intense culture for football appears to have created several basic assumptions that facilitate expertise development in Uruguayan football. Within this culture, Uruguayan football players learn numerous psychological skills associated with expertise development in football such as ambition, commitment to succeed, collective efficacy and the ability to manage adversity.
    [Show full text]
  • Redalyc.An Afrocentric Approach to Musical Performance in the Black South Atlantic: the Candombe Drumming in Uruguay
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Ferreira, Luis An afrocentric approach to musical performance in the black south Atlantic: the candombe drumming in Uruguay Trans. Revista Transcultural de Música, núm. 11, julio, 2007, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82201112 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative An Afrocentric Approach to Musical Performance in the Black South Atlantic: The ... Página 1 de 15 Revista Transcultural de Música Transcultural Music Review #11 (2007) ISSN:1697-0101 An Afrocentric Approach to Musical Performance in the Black South Atlantic: The Candombe Drumming in Uruguay Luis Ferreira[1] Abstract The Candombe drumming by people of African descent in Uruguay is a sound case in the Southern end of the so called Black Atlantic. This paper analyzes style and interactive fluency in the body movements that generate sound and music, following the meanings attributed to each drum by noted expert drum musicians. It is argued how African cultural principles organize the musical performance suggesting that these music and dance practices may be fruitfully approached from an Afrocentered hermeneutical perspective. Further, an argument is advanced about the expressivity, philosophy and values embedded in Candombe drumming performances which responds to African cultural senses as well as encoding a local history of epic resistance and revitalization of consciousness.
    [Show full text]
  • Uruguay Independence Day Special
    8 | The Japan Times | Wednesday, August 25, 2021 Uruguay Independence Day Special Celebrating a century of diplomacy and a brighter future CESAR FERRER athletes were able to compete and could Foreign Minister Francisco Bustillo had A traditional Uru- AMBASSADOR OF URUGUAY finally fulfill their Olympic dreams as a fruitful meetings with the minister, which guayan gaucho looks result of Japan’s outstanding organization, gave new momentum and a clear direction over his herd in the On this remark- resilience against difficulties and tradi- to our bilateral, regional and multilateral countryside. able occasion we tional omotenashi (spirit of selfless hospi- agendas. INSTITUTO NACIONAL celebrate the 196th tality). This time, the Paralympic Games Now we are looking forward to high- DE CARNES anniversary of the will surely be the next organizational suc- level official visits that will bring our national indepen- cess of Japan. bilateral relations to a new level by dence of the Ori- Regarding diplomacy, 2021 marks the strengthening our political dialogue based ental Republic of first 100 years of our friendly diplomatic on our common values and principles, Uruguay, as well as relations. We should recognize the com- such as the promotion of peace, freedom, the 100th anniver- mitment and efforts made by each of our democracy, human rights, a rules-based sary of the establish- successive governments, businesspeople, global society, open and free trade, interna- ment of diplomatic relations with Japan. I societies and, in general, the people of our tional cooperation and multilateralism. am deeply honored to convey my respect- two countries that made possible the suc- On the economic aspects, the entry into ful greetings to Their Majesties Emperor cess of our common journey.
    [Show full text]
  • Shadow Report to the Cerd Comittee. Uruguay 1
    SHADOW REPORT TO THE CERD COMITTEE. URUGUAY 1 PRESENTATION 1. This Report focuses on relevant issues regarding the Uruguayan State's compliance with the recommendations made by this Committee in 2011, with a view to constructively enriching the Committee's dialogue with the State on the occasion of its examination (CERD/C/URY/CO/16-20), from the perspective of gender, religious diversity, sexual orientation and gender identity 2. This examination is part of the obligation assumed by the State to submit a Periodic Report, according to art. 9 of the Convention, on the legislative, judicial, administrative or other measures adopted to the ends of enforcing the Convention. 3. We believe that one of the main objectives of organized civil society it to monitor compliance with the human rights covenants, conventions and treaties that have been ratified by the State and are, therefore, binding. 4. We have made a broad call to civil society organizations, building a plural and diverse coalition that is committed to the defense of Human Rights. 5. Our Report is structured based on the provisions of arts. 1, 2, 2.2 .; 5 and 6, in chapters relating to: I) Compliance with Treaties; II) National Plan Against Racism and Discrimination; III) Afro-Descendant Population, IV) Religion; V) LGBTI Persons; VI) Indigenous Population; VII) Racial Equity Mechanisms; VIII) Access to Justice and IX) Persons Deprived of Liberty. I. - COMPLIANCE OF THE URUGUAYAN STATE WITH HUMAN RIGHTS TREATIES 6. We acknowledge the progress made by the State in updating its periodic reporting to the various monitoring mechanisms, in particular that of the CERD Committee (2010- 2014).
