The Sycamore Fall 2010

THE SYCAMORE WELLS COLLEGE’S STUDENT MAGAZINE / FALL 2010

the expression issue

CONT features 22 54 DORMSCAPES

A view of expression through room décor.

HISTORY OF THE ARTS

A brief look at the history of the arts at Wells College.

29 56 BODY MODIFICATION

A look at tattoos and piercings.

ATHLETIC EXPRESSION

Physical movement's expressive significance.

40 63 MICRO(SOFT) EXPRESSIONS

The lack of nonverbal communication in the digital forum.

TOOLS OF ARTICULATION A study through diptychs.

45 84 TOKENS OF AFFECTION

Will technology end the art of letter writing?

A HISTORY OF CENSORSHIP A concise view of the limitations of expression.

49 86 ACTIVISM AS EXPRESSION

One student's drive to end AIDS.

2 CONTENTS

HAVE A NICE DAY

An exploration of automatic expression.

TENTS constants 6 16 EDITORS' NOTES

A few opening remarks.

MUSIC FOR YOU Artist recommendations.

8 18 PERFECT PLAYLIST

Exemplifying moods with song sets.

HINDSIGHT AND TRIUMPH OF THE WILL An extended film review.

10 20 CLOSE-UP: EDWARD SHARPE

An interview with Edward Sharpe and the Magnetic Zeros.

FILM REVIEWS

Analysis of films and film collections.

12 72 THE LATEST

New artists worth noticing.

ACADEMIC PAPER CONTEST Sam Share's "Mutual Misunderstanding"

14 75 CLOSE-UP: THE BOXER REBELLION

An interview with The Boxer Rebellion.

SCIENTIFIC PAPER CONTEST

Abagail Williams's "Authenticity in a Rebellious Subculture"

THE SYCAMORE / FALL 2010  3

constants 79 SHORT STORY CONTEST

Marc Garland's "The Devil Inside of Me"

83 QUILL CONTEST

Chris Becker's "Voiceless"

88 GAGA IN THE MOMA?

Lady Gaga's style and contemporary art.

91 PERSONAL STYLE

Wells students articulate their clothing choices.

92 IT'S ALL RELATIVE... OR IS IT?

The many facets of gene expression.

95 DEAR MINERVA

Wells's resident goddess answers your burning questions.

100 PHOTOGRAPHY CONTEST

Katie Yates's "Campbell Floor"

4  CONTENTS

STAFF ALEX SCHLOOP ANA GIOVINAZZO CHELSEA ERIKSEN CATE DINGLEY EMILY AMBROSE JUDY LAVELLE MINERVA JOSH WILMOTT JILLIAN FIELDS JESSICA FOSSETT NIYA JOHNSON KATHRYN MCNAMARA KATIE PRICHARD JENNY CARLOS PHOEBE CHESTNA ALISSA KENT REBEKKAH MCKALSEN VALERIE PROVENZA ANGELA CHANG RITA FEINSTEIN DAVID FOOTE CATHERINE BURROUGHS

Editor in Chief Design Editor Chief Copy Editor Music Editor Entertainment Director Graphics Editor Style Editor Creative Writing Director Health Editor Advice Columnist Film Critic Staff Writer Staff Writer Staff Writer Staff Writer Staff Writer Staff Photographer Staff Photographer Staff Photographer Staff Photographer Staff Photographer

THE SYCAMORE is Wells College’s student magazine.

This is our fifth biannual issue. In keeping with our mission, we print on environmentally friendly paper and use nontoxic ink.

Staff Illustrator Staff Copy Editor Staff Copy Editor Advisor

CONTACT E-MAIL

WellsSycamore@gmail.com

WEB

WellsSycamore.tumblr.com

PHONE ADDRESS

315.534.9602 Wells College 170 Main Street Mailbox Number 458 Aurora, NY 13026

THE SYCAMORE / FALL 2010 5

COPY EDITOR'S NOTE At the beginning of this semester, Aurora resident Laura Holland contacted The Sycamore to discuss some problems with David and Goliath: Aurora and Its Fight for Independence, one of the articles from the Spring 2010 Conflict Issue. I am writing as Chief Copy Editor to set right any misunderstanding that may have occurred.

Because it is a magazine, The Sycamore is constructed of opinions; our writers approach their subjects with the goal of finding and supporting a thesis. They then research and interview in order to acquire the necessary facts. In conducting interviews, however, our writers may come to believe that one person’s opinion is fact; misinformation may appear to be true.

This type of miscommunication was the cause of several mistakes in David and Goliath. The issues surrounding Aurora and Wells College are various and complex, so it is difficult to find accurate information to address the many sides of the conflict. Our writers and interviewers did what they could, but they received several pieces of misinformation that caused inaccuracies to go into print. Ms. Holland has requested that we give our readers the following correct information.

In the article, The Sycamore wrote that a “Mr. Holland” often parked “a beat-up … car” outside of the Aurora Inn covered in posters that “slander[ed] Wells College and Pleasant T. Rowland.”

The car (which is not beat-up, though has had its tires slashed on two occasions) does not belong to any of the Hollands, but to Mr. Jay O’Hearn. The posters covering the car—none of which included the slogan “Aurora was pleasant before Pleasant”—were not slanderous, but critical.

Though this information about the car was the main correction Laura Holland helped The Sycamore make, she also noted a few other errors in the article. There was never a boycott of the Fargo, though Aurora residents did write letters of concern about it. Holland also added that she felt Pleasant Rowland was welcomed to Aurora at first and that residents did not avoid Rowland’s businesses, but that it became a “difficult, complicated situation.”

To avoid publishing misinformation in the future, The Sycamore has encouraged its staff members to obtain multiple interviews and sources for their research, to record the audio of any interviews they may conduct, and to fact-check their articles for errors before reaching the copy editing stage. We have also added two new copy editor positions to staff to help catch any remaining mistakes—both mechanical and factual—before the magazine goes to the publisher.

Thanks for reading, and we hope you enjoy this semester’s Expression Issue.

6 EDITORS' NOTES

EDITOR'S

NOTE

What pops into your head when you think of “expression”? I’ll bet most of you think of paint brushes and smocks. Although certainly a valid thought, we encourage you in the following pages to think about how much expression plays into our lives and those of everyone around us. Ana and Emily discuss nonverbal and written expression in two beautifully paired pieces, Phoebe explores athletic expression, and Judy discusses our potential impact on genetic expression. That’s just naming a few—the following pages encompass direct involvement of 59 students.

Many thanks go to our wonderful staff for making this semester our best yet. Some of you might have seen our proclamatory ads at the start of the semester challenging ourselves to publish 100 pages, and I’m happy to say we’ve accomplished that goal without sacrificing quality. We’ve made the intentional choice in this issue to include more full-page photography. I’ve emphasized whitespace and restraint in the layout for a cleaner, more modern look. We’re in love with it, and we hope you are too.

This semester we welcomed nine new staff members: Angela Chang, Cate Dingley, Jillian Fields, Niya Johnson, Judy Lavelle, Rebekkah McKalsen, Katie Prichard, and Valerie Provenza. They have been great additions to our wonderful team, as has Professor Catherine Burroughs, who graciously accepted our advisor position this semester. I’m eternally grateful as well for all of our returning staff members and their continuing dedication. I can’t possibly ramble on long enough about how much this amazing group of people cares about this stack of paper in your hands.

Take a look at our website, too, for extra features and extensions of a few articles. We’re committed to being good to our environment, so we post past (and current) issues online. If you’re reading this in hard copy, you should know that we publish on paper from sustainably harvested forests with environmentally friendly ink.

If you hate or love something in the next 93 pages, please let us know! We love to get feedback-both negative and positive-that can help us produce a better finished product.

The next time you leave the dining hall or pick up a package in the mail room, think about the automatic expressions covered on page 86. The next time you see an interesting outfit, wonder about that person's choice of style. Expression is all around us. Enjoy it.

THE SYCAMORE / FALL 2010 7

PERFECT PLAYLIST We asked students to submit their "perfect playlists" or collections of songs that exemplify a mood or mentality.

Compiled by Chelsea Eriksen

"I Miss You," by Mary Corbett

"White Blank Page," by Emily Young

All the songs below are about wanting to be with someone.

"Banana Pancakes," by Jack Johnson "White Blank Page," by Mumford & Sons "Ironic," by Alanis Morissette "Yellow," by Coldplay "I'd Rather Be With You," by Joshua Radin "Save Tonight," by Eagle-Eye Cherry "She Moves In Her Own Way," by The Kooks "Happily Ever After," by He Is We "Acoustic #3," by The Goo Goo Dolls "Cinnamon," by Ron Pope "You Found Me," by The Fray "Fix Up, Look Sharp," by Dizzee Rascal "Maybe Tomorrow," by Billy Bauer Band "World of Chances," by Krista Nicole "Just Dance," by Lady Gaga "One Step Closer," by Linkin Park "The Sound Of Silence," by Whirligigs, Simon & Garfunkel "A Whole New World," by Brad Kane and Lea Salonga "Fidelity," by Regina Spektor "Last Train Home," by Ryan Star "Potentially Eventually," by Eric Shelby

"Always On My Mind," by Pet Shop Boys "Linger," by The Cranberries "Baby I Need Your Loving," by The Four Tops "Never There," by Cake "Living Without You," by Harry Nilsson "Lay All Your Love on Me," by ABBA "Crying in the Rain," by The Everly Brothers "I Say a Little Prayer," by Aretha Franklin "Shake the Disease," by Depeche Mode "Call Me Call Me," by Steve Conteh "Trust," by The Cure "You're Not Here," by The Konami Kukeiha Club "Wish You Were Here," by Pink Floyd "I’ll Be Around," by The Spinners "I Try," by Macy Gray

Hope Diament’s Playlist "We Are Young," by Supergrass "Here She Comes Now," by The Velvet Underground "There She Goes Again," by The La’s "She's Not There," by The Zombies "Where’d You Go?" by The Mighty Mighty Bosstones "Down On The Street," by Iggy Pop "I’m Sticking With You," by The Velvet Underground "The Sky Above, The Field Below," by Explosions In The Sky "Ain't Comin' Back," by Black Lips "Never There," by Cake "Anybody Seen My Baby," by The Rolling Stones "Under Pressure," by David Bowie/Queen "Wanted Dead or Alive," by Peter Tosh "Should I Stay or Should I Go," by The Clash "Stay Just A Little Bit Longer," by The Hollies "They’ll Soon Discover," by The Shins "Let's Go," by The Feelies "Beat on the Brat," by The Ramones "I Know It's Over," by The Smiths "I Still Haven't Found What I'm Looking For," by U2 8 MUSIC

"My Mind," by Jacqueline Ross "One of Us," by Joan Osborne "Keep Breathing," by Ingrid Michaelson "Hey Ya," by Obadiah Parker "Cecilia," by Simon & Garfunkel "My Number," by Tegan and Sara "Hang Me Up to Dry," by Cold War Kids "Hometown Glory," by Adele "Scenic World," by Beirut "Elevator Music," by Beck "Right Me Up," by State Radio "Chasing Cars," by Snow Patrol "Grey Street," by Dave Matthews Band "Foxtrot Uniform Charlie Kilo," by Bloodhound Gang "I Run This Town," by Jay-Z Ft. Kanye West & Rihanna "Electric Feel," by MGMT "Gone," by Kanye West Ft. Consequence & Cam’ron

EDITOR’S CHOICE "Comeback," by Chelsea Eriksen This playlist is great for amping me up and making me want to fix whatever is going wrong in my life. I chose some songs because of the lyrics and others because of the motivating spirit.

"Mirrorage," by Anastasia Zygarowicz These are all songs I relate to in some way, so for me, they are a kind of expression.

"Apply," by Glasser "Pursuit of Happiness," by Kid Cudi "All That We See," by The Black Ryder "I’m A Lady," by Santogold "Animal," by Mike Snow "Tell 'Em," by Sleigh Bells "A Few Honest Words," by Ben Sollee "Down Down Down," by The Presets "Lust For Life," by Iggy Pop "Home," by Edward Sharpe & The Magnetic Zeros "Nobody Could Change Your Mind," by The Generationals "It Ain't Gonna Save Me," by Jay Reatard "I Know What I Am," by Band of Skulls "Mariella," by Kate Nash "Boyz," by M.I.A. "Elephants," by Warpaint "Some Things Last a Long Time," by Beach House "Soon We’ll be Found," by Sia "Mirrorage," by Glasser "You Were The Last High," by The Dandy Warhols

"Perfect… After Breakup?" by Alicia Vicioso "Nineteen," by Tegan and Sara "Come Pick Me Up," by Ryan Adams "Why Can't I Fall In Love," by Ivan Neville "Ugly Side," by Blue October "Stop Crying Your Heart Out," by Oasis "Sideways," by Citizen Cope "I'm Not Your Toy," by La Roux "Cigarettes and Coffee," by Otis Redding "Fever Dream," by Iron & Wine "Creep," by Radiohead "Polygraph, Right Now!" by The Spill Canvas "Carry On Wayward Son," by Kansas "Cell Block Tango," from the Chicago Soundtrack "All Over You," by The Spill Canvas

"Neighborhood #3 (Power Out)," by Arcade Fire "I've Got Friends," by Manchester Orchestra "High Times," by Landon Pigg "We Used to Wait," by Arcade Fire "It's Still Rock & Roll to Me," by Billy Joel "Age of Consent," by New Order "Hong Kong Garden," by Siouxsie and the Banshees "Be OK," by Ingrid Michaelson "He's Not A Boy," by The Like "Cheated Hearts," by Yeah Yeah Yeahs "Momma's Boy," by Elizabeth and the Catapult "The Comeback," by Shout Out Louds "Around This Corner," by Sarah Harmer "Ceremony," by New Order "Coast of Carolina," by Telekinesis

"Gender-Themed," by Kathryn McNamara "Half Jack," by The Dresden Dolls "Lycanthropy," by Patrick Wolf "For Today I Am A Boy," by Antony & The Johnsons "I'm A Lady," by Santogold "All American Girl," by Melissa Etheridge "A Boy Named Sue," by Johnny Cash "Poses," by Rufus Wainwright "Lola," by The Kinks "If I Was Your Girlfriend," by Prince "Androgyny," by Garbage "Ocean," by Against Me "When I Was a Boy," by Dar Williams "The Dream Lives of Ordinary People," by Voxtrot "What It Feels Like," by Madonna "Somebody Told Me," by The Killers

"Paul Plays It All Playlist" by Jessica Fossett "Pretty Woman," by Roy Orbinson "Call Me Al," by Paul Simon "Wonderwall," by Oasis "My Girl," by The Temptations "Jack and Diane," by John Mellencamp "The Joker," by Steve Miller "American Pie," by Don McLean "Heart of Gold," Neil Young "Horse with No Name," by America • THE SYCAMORE / FALL 2010 9

Edward Sharpe and the

Magnetic Zeros CLOSE-UP: An interview with Christian Letts, lead guitarist of Edward Sharpe and the Magnetic Zeros.

By Chelsea Eriksen

I’ve heard a lot about your tour this summer. Tell me some of the highlights.

Who does the writing, and how does everyone work together to create the music?

Oh man, yeah, Lollapalooza was really cool. Everyone was climbing in trees—that was incredible-looking from stage; every branch has someone on it. Seeing Mumford & Sons play was great. All the theatres we get to go to are amazing.

Lyrics are all up to Alex, and he’s fucking incredible at it. There are some songs that happen collectively, but being on tour, we really just start jamming together.

10 MUSIC

Is music a tool of expression for you?

Definitely. Drawing, painting, and music are three things I just can’t get enough of. We went to this very hippie school, Alex and I, and we got to experiment with instruments all over the world, and you had to play an instrument. Not really thinking about it as a kid, I was like, “Why are we doing this?” But actually, now I’m really glad we did.

What’s it like to work with Alex Ebert?

You’ve been known to let the audience come up on stage, which I’m sure adds to the fact that your performances are so incredible.

There is not much separation between us. I love being surrounded by everybody. I love having people come around us. Stages are weird, ya know? Sometimes a stage is too high and you feel sort of cut off from the audience, and we hate when there’s too much security. The connection to the audience is something we feel from the beginning of the show.

We’ve been friends since we were three. Edward Sharpe is a character in a book he’s been writing. It’s not a fictitious idea— it’s all genuine. It’s cool when you know people for a long time; you watch them grow up. We’ve been writing music since we were eighteen. He’s one of the most talented people I’ve ever met in my life.

Do you feel very connected to the rest of your band?

What’s your favorite song?

We head back out on the road in October. We’re gone for most of that month, and then we’re recording the next album pretty soon.•

My favorite recording session was recording “Up From Below,” I think. That was really great, and also, recording “Om Nashi Me” was especially good as well.

We all share the same vision. The way of going about that is always different, but the ultimate goal is the same. We are very well connected to what we’re doing and care about it a lot.

What’s next for you?

THE SYCAMORE / FALL 2010 11

THE LAT The Like

Arcade Fire

The Like is a four-member, all-female rock band. They started out as teenagers in Los Angeles, California in 2001. Since then, they have released two albums and three EP's. Their last album, Release Me, was released June 15, 2010, and sounds a little more polished, but far more distinctive. Their previous sound, more akin to that of No Doubt, has masterfully transitioned into a delightful fusion of 60’s girl group vintage and upbeat pop style dance music. As they’ve drifted away from their grungier roots, they haven’t lost their edginess. Their first album, Are You Thinking What I’m Thinking?, is comparable to Girl in a Coma. One of their most captivating features is their mixture of guitar distortion and organ. You can find out more at http://wimtemp.000a. biz/like2/. Standout songs: “He’s Not a Boy” and “What I Say and What I Mean.”