    [Show full text]
  • One-Direction Gaps. Notes on the Origins of Video Art in Uruguay And
    One-direction gaps Notes on the origins of video art in Uruguay and Slovenia (Fragment) Francisco Tomsich Introduction There is a growing interest in comparing art histories from Eastern Europe and South America in the field of visual arts, especially concerning the period from about 1960 to 1989. There are three factors that justify this concern. The first one is the direct relationship between the two regions, partly created by the different waves of migration in both directions and their historical processes, and partly by cultural exchange, linked to them or not. The second one is the confirmation and analysis of certain points in common between South America and Eastern Europe in the field of artistic creation since the 1960s1. The third factor is the "contemporaneity" (PREDA, 2015: 56) of "dictatorial regimes" in several countries from both regions in the 1970s and 1980s, a context in which "strategies for dealing with all kinds of political measures of repression were simultaneously being cultivated" (DRESSLER, 2010)2. We face a set of problems, however, when discussing the Yugoslav case in relation to the third factor in the list, given its peculiar political, economic and social characteristics. This circumstance leads to some authors to distinguish between “the Eastern Bloc, Yugoslavia and South America", for example (DE BAERE, 2012: 2), while Caterina Preda's work in this field of comparative analysis often puts apart Yugoslavia and Czechoslovakia because of the relative openness and tolerance of the socialist governments of these two countries towards critical artistic practices (PREDA, 2013: 12). This text deals with some aspects of the origins of video art in Uruguay and Slovenia, two countries which have, despite their enormous differences, certain similarities3.
    [Show full text]
  • DIEGO THOMPSON Curriculum Vitae September 2017
    DIEGO THOMPSON Curriculum Vitae September 2017 Department of Sociology Mississippi State University PO Box C, 206 Bowen Hall Mississippi State, MS, 39762 Phone: (1) 662-325-8621 E-mail: [email protected] EDUCATION ___________________________________________________________________________ Degrees PhD. Sociology and Sustainable Agriculture. Department of Sociology. Iowa State University. 2014. Major Professor: Dr. Cornelia Flora. Areas of Sociology: Food Systems, Agriculture, and the Environment / Social Change and Development Dissertation: “Environmental Stresses and Community Responses in Four Communities of Southwestern Uruguay.” MS. Sociology and Sustainable Agriculture. 2010. Department of Sociology. Iowa State University. Major Professor: Dr. Cornelia Flora. Thesis: ““Somos del campo.” Latino/a Gardeners and Farmers in two Rural Communities of Iowa. A Community Capitals Framework Approach.” BS. Social and Cultural Anthropology. 2006. Department of Anthropology. College of Humanities and Education, University of the Republic of Uruguay. (Licenciado en Ciencias Antropológicas, Facultad de Humanidades y Ciencias de la Educación, Universidad de la República de Uruguay). Thesis: “Una Mirada Antropológica a la Economía e Identidad de la Comunidad de Pescadores de la Barra de la Laguna de Rocha.” (An Anthropological Approach to the Economy and Identity of the Fishing Community in Laguna de Rocha). Certifications Graduate Certificate of Social Justice in Higher Education. 2012. Department of Education, Leadership, and Policy Studies. Iowa State University. ACADEMIC POSITIONS ____________________________________________________________________ Mississippi State University August 2017- Present. Assistant Professor. Department of Sociology. Middlebury College 2015- 2017. Visiting Assistant Professor. Department of Sociology and Anthropology. Iowa State University 2013-2014. Teaching Assistant: Department of Sociology Department of Anthropology Department of World Languages and Cultures 2008-2013. Research Assistant: Department of Sociology.
    [Show full text]
  • DIEGO THOMPSON Curriculum Vitae October 2018
    DIEGO THOMPSON Curriculum Vitae October 2018 Department of Sociology Mississippi State University PO Box C, 206 Bowen Hall Mississippi State, MS, 39762 Phone: (1) 662-325-8621 E-mail: [email protected] EDUCATION ___________________________________________________________________________ Degrees PhD. Sociology and Sustainable Agriculture. Department of Sociology. Iowa State University. 2014. Major Professor: Dr. Cornelia Flora. Areas of Sociology: Food Systems, Agriculture, and the Environment / Social Change and Development. Dissertation: “Environmental Stresses and Community Responses in Four Communities of Southwestern Uruguay.” MS. Sociology and Sustainable Agriculture. 2010. Department of Sociology. Iowa State University. Major Professor: Dr. Cornelia Flora. Thesis: ““Somos del campo.” Latino/a Gardeners and Farmers in two Rural Communities of Iowa. A Community Capitals Framework Approach.” BS. Social and Cultural Anthropology. 2006. Department of Anthropology. College of Humanities and Education, University of the Republic of Uruguay. (Licenciado en Ciencias Antropológicas, Facultad de Humanidades y Ciencias de la Educación, Universidad de la República de Uruguay). Thesis: “Una Mirada Antropológica a la Economía e Identidad de la Comunidad de Pescadores de la Barra de la Laguna de Rocha.” (An Anthropological Approach to the Economy and Identity of the Fishing Community in Laguna de Rocha). Certifications Graduate Certificate of Social Justice in Higher Education. 2012. Department of Education, Leadership, and Policy Studies.
    [Show full text]