Arcade Fire originated in Montreal, Canada, and is fronted by the married duo Win Butler and Régine Chassagne. They’ve released three albums with their last being The Suburbs in August 2010. Their sound is comparable to that of Radiohead and Grizzly Bear. One of their strongest contributing factors is their instrumental variety. As they make full use of their many band members, one never knows what instruments to expect. Besides the basics, they’ve been known to play piano, violin, viola, cello, double bass, xylophone, glockenspiel, keyboard, French horn, accordion, harp, mandolin and hurdy-gurdy. Because of this mix, their albums are a medley of deep feeling, spiritual questioning, celebration, anguish, and unaffected indie rock. Their latest album, although somewhat softer than its predecessors, continues to surge with raw, emotional force. Find out more at http://www. arcadefire.com. Standout songs: “We Used to Wait” and “Neighborhood #3 (Power Out)”

Manchester Orchestra Manchester Orchestra is a five-piece band from Atlanta, Georgia. They started out in 2005 and have released three albums, each achieving them greater status. Their latest album is no exception: it has reached #37 on the American Billboard Album Chart. As far as indie/alternative bands go, the music tends to become repetitive and indistinctive, but Andy Hull’s emotionally raw voice conveys an impassioned intensity that only comes from a true connection between a singer and his music. Manchester Orchestra's combination of old school and new school gives them a grungy, sometimes experimental, and playful sound. They’ve been compared to Brand New, Silversun Pickups, and Band of Skulls. With more albums on the horizon and many upcoming shows, expect to hear more about Manchester Orchestra. Find out more at http://www.themanchesterorchestra.com/us. Standout song: “I’ve Got Friends.”

12 MUSIC

Tilly and the Wall Tilly and the Wall is comprised of five members from Omaha, Nebraska. They got their name from a children’s book in which a little mouse gives in to her sense of adventure and tunnels under the great wall blocking her community off from the other side.

Their sound is immaturely idealistic indie, which really captures the struggle of the 90’s kids generation. It manages to stay hopeful and dark simultaneously. Their last album, O, was released in 2008 and is a testimony to the band’s musical progress. One of the more unique features of the band is Jamie Pressnall’s tap dancing which brings the percussion element to a whole new level. Tilly and the Wall is definitely a band to watch out for! To find out more, go to http://www.tillyandthewall.com. Standout Songs: “Pot Kettle Black” and “Beat Control.”

TEST

New artists worth noticing /////////////

By Chelsea Eriksen

The Xx

Mumford & Sons

The Xx started out in 2005 in London, England. They are a threemember indie-rock band that released one album in 2009. Their debut album, Xx, received much praise and was ranked number nine on Rolling Stone’s “Best of the Year” list. Their music is slow and seductive; some have described it as “make-out music,” but there is far more to it than that. Their songs and melodies are simple and their lyrics are mostly about sex, but they also seem to really grasp the feelings of the twenty-something generation with lyrics like: “And we, we live half in the daytime / And we, we live half at night.” Their music can also be deep, like the song “Intro,” which seems to be saying, “It’s another one of those days” and is so extremely relatable, it’s a little overwhelming. For more information, go to http://thexx.info/. Standout songs: “Crystalised,” “Intro,” and “Islands.”

You can hardly tune to an alternative radio station these days without hearing the hit single “Little Lion Man” by the Londonbased up-and-comers, Mumford & Sons. With little effort, they have brought a note of old school class back to contemporary music, picking up where classics like The Pogues left off and infusing a timeless sound with powerhouse talent and thoughtful lyrics. Their broad range masterfully includes rowdy sure-to-be pub favorites and the distinct Celtic melancholy rarely found outside of extremely traditional groups. Climbing universally in acclaim and popularity, this bold foursome has done everything from referencing Shakespeare to making the banjo cool again.

Find out more at http://www.mumfordandsons.com/. Standout songs: “Roll Away Your Stone,” “Winter Winds,” and “Sigh No More.”

The Boxer Rebellion

Telekinesis

The Boxer Rebellion is an independent four-member band originating from London, England. They have released two albums and have a third coming out in early 2011. Despite two albums, captivating tours, outselling bands like The Kings of Leon last summer, and starring in a major motion picture, they remain largely overlooked. However, with the release of a new album and positive reviews from major publications such as The Wall Street Journal writing, “This band may own 2011,” success may lie ahead. Each track from their previous albums is compelling and draws the listener in, managing to stay both genuine and commanding. Their sound has been compared to that of Radiohead, The Verve, and Coldplay. As the other two albums have received critical acclaim, you can be sure to expect great things from their third! Find out more at http://theboxerrebellion.com/ band/. Standout songs: “Evacuate” and “Broken Glass.”

This solo project of Michael Benjamin Lerner is based out of Seattle and originated in 2008. Off of his self-titled debut album comes one of my favorite songs by far, “Coast of Carolina,” which is at first intolerable. The first thirty seconds of the song are a vocally distorted, whiny, pop-infused cacophony. But if you can make it through the torturous beginning, the rest of the song makes up for it. Suddenly, the tempo picks up and the vocals become more natural and lyrical, which, combined with the raw garage rock sound, create an extremely honest and emotional song. The rest of the tracks off of this album continue with the same energy, comparable to Tegan and Sara or The Shins. Find out more at http://www.telekinesismusic.com. Standout song: “Coast of Carolina.” ·

THE SYCAMORE / FALL 2010 13

So, you’re currently touring?

Yeah, well, we’re lucky enough to have had a couple of days off in between European shows, and we have another big week coming up in Europe doing Belgium, France, and Holland, so that’s quite cool, and then that’s it for the rest of the year as far as touring goes.

What’s been your favorite part of the tour so far?

I’d say on the US tour, the Bowery Ballroom was the highlight. The Bowery is just one of those venues we’ve always wanted to play, and we played it, and it was probably one of the best shows that we’ve done—and the crowd was just absolutely amazing.

Then we sold out in Chicago, which was amazing, and Seattle was very special to us as well.

How does everyone work together to create the music?

It actually works in a number of different ways. There is no real set way that we write music. Could come from an idea that Nathan (our singer) brings in, or I bring in some music, or we come up with it completely in the rehearsal room and then we all finish it off. We all have to like it before it gets to the next stage where we’ll finish it off.

Who writes the lyrics?

Nathan writes the lyrics. It’s just the way it works best, but we all have an impact on song titles and the themes of the songs, particularly with the new album that comes out in February. In terms of themes, it’s completely a group thing.

It stems from where we all are as a band.

14 MUSIC

Do you have a name for the upcoming album?

The album is called Cold Still. It comes from a lyric in the last song of the record. The line reads: “the cold still of night.” It sort of captures the mood of the record.

Do you feel very connected to the rest of the band?

Definitely. We’re a bit different from the rest. We come from different parts of the globe. Nathan is from Tennessee, and I’m from Australia. We’ve been together for ten years now, and we’ve been through so much as a band, so many highs—and probably more lows than highs—in our career. We’re at the stage now where we’re completely connected. The second album stems from when we were at a complete low point as a band. The only people that really believed in what we were doing were the four of us.

We’re probably closer than most bands; there’s a complete equilibrium between the four of us.

What were some of the significant low points and high points?

The high point was when we got signed, and the low point was when we realized our situation was futile with that label. We saw the writing on the wall and were completely helpless to do anything about it. Then Union was where we fought physically to get to the point where that record could even be finished. Eventually it was finished. A month later it was out, and we sold 10,000 records, so it was a real sort of euphoric feeling and a real vindication of what we were doing and that people appreciated it. That was a high. The last two years has been a real turnaround for us, and we’re finally in a good place.

Is music a tool of expression for you?

Definitely. You do have your limitations when you’re writing in a band democratically, but it is a freedom of expression, and it’s a real unique experience.

What’s your favorite song?

I have to think about that. For me, it would have to be “World Without End” off the first record. I really like the darkness of it, the moodiness of it. That’s my favorite off the first two, but that’s not to say I don’t like the rest. Off the upcoming record, I would probably say “A Phone Call Caught by the Light,” which is not a single. It is definitely an album track because it is a much slower song, but when we were recording it, it just came out perfect all the way through. I think the new record is amazing comparatively—it’s a bit more evolved.

Why have you chosen to remain unsigned?

Well, I guess just to counter that, we’ve actually just started our own label called Absentee. We’re independent by choice, we’re not unsigned. We started our own label name because people kept asking us why we were unsigned. We’re going to keep running our own label, and it’s a much better feeling, but that’s not to say that we would turn down options of working with a bigger label if it was beneficial to us.

What was it like to perform in Going the Distance with Drew Barrymore and Justin Long?

It was over and done with pretty quickly. We filmed two scenes, and our total filming time was about six hours or less. We had to wait a while to see the final product, but we got a lot of fans from the film.

Were you happy with how it turned out?

Yeah. As far as us being displayed in the film, we ended up with a lot of input as to how we wanted to be portrayed. We were portrayed pretty accurately, so what you see is what you get.

Do you think you’ll ever do any acting again?

[Laughs.] I don’t know. Probably not me, but we’d all give it a go if we got offered to, why not?

Why did you pick the name “The Boxer Rebellion”?

We were another band before, and we were absolutely awful. Then we did some demos and wrote some songs, so we wanted to change the name. We had an encyclopedia of history and we flipped onto [the Boxer Rebellion]. It was the only name we agreed on, and it sounds pretty cool!

CLOSE-UP:

THE BOXER REBELLION An interview with Todd Howe, guitarist for The Boxer Rebellion

By Chelsea Eriksen

What’s next for you?

Touring. We have three months until the record comes out, and then we’ll be touring for as much as we can next year, supporting the record. We look forward to coming back to the US because the tour was just so successful. Hopefully we’ll push it up to the next level! • IMAGE COURTESY THE BOXER REBELLION / THE SYCAMORE / FALL 2010 15

music f CITIZEN COPE If you like G. Love, Slightly Stoopid, or Galactic, listen to Citizen Cope. Citizen Cope is Clarence Greenwood’s pseudonym.

Greenwood masterfully combines hip-hop, blues, folk, and R&B. Greenwood’s distinct lyrics are gripping and emotional.

You can sense his utter despair as he croons out lyrics like “They got the coke and the dope / Until you end up broken.” One of his standout songs coming off of his debut CD, Citizen Cope, is “Let the Drummer Kick.” You can find out more at http://www. citizencope.com.

INGRID MICHAELSON If you like Regina Spektor, Kate Nash, or Rachel Yamagata, listen to Ingrid Michaelson. Her poppy sound and acoustic guitar at first don’t seem to set her apart, but then her tumultuous lyrics and vocal experimentation catch your attention. Some of her harder and grittier tracks paired with her dulcet voice and vocal techniques distinguish her as more than just another Grey’s Anatomy/radio artist. One of her standout songs is “Die Alone” off of Girls and Boys. To find out more, go to http://www.ingridmichaelson.com/.

THE HORRORPOPS If you like Tiger Army, The Misfits, or The Cramps, listen to The Horrorpops. They are a three-member Danish psychobilly/punk group. Their last album, Kiss Kiss, Kill Kill released in 2008 displays the band’s ability to bring new emotion to their music, and their humorous lyrics remain quirky and interesting. Their adaptability towards different styles keeps them fresh and exhilarating, especially with Patricia Day’s vocal flexibility. Find out more at http://www.horrorpops.com.

16 MUSIC

for you EAGLES OF DEATH METAL

THE SOUNDS

If you like The Black Keys, Wolfmother, The Queens of the Stone Age, or The White Stripes, listen to Eagles of Death Metal. This garage-rock band started out in Palm Desert, California, in 1998. Despite their name, Eagles of Death Metal is not a death metal band. Their sound is bluesy, electric, and catchy.

Their live performances have gained renown due to their high energy and collective spirit. Find out more at http://www.eaglesofdeathmetal.com.

If you like Metric, Morningwood, Shiny Toy Guns, or Le Tigre, then listen to The Sounds. This five-member band from Sweden has a fun, electro-pop, 80’s-inspired sound. Since they started in 1998, they have three albums and are currently working on a fourth. Relying primarily on word-of-mouth and remarkable tours, they’ve managed to catch the attention of many celebrities, including Quentin Tarantino. To find out more, go to http:// the-sounds.com/.

BLOODHOUND GANG

ELIZABETH AND THE CATAPULT

If you like The Beastie Boys, The Offspring, and Tenacious D, then listen to the Bloodhound Gang. They drop surprisingly clever lyrical stylings to offset their—at times—incredibly crude subject matter. This is not for the high-minded and pretentious, but for a quick return to adolescence and pure enjoyment. Find out more at http://www.bloodhoundgang.com.

If you like Sara Bareilles, Laura Veirs, or The Weepies, listen to Elizabeth & the Catapult. This pop/folk band originated in Brooklyn in 2004 and currently has two albumns. Although their folky/hippie music has gained them most of their popularity, it’s their pop songs like “Momma’s Boy” that really stand out.

Acoustic guitar picking, simple drums, and keyboard paired with Elizabeth Ziman’s interesting but down-to-earth voice make this song catchy and delightful. To find out more, go to http://www. elizabethandthecatapult.com/. •

KID CUDI If you like Kanye West, Drake, Sage Francis, or Lil Wayne, listen to Kid Cudi. This American rapper is best known for his single, “Day ‘n’ Night,” which achieved a top five spot on the Billboard Hot 100 in 2009. However, the rest of his tracks far outshine his most popular single with old school lyrical style and contemporary beats. To find out more, go to http://www.kidcudi.com/.

By Chelsea Eriksen

THE SYCAMORE / FALL 2010 17

HINDSIGHT AND TRIU

I

n 2007, Australia’s World Movies channel ran a series called “25 documentaries you must see before you die,” and topping the list was Leni Riefenstahl’s Triumph of the Will. It’s not uncommon to see Riefenstahl’s film on must-see movie lists, nor is it uncommon to see it on a list of the most controversial films of all time. Many people simplify and criticize the film as merely Nazi propaganda because of the historical context surrounding the events shown. But at the same time, it presents the viewer with beautiful images and well crafted editing, allowing you to feel as if you were at the 1934 Nuremburg Rally. If one were able to dissociate from what one knows about the Nazis through history and instead see the film from the perspective of a German in 1934, the viewer would have a much easier time seeing Triumph of the Will as an observational documentary.

History has proven that the Nazis were a corrupt group of genocidal sociopaths, but at the time of the 1934 Nuremberg Nazi Rally, the evidence of evil was not so obvious—at least not to the common folk of Germany.

To them, the Nazi Party was another political movement, and Hitler was hailed as a new and exciting leader who brought hope to Germans.

Hitler’s name was associated with politics, not evil. In fact, very few people knew about Hitler’s final solution, and those few who did were his key supporters who were in 18 FILM

sympathy with those plans. While some may claim that everyone could have known about all of Hitler’s ideologies by reading his book, Mein Kampf, one must remember that it was not published until 1933, just after Hitler came to power. It is unlikely that a large majority of Germans had read Mein Kampf that soon. Many of the people who did see what was going to happen left the country because they knew they did not stand a chance against the government.

Those who did read Mein Kampf were aware that Hitler’s anti-Semitic views are prevalent throughout the book. However, one must not forget that at the time of his reign, many political leaders ran on racist or at least discriminatory platforms. Hitler was therefore not a cause of great alarm for many people. Some might argue that because the Night of the Long Knives, when the SA troops were purged and many members executed, occurred months before the film was shot, that this should have been a clear indication to Leni Riefenstahl and all of Germany that Hitler was an evil man. We must take into consideration that the German people did not have all the facts. The news of the time was not like the news of today, with immediate live feeds from a dozen agencies. Events were much easier to control by those in power. To the German people, the Night of the Long Knives was justice done to those Hitler called traitors.

When we examine Triumph of the Will, we must set aside all knowledge of Hitler that came to public view after The Nuremberg Trials, and only look at the information (or misinformation) that was fed to the German people by Dr. Goebbels’s Ministry of Propaganda at the time of the film. Triumph of the Will depicts so much enthusiasm for Hitler because the German people were enthusiastic for Hitler. That was Goebbels’s great success: Hitler was their new hope, something that came to be believed even among many non-Germans.

To analyze a film, one must identify the mode in which it was shot and how it depicts its subject. By doing this, we can understand why Triumph of the Will was, in fact, a piece of observational documentary and not merely propaganda. Triumph of the Will is shot in an observational documentary format, with roughly 172 crew members, using over thirty different cameras that ran almost constantly for a week straight. The crews rolled the cameras and captured as many of the events of the Nuremberg Rally as they could. Riefenstahl and her crew acted as a fly on the wall, observing the events and not interfering with them (although for logistical reasons, some scenes were choreographed, or staged; they were done so in conjunction with the rally itself—so while they may have been planned, they were still only observed by Riefenstahl). She did not interview people or overlay a narrator track to explain anything; she allowed the images to tell the story.

There is a slight issue people have with the idea of observational documentary, which arises within the editing process. Editing can change the meaning of a film, and it is used to do so in Triumph of the Will; however, the editing is not used to propagate

UMPH OF THE WILL evil. This is where some philosophers may try to argue against the idea that Triumph of the Will is an observational documentary.

Riefenstahl had over sixty hours of footage from which to choose, so how can we be sure that she wasn’t using her observational footage to create a piece of propaganda? The first reason is that Riefenstahl used a strictly observational filming technique; the only footage available to her is what she shot: observational documentary footage. She did not create anything in the editing room that was not an observed event. How she manipulated the images may be the reason that the film seems controversial, but she cut the film together with the intention of showing Hitler as she and many other Germans saw him in that time: as a new hope, a savior of Germany—not as the Hitler we know. There was no way Riefenstahl could have known the horrors that would soon come. The film is only controversial when one has the knowledge of Nazi atrocities.

Some believe that the film is not a great piece of art because of the moral issues surrounding it. These moral issues are not created by the film, but by history. Nonetheless, there are arguments against Triumph. Mary Devereaux claims that the film’s vision is morally flawed, which, in turn, corrupts the aesthetic and artistic value of the piece. However, flaws are apparent within her first premise alone. What one must remember is that the knowledge we have of Hitler as an evil man is not the same knowledge that the common German had at the time, nor that Leni Riefenstahl had when making this film. The vision of the film may have been to show Hitler in a heroic and positive light, but it was not an attempt to propagate evil acts, because at that time, Germans did not know that Hitler was evil, nor that he would become so. It is easier to understand this concept if one thinks of a present-day hypothetical example.

President Obama is one of the most celebrated presidents in American history. At the time of his election, the American people were excited and ready for his new leadership of change and prosperity. He is someone that most of America supported and thought to be a great new leader. Now, if someone decided to document Obama’s rise to power (which many have), the intention of the filmmaker could be to show the rise of a new and hopeful leader in whom most of America believed. The vision of that film would be to inspire new hope by depicting Obama as he is seen by a hopeful nation. Now, let’s say that three years from now, Obama decides to purge America of all the wealthy people, placing them in prison camps and confiscating their property to pay off government debt. Would this change the vision of the documentary shot three years before? No, because the vision for that film would not have changed; Obama would have changed, and naturally public opinion and eventually history’s opinion of him would change accordingly. This is the same case for Hitler and Triumph of the Will. The vision of the film is not morally flawed, and thus Devereaux’s opening premise is flawed, negating the rest of her theory.

Triumph of the Will on its own is not a piece of propaganda. It is simply an observational documentary that depicted the events and the spirit of the German people in 1934. However, because the Nazi regime used the film as a tool, its purpose was twisted, and it, in turn, became propaganda. If Hitler had not liked the film, then it would never have been used in this way. Yet it would still be the same film, and it would still be just as beautiful, poetic, and well crafted as it is today. Thus, Triumph of the Will is not a piece of propaganda filmmaking, but rather a film that became a tool of propaganda. Triumph of the Will is not controversial or disturbing, but how it was used and how it was twisted is disturbing. This is not the only film to suffer such a fate. The Battle of Algiers has been used as propaganda for many anti-colonialist movements. Yet we do not classify The Battle of Algiers as a propaganda film—rather, it is classified as a fiction film.

For these self-same reasons, The Battle of Algiers is no more a propaganda film than Triumph of the Will. While the subject of Triumph of the Will became despised as evil because of the Holocaust, the film itself is not evil, nor does it intentionally propagate evil. It is solely an observation of the events and spirit of a time. Thus, when one watches the film with this mindset, Triumph of the Will is no more evil than The Battle of Algiers. •

BY JOSH WILMOTT THE SYCAMORE / FALL 2010 19

BARTON FINK

I’M STILL HERE In the mid 1960’s, Andy Warhol attempted to create films which were neither documentary nor fiction. Around the same time, Jean-Luc Godard attempted to create fiction films that were also documentaries. Many others followed in this vein, and at the core of this shared idea is the concept that whenever one captures an image on camera, whether acted or spontaneous, the image ze is capturing is from real life. It is a moment that actually happened and is thus a document of that person’s life at that moment. I’m Still Here takes this idea a step further.

I’m Still Here is innovative because the life of the character (Joaquin Phoenix) does not start and stop when the camera is rolling.

Phoenix stayed in character for over a year and a half, and by doing so, destroyed his public persona (since only a very small handful of people knew that he was acting). This is where the film takes the idea of the fictional documentary a step further. In every other film, the actor’s existence is captured on camera and carefully controlled by the director; in every documentary, the subject is captured on camera but then lives his or her own private life. Phoenix is never out of character even amongst close associates, and his life is not only documented by the camera crew making the film, but also the paparazzi and other media sources.

They create an entirely new truth both inside the film and outside the film. In other words, their film was the cause of a new reality created for the public. This fictionalized version of Phoenix becomes the real one, and his character is now part of society. There is no separation between film and reality, because even though he is in character, the character has become the reality for everyone around him.

Critics and viewers continue to tag the film with labels like documentary, shock doc, and mockumentary, but this is an injustice to the film. By trying to pin it down as something it’s not, critics and viewers alike are being cheated out of seeing something new.

This is the first of a new film genre, and it is something that may not be appreciated until years from now.

20 FILM / IMAGES COURTESY GOOGLE

Barton Fink is an American film written, directed, and produced by the Coen Brothers. It was widely celebrated by critics and won the Palme d’Or prize at the Cannes Film Festival, yet it lacked commercial success in the US with a mere $6,000,000 return at the box office.

The film is set in 1941 and focuses on Barton Fink (John Turturro), a successful Broadway playwright who is contracted to write a screenplay for Capital Pictures. Barton, whose writing aims to show the realties and stories of the common man, is forced to write a screenplay as shallow as a teardrop, an actionfilled B picture about a wrestler. The only problem is that Barton has writer’s block. However, the main thrust of the film is not about writing, but rather the interactions that Barton has while trying to write.

Barton Fink is filled with a variety of different themes, making it difficult to categorize as one genre, yet Barton’s slow maturity seems to define the piece as a Künstlerroman. When we first meet Barton, he is filled with high ideals about defending the common man and listening to their stories. Later in the film, when he is living in a seemingly abandoned hotel, Barton meets his neighbor Charlie (John Goodman), an insurance salesman and a self-proclaimed common man with stories. But Barton doesn’t listen to Charlie’s stories; instead, he explains how all he wants to do is listen to the common man’s stories. He insultingly says how he wishes he could be a common man because they have it easier. He says to Charlie, “I gotta tell you, the life of the mind ... There’s no road map for that territory ... and exploring it can be painful. The kind of pain most people don’t know anything about.” By the end of the film, after several traumatic events and life-changing experiences, Barton has become a different person.

Before, he was strong, confident, and filled with ideas, and by the end, he is a free of his delusions and has a better understanding of what the life of the mind actually is.

Barton Fink deals with everything from Fascism to the differences between high class and low class in Broadway and Hollywood. It is rich in content and ambitious in style. While some people may not like the ambiguity that runs throughout the film, it is the ambiguity that makes one want to watch it over and over.

FI LM REVIEWS

BY JOSH WILMOTT

THE CRITERION COLLECTION The Criterion Collection is much more than a simple distribution company of films. It has, in many ways, become a fetishistic culture. Some refer to these releases as “Film School in a Box.” As one can imagine, cinephiles tend to make up a large majority of the buyers, yet the collection reaches beyond those film scholars and finds a home with anyone who has any interest in cinema.

The collection has grown in importance over the years, and more and more people are becoming interested in what The Criterion Collection is. Yet the question keeps coming up: What is The Criterion Collection, and why is it so important?

In its own words, The Criterion Collection is a “continuing series of important classic and contemporary films, dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements.”

The company started in 1984 when Janus Films and the Voyager Company came together with the same goal in mind. Criterion’s first release was Orson Welles’s Citizen Kane on a high-quality laserdisc. In 1998, Criterion switched formats and began releasing its films on DVD. Most recently, it has started incorporating Blu-ray into its catalogue.

The goals that Criterion set out to accomplish made it a pioneer in different fields of film distribution. For example, it was the first company to release films in the aspect ratio in which they were intended to be seen. This was a revolutionary idea because before the use of the letterbox, home distributors simply tried to squeeze films into the aspect ratio of a television. By choosing to crop down frames, the distribution companies sometimes would have to use false pans, commonly referred to as “pan and scan” (a system of digitally panning on the negative frame) in order to show what was integral to the plot of the film but was not able to fit in the TV aspect ratio due to “necessary” cropping. By doing this, the distribution companies destroyed the composition that was chosen by the filmmakers. So when Criterion started releasing the films in the letter box, people were able to see all of what the filmmakers had composed. This is now common practice, but before this revolution, certain film experiences were destroyed for home viewers. A good example is Michael Mann’s Heat, which

sold itself on the fact that De Niro and Pacino were in a movie together. But those unfortunate souls who saw the film with pan and scan never actually saw De Niro and Pacino on camera at the same time.

In keeping with its goal to present the customer with the best possible version of a film, Criterion has been responsible for restoring several classic films, such as Carl Theodor Dreyer’s Joan of Arc and Fritz Lang’s M. On the original releases of these DVD’s, one was able to see a side-by-side comparison between the original and the restored version of the film. The difference between the two is astounding, so much so that some film distribution companies that licensed films to the collection demanded the removal of this feature.

The Criterion Collection is also responsible for pioneering the creation of the special edition DVD. Their second release was the first laserdisc to have a scene-by-scene commentary track. Over the years, the people at Criterion have become more and more involved with special features, including in their releases essays on certain films, interviews with the directors and other important members of the cast and crew, and much more.

Unfortunately, The Criterion Collection has had several of their films go out of print. This is sometimes due to licensing expenses, licensing renewals falling through, or lack of market for certain titles. However, there is still a market for the out-of-print Criterions, but the prices are high. Pier Paolo Pasolini’s Salo is a great example. While it was out of print (it has since been reintroduced into the collection), it was not uncommon to see copies for sale at around $2,000.

The Criterion Collection offers the best for those who want the best. The number of people who become devoted followers continually grows because the product is consistently good. It’s a name you can trust. For anyone interested in film, The Criterion Collection is the Rolls Royce of home entertainment distribution. • THE SYCAMORE / FALL 2010 21

DORMSCAPES A VIEW OF EXPRESSION THROUGH ROOM DECOR. PHOTOS BY VALERIE PROVENZA ILLUSTRATION BY ANGELA CHANG

ROOM OF MOLLY BAILLARGEON / THE SYCAMORE / FALL 2010 23

24 FEATURES

ROOM OF MAGGIE MAHR / THE SYCAMORE / FALL 2010 25

26 FEATURES

ROOM OF CHELSEA OWEN-KRAFT / THE SYCAMORE / FALL 2010 27

28 FEATURES / ROOM OF CHELSEA OWEN-KRAFT

A LOOK AT EXPRESSION THROUGH

Body Modi�cation.

PHOTOGRAPHS BY ALISSA KENT

THE SYCAMORE / FALL 2010 29

30 FEATURES

MODELING BY CAITLIN "TANK" BRADLEY / THE SYCAMORE / FALL 2010 31

32 FEATURES / MODELING BY SHARON VITELLO

THE SYCAMORE / FALL 2010 33

34 FEATURES / MODELING BY EVIAN RUSSO AND SHARON VITELLO

MODELING BY EVIAN RUSSO / THE SYCAMORE / FALL 2010 35

36 FEATURES / MODELING BY PATRICK DEFRUSCIO

MODELING BY PATRICK DEFRUSCIO / THE SYCAMORE / FALL 2010 37

38 FEATURES / MODELING BY COLIN EVANS

THE SYCAMORE / FALL 2010 39

MICRO(SOFT) EXPRESSIONS:

THE LACK OF NONVERBAL COMMUNICATION IN THE DIGITAL FORUM

BY ANA GIOVINAZZO

“I’ve been known to e-mail people who were literally standing next to me, which I know sounds crazy, because at that distance I could easily call them on my cell phone. But I prefer e-mail, because it’s such an effective way of getting information to somebody without running the risk of becoming involved in human conversation.”

Dave Barry, “You’ve Got Trouble”

W

e are dependent on nonverbal signals. Eyebrow raises, smirks, gestures: though we may not immediately register these actions as having concrete meaning— and at times, the meaning isn’t exactly concrete—we take in these signals to help us understand what other people are unconsciously conveying about their feelings. Body language can also exist in opposition to verbal communication. For example, though your girlfriend may tell you, “It’s fine,” her crossed arms and tapping foot may say otherwise. This fascination with speech/action contradiction has produced best sellers such as The Ultimate Guide to Body Language and TV dramas like Lie to Me, which suggests that nonverbal communication is still a popular subject in today’s media. However, there has been a distinct change in the perceived necessity for nonverbal communication since the popularization of online and text-based conversation.

Though letter-writing has almost always existed as a mode of correspondence, the introduction of email, instant messaging, and texting has made written expression more popular and immediate; people are able to hold involved conversations with one another that would otherwise have to occur in person or over the telephone. With this technology comes instant gratification, but at the cost of face-to-face or audible interaction. Involved 40 FEATURES

conversations can now be reduced to a few letters to save time, but at the price of conveying next to nothing. Unless these messages are extraordinarily well written, they cannot express tone, inflection, or emotion—and as grammar and punctuation have been sacrificed to the god of Internet convenience, sometimes the writer’s content is not even clear. Most importantly, there is a complete lack of nonverbal signals; the words in a text or an email are just words, without visual cues attached. This lack of visual cues makes your girlfriend’s “fine” a little harder to interpret.

Yet nowadays, people not only hold the occasional conversation over the Internet, but also conduct business, interact with their friends, and even begin romantic relationships with people they have never met in person. But is it ever possible to know someone solely through the Internet? What are common nonverbal signals, and how much of a role do they play in our communication?

What signals do we miss when our interactions occur online?

The salient problem with Internet communication is the lack of clarity and emotion in written forms. Though every one of us was raised to speak, we were not all raised to be articulate writers.

Moreover, in face-to-face interactions, our lips may be doing the speaking, but our bodies and expressions tell a more complete story.

WHAT GOES UNSAID:

AN INTRODUCTION TO NONVERBAL COMMUNICATION AND CONTROLLABLE BEHAVIOR Albert Mehrabian, Professor Emeritus of Psychology at UCLA, identifies nonverbal behavior as “actions as distinct from speech,” which we primarily recognize as physical movements, body language, and facial expressions (1). Mehrabian also identifies another factor of “nonverbal” communication in “paralinguistic or vocal phenomena,” which include factors such as vocal inflection, tone, and volume (1). Though these latter factors are not technically nonverbal, they still play a major part in face-to-face communication and should be investigated along with body language and facial expressions as methods of conveying information that is not specifically carried through a person’s word choice.

Whether we are fully aware of others’ nonverbal behavior or not, most of us unconsciously register the common signals people send, especially those that have to do with speaker/listener interest. A 1963 study affirmed that “a speaker’s eye contact with his listener can serve as a measure of his liking of the listener” (Mehrabian 21). Eye contact is one of the most obvious indicators of presence, interest, and confidence, but it is something that people often forget to consciously control.

Other controllable—but generally unconscious—behaviors include leaning forward and orienting the body toward a person.

In 1932, a study “suggested that forward lean conveys a more positive feeling than a reclining position” (Mehrabian 24). Mehrabian describes body orientation as “the degree to which a communicator’s shoulders and legs are turned in the direction of, rather than away from, his addressee” and cites this 1932 study again to assert the positive effect a direct body position has on a speaker/listener (24). These behaviors contribute to the perception of speaker/listener interest and imply that the more direct a person is in eye contact and body position, the more they appear to like the person with whom they are speaking.

These behaviors are controllable because they are easy for a person to perceive within hirself and alter to suit the situation. For example, if a person is about to interview for a job, ze might remind hirself to send off these aforementioned positive physical signals that make hir seem like a direct, confident individual so ze will be more likely to get the job. There are a number of other alterable behaviors identified in success guides such as Tonya Reiman’s The Power of Body Language: How to Succeed in Every Business and Social Encounter, as well as strategies to making oneself appear more powerful.

The ultimate example of body language being used to influence people, however, is none other than Adolf Hitler. Henry H. Calero writes, “Hitler studied gestures, facial expressions, and posture—including his own. Well into his political ascendancy, he recorded himself on audio tape and film for review. His strong gestures often overwhelmed the relatively broad and nonspecific words of his speeches (he rarely mentioned the details of his military aggressions in central Europe or his plan to exterminate Jews)” (93). Hitler took advantage of his ability to sway others by using motions that surpass what can be conveyed through language; even those of us who don’t understand a word of German can recognize what a powerful speaker he was. In Hitler’s case, body language was even more important for gaining support than language itself.

WHAT GOES UNNOTICED:

MICROEXPRESSIONS AND NONVERBAL LYING Paul Eckman, the inventor of the Facial Action Coding System, asserts that “the face appears to be the most skilled nonverbal communicator and perhaps for that reason the best ‘nonverbal liar,’ capable not only of withholding information but of simulating the facial behavior associated with a feeling which the person in no way is experiencing” (23). Eckman here describes the ability of a person to disguise or mask hir feelings with not only body language, but facial expression as well. Controllable behaviors like these can be manipulated and modified in order to make a stronger impression or influence others, but some nonverbal signals are so unconscious that they are practically unchangeable. These nonverbal signals are called microexpressions: small, almost undetectable flashes of emotion on the face that reveal a person’s true feelings, even if those feelings go unsaid or otherwise unnoticed. Eckman explains that these “micro affect displays” are so quick and subtle that they can only be closely observed through slow-motion film (32). He also notes in his guide to Emotion in the Human Face that “micro facial behaviors may be indicators of conflict, repression, and/or efforts to conceal the emotion experienced” (32).

These are the signals that are irrepressible: the telltale signs that give away what a person is actually feeling, whether or not ze actually wants to reveal it. Microexpressions often go undetected by untrained viewers, but these signals may subconsciously register, or may simply hint that a person’s words and thoughts do not quite match up. Without knowing one another well, it is easy to be attuned to one another’s observable body language, but in established relationships, friends or partners are often aware of even subtler signals such as these microexpressions.

As humans, we have this ability to recognize others’ feelings through their body language or facial expressions, but we so often neglect to interpret these signs. Tonya Reiman notes: At some point, we got fooled into thinking that speech must be the highest form of communication because we are the only life-form that has the ability to speak. Evolved beings that we are, we don’t always remember our roots as preverbal grunters and gesticulators. And so we spend the years between childhood and adulthood unlearning the nonverbal skill we mastered as babies—and end up being frustrated, rejected, and often deceived in the process. (18) Because of our advanced notion of what communication is, we tend to rely almost exclusively on what people say rather than what they do, when the clues may actually be in that halfhearted nod or a reluctant glance toward the door. The truth may be, as the saying goes, written all over our faces, but in everyday communication, we believe we depend more on words than on gestures, even if we do not. The problem is that when we are communicating online, we have almost no choice in the matter: words are our only option.

Online (Mis)Communication: Misunderstanding and Insincerity

In Dave Barry’s review of Send: The Essential Guide to Email for Office and Home, he writes: “for all its efficiency, [email] often fails THE SYCAMORE / FALL 2010 41

to achieve its intended result; a vague or carelessly worded message can cause major problems—personal, legal and financial— for senders and receivers.” Barry here notes one of the main problems with online text-based communication: misunderstanding.

It is easy for a message to be unclear, whether it is through misplaced punctuation, misspelling, or ambiguous phrasing. But shouldn’t we have some instinct as to what a writer’s intention was, even if all of the details are not perfectly polished?

In an open-ended survey of 100 people about their experiences with online communication, one person responded: “I never assume I know what a person is trying to say, especially online.”

Several others also expressed this sentiment, adding that “it’s harder to capture tone of voice to interpret such things as sarcasm” and that “misunderstanding is extremely high. There is no tone of voice or body language to explain what a statement means.”

Due to the lack of tone of voice when typing on the Internet, sarcasm is the oft-given example of misunderstanding. But misunderstanding can exist for many reasons besides the absence of paralinguistic phenomena. Pauses, excessive punctuation, automatic responses, or confusing phrasing can also convolute meaning. “Without … being able to have a conversation in ‘real time’ (i.e., you’re not certain whether they’re pausing because of something you said, or just because they’re multi-tasking), it can be more difficult to get your point across or guess at someone else’s meaning or intent,” said one response. Another pointed out that “the phrase ‘lol’ is quite overused, and many people use it when something isn’t funny at all.” There is something unsettling about the thought of typing to a friend and being answered with an “lol” when he is sitting at his computer, not laughing, and only typing “lol” because he couldn’t be bothered to come up with a real response.

Automatic responses are a hint at a greater underlying problem with text-based communication: insincerity. Because there is no pressure to physically react or show emotional concern on the face, one can easily fake interactions on the Internet. One may have to type a sympathetic reply to a friend’s problem, but one does not have to actually care—or even put in the effort to pretend to care—when yellow smiley faces are a more convenient option.

This idea of sacrificing understanding and compassion in exchange for convenience hints that online communication hinders sincere connection between individuals. Though perfectly sincere 42 FEATURES

conversations can, of course, occur online, it is a lot easier to be distracted while these conversations are happening. In person, you can shut off the television, lock the door, and put an arm around your crying friend’s shoulder while she tells you about her recent breakup. You are thus able to establish an emotional connection through physical presence. But online, the temptation to multitask while waiting for your friend to finish typing her story can be overwhelming when Facebook is just a couple of clicks away. It is also easy to walk away, get a snack, come back, skim your friend’s messages, and type, “Aw, I’m sorry,” without her feeling like anything is out of the ordinary. In this way, online communication can generate a false sense of connection.

LIE TO ME:

THE INTERNET AS A MASK Even the closest relationships and most intimate conversations can become insincere when sent through a text-based messenger—but why? It is because the exchange is, essentially, faceless.

Two people who know one another well and who are able to pick up on the subtleties of each other’s expressions and body language can entirely lose this connection when their words are typed over the Internet. And in utilizing this faceless communication, we are, essentially, inviting people to lie to us.

Everyone has heard horror stories of online dating, and a number of people surveyed listed this as the main reason for not signing up for an online dating site or pursuing a relationship with someone they met online.

“I’ve seen To Catch a Predator,” said one colorful response.

“I don’t want cute ‘19-year-old Sarah’ to end up being creepy ‘52-year-old Ed,’ and I really don’t want to end up chained in his basement while he touches me inappropriately and makes me watch QVC with the volume turned low.”

Lying, however, does not always mean what most people think it does in the context of the Internet. Yes, there is a chance that any stranger could be a rapist or murderer, but with audio chat and video messengers, you are more likely to be able to tell—at the very least—that your new online friend is the same age and gender ze claims to be.

The problem, then, is in the details. Though the lies may not be as severe as a total character makeover, deception online is still a concern. A 2008 study on self-presentation in online dating

revealed that 87.2% of males and 75.6% of females had provided deceptive information (height, weight, or age) in their online profiles (Toma et al. 7).

Just because your new friend didn’t turn out to be “52-year-old Ed” doesn’t mean that she is perfectly trustworthy or that she is everything she claims to be. When meeting someone in person, you are able to discern a surprising number of details about who they are, even based on factors that have nothing to do with how they present themselves. For example, if you meet someone in a class at your college, it’s fairly safe to assume that they are a student at that college. If you meet someone on eHarmony, the only thing you can be certain about is that they signed up for the same online dating website you did.

So why show unflattering photos of yourself when you can present yourself from only good angles? Why share unnecessary, unappealing details when it is easy to glaze over them or ignore them altogether? The addition of a couple of computer screens creates a wall between two people and enables them to close off their lives from one another. The changes may even be subconscious, almost to the effect of having a different online personality than their in-person one.

One person noted, for example: “I have talked to people online that I have also met in real life, and found that their typing alarmingly does not match how they speak in real life. I probably would never talk to them if I met them only online because it’s hard to understand what they’re saying. Others type perfectly understandably, but there is always the missing element of hand gestures, facial expressions, voice fluctuations, and other mannerisms. These are not necessary for everyday conversation, but they do aid in subconscious understanding.”

Due to the lack of nonverbal cues, the Internet traffics in alternate personalities. Even people who believe they are representing themselves truthfully may be unable to effectively convey the details of their personality online.

GETTING TO KNOW YOU:

INITIATING A RELATIONSHIP ONLINE If personality is skewed through the medium of the Internet, then is it possible to initiate a friendship—or more, a romantic relationship—online? Regardless of the fear factor, there are still other hurdles to beginning a successful relationship when two

people have never met in person. If it is possible to begin these relationships, how well can they be carried out? Is inperson interaction necessary to foster their growth?

Though 48% of people surveyed about online communication answered that talking on a text-based messenger was never like talking to someone in person, 21.7% answered that they had had a romantic relationship with someone they met online and 28.9% said that they had not, but would be willing to. These responses seem unusual when so many people surveyed indicated that they had had problems understanding other people’s typing when chatting. One person said, “It’s just harder for me to communicate with people in pure text form.”

Another added, “You cannot get a full understanding of a person’s personality just through text.”

These responses assert the idea that the lack of body language, facial expressions, physical presence, and paralinguistic phenomena is an enormous hindrance to understanding a person’s personality, making it difficult or nearly impossible to form a sincere connection using only text.

Nowadays, though, it has become more common to use THE SYCAMORE / FALL 2010 43

audio- and video-based messengers like Skype to hold conversations with friends and loved ones. Does this alleviate some of the complications with text-based messengers?

Many of those surveyed agreed that video-based messengers like Skype made communication clearer and easier because of the added visuals, but several others explained that there was still something uncomfortable about communicating through video chat.

“It’s awkward,” said one response. “I am compelled to make funny faces all the time and often can’t focus on the conversation at hand.” There is, indeed, a strange feeling of performance when talking over a video messenger. Programs like Skype keep a small window in the corner of the screen that acts as a mirror; you are able to watch yourself as you speak, which keeps you constantly aware of the fact that you are being watched, and therefore, the conversation feels less natural.

But even without noting the odd feeling of voyeurism, others claimed to feel uncomfortable using a video messenger to communicate. “Though audio and video do a better job than text at giving one an impression of how a person may talk and act in real life, there is still a disconnect,” one person stated. Another added, “While audio and especially visual messengers do allow for nonverbal cues to be noticed, they are still a far cry from a genuine face-to-face conversation. Perhaps I am in the minority, but actual physical proximity is important to me, especially if the subject of conversation is of great importance.”

Another response noted the key problem with communicating over any amount of distance: “It’s not as intimate, since there’s that barrier between you.” Even if you have known someone long enough to understand everything ze is trying to convey when ze is typing, and even if you decide to use a visual messenger so that you can recognize all of your friend’s nonverbal cues, there is still a feeling of distance online that hinders effective communication. …

Internet communication, though marvelously efficient and practical in a fast-paced, technologically minded society, can never establish the same connection that people feel when meeting one another in person. In text-based messaging, nonverbal cues are entirely absent, which can cause miscommunication, misunderstandings, or misrepresentation. Text-based messengers have been improved by the addition of video and cell phones are beginning to boast face-to-face communication, but even the most advanced technology cannot surpass the feeling of distance caused by the lack of in-person nonverbal cues. The problem is not the lack of physical action, but of physical interaction. Seeing your friend’s face on the screen is not the same as communicating in real time with no lag. In person, you can not only pick up on the subtleties of your friend’s expressions, but you are also able to watch her body language. There is a lack of intimacy that results from the use of the computer as a medium for communication, and this lack of intimacy prevents many people from feeling like talking with people they met on the computer is part of “real life.” • 44 FEATURES

WORKS CITED Barry, Dave. “You’ve Got Trouble.” The New York Times 6 May 2007. The New York Times. Web. 7 Nov. 2010.

Calero, Henry H. The Power of Nonverbal Communication.

Los Angeles: Silver Lake Publishing, 2009. Print.

Ekman, Paul, Phoebe Ellsworth, and Wallace V. Friesen. Emotion in the Human Face: Guidelines for Research and an Integration of Findings. St. Louis: Elsevier, 1972. Print.

Mehrabian, Albert. Nonverbal Communication. New York: Aldine Transaction, 2007. Print.

Reiman, Tonya. The Power of Body Language: How to Succeed in Every Business and Social Encounter. New York: Pocket Books, 2007. Print.

Toma, Catalina L., Jeffrey Hancock, and Nicole Ellison. “Separating Fact From Fiction: An Examination of Deceptive Self-Presentation in Online Dating Profiles.”

Personality and Social Psychology Bulletin 34.8 (2008): 1-14. Print.

Tokens`of`Affection: Will technology end the art of letter writing?

By Emily Ambrose

THE SYCAMORE / FALL 2010  45

T

Everyone was messaging like it was going out of style.

It was just the cynic in me God, I love communicating!

I just hate the shit we’re missing.

The Dresden Dolls, “Modern Moonlight”

46 FEATURES

he keys of the computer keyboard click as they’re pressed in rapid succession. The hum of the computer fan is a soft undertone to the quiet, plastic sound. Pauses space the quick taps as the owner of the hands pressing the keys stops to gather her thoughts.

Finally, the cursor floats upward on the screen, hovering over the “send” button.

Another click and the job is done, and the email—one of the 247 billion sent every day —is zipping through cyberspace on its way to a recipient.

Today, in 2010, sending email is as easy as blinking and as common as the annual winter cold. We email our relatives with cute pictures of pets or children and annoying chain letters, encouraging you to “show twelve women you care about how important they are.” We email those old friends whom we just don’t have time to pick up the phone and call. We email our professors with questions about classes and attach assignments to emails to avoid yet another long trek to their offices. We email our employers with excuses for sick days and proposals for projects. Our eyes glaze over as we click through dozens of emails advertising quack remedies and get-thin-quick schemes, deleting whole pages of spam we’ll never read.

A task requiring very little thought and even less effort, emailing has become a staple of everyday communication for most people. In 2006, a research group extrapolated that there were 1.4 billion email users in the world, a number that can only have grown since, with the prevalence of everything from netbooks to cell phones to iPads with the ability to check your email with growing frequency and ease.

Over the course of the last decade, social networking websites and platforms for instant messaging have rendered written communication, if possible, even more simple and instantaneous than email. MySpace, one of the first and largest social networking sites, allowed everyone from preteens to middle-aged mothers to comment on each other’s pages, conveying in a few short sentences a message to whomever they wished to contact. The bulletin function of MySpace allowed the user to post messages to all of the people they were connected to through the site, numbers that sometimes reached hundreds and thousands of users.

Facebook now serves the same function through the posting of messages people can leave on each other’s “walls.” Facebook users can compose notes, longer messages that serve the same function as the MySpace bulletin, announcing news or events to the entire list of users or friends they are connected to through the site. Social networking giant Twitter allows its users to post thoughts, comments and messages directed to other users—but only in increments of 140 characters or fewer. Unfortunately, a tweet, a Facebook post, or a Myspace bulletin only lasts as long as it is visible on the user’s homepage. As soon as another thought is posted, it takes the place of the earlier sentiment, no matter its importance. Innovative and convenient as they are, these social media platforms are bastions of instant gratification. These platforms, much like email, are only as good as the attention span of the viewer. One click of the mouse over the “delete” key and the message is gone from the page and, maybe, from memory. Sending a Facebook post or email is infinitely easier and less timeconsuming than sitting down at a desk to pen a letter, but it is also transient, leaving no reminder of its existence or impact.

It’s even easier to forget that communication through the written word was, once upon a time, not nearly as efficient or as forgettable. As Newsweek writer Malcolm Jones puts it in a 2009 article, cyber messaging “is communication that is for the most part here today and deleted tomorrow.” So the question remains, with the gain in convenience thanks to email, have we lost something along the way as well?

Before the advent of the World Wide Web, email, and—hard to imagine—cell phones and iPods, letter writing was the primary form of communication for those lucky enough to be literate. Even Biblical history has been shaped by letter writing, as the Epistles of Paul appear as thirteen books in the New Testament, purportedly some of the earliest Christian documents. A quaint nineteenth-century New York Times article details the discovery of clay tablets arranging marriages between monarchs of Egypt and “the kings of Babylon,” a civilization so ancient it’s not even considered a real civilization anymore. For eighteen months in the 1860’s, young men mounted fast horses and crisscrossed the United States to deliver letters to citizens of the ever-expanding nation for the Pony Express. Although the advent of the telegraph ended the reign of this innovative method, it was, at the time, the fastest way to correspond with anyone stateside. Letter writing was also considered an art. Mistress of etiquette Emily Post wrote articles on the subject in 1922, instructing her reader on how to compose a letter. Even nearly a century ago, Ms. Post lamented the shrinking significance of letter writing.

The art of general letter-writing in the present day is shrinking until the letter threatens to become a telegram, a telephone message, a post-card. Since the events of the day are transmitted in newspapers with far greater accuracy ... the circulation of general news, which formed the chief reason for letters of the

stage-coach and sailingvessel days, has no part in the correspondence of today.

Love letters are infamous in pop culture and history, and the idea of a love letter holds a romanticism that the “love email” has yet to meet.

Divorced, exiled, and condemned, Catherine of Aragon wrote to her ex-husband Henry VIII in 1536, finishing her letter with the plaintive statement that, “Lastly, do I vow, that mine eyes desire you above all things.” In 1782, Abigail Adams wrote to John Adams, “I have seen near a score of years roll over our heads with an affection heightened and improved by time, nor have the dreary years of absence in the smallest degree effaced from my mind the image of the dear untitled man to whom I gave my heart.” James Joyce, author of Ulysses and Dubliners, penned notoriously ribald and sensuous letters to the woman who would eventually become his wife, but expressed his softer side in love letters to her: “When I am with you I leave aside my contemptuous, suspicious nature. I wish I felt your head on my shoulder.”

Even earlier in history, the Roman lawyer who would come to be known as Pliny the Younger penned similar missives to his lover around the year 100 A.D. One of the most famous and prolific letter writers in the English language, John Keats, wrote to his young love, Fanny Brawne: “My love has made me selfish. I cannot exist without you—I am forgetful of every thing but seeing you again—my Life seems to stop there—I see no further.

You have absorb’d me.” The romantic ideals of a love letter are hard to deny. Etched in our minds are the visions of love letters that film and THE SYCAMORE / FALL 2010 47

literature have given us: envelopes sealed with kisses, sprayed with perfume and passionately clutched to bosoms as if embodiments of the lovers themselves. Even the anticipation inherent to the expectation of receiving a letter is romantic, as if the time passed renders what is written all the more valuable. But perhaps there is a chance that time does render the contents of a letter more valuable. One can remain almost nearly assured that an email will be received by its intended recipient—not lost in water or fire or through travel.

Indie band Arcade Fire speculates upon this phenomenon in a song from their most recent album, The Suburbs. Lead singer Win Butler reflects on the power of letter writing in the song “We Used To Wait.” “It seems strange at times / How we used to wait for letters to arrive/But what’s stranger still / Is how something so small can keep you alive,” he sings. My mother, a fifty-two year old woman, recently discovered the letters her father sent to her mother while he was in the Navy during World War II: mementoes of their courtship that have survived their marriage of over sixty years, the birth of six children, and over a dozen grandchildren. It is sad and lonely to contemplate that the email our generation sends, purely due to the ever-changing nature of technology, may not last for days or weeks, let alone over six decades. Essayist and author E.B. White wrote of letter writing, “A man who publishes his letters becomes a nudist—nothing shields him from the world’s gaze except his bare skin. A writer, writing away, can always fix himself up to make himself more presentable, but a man who has written a letter is stuck with it for all time.”

The freedom of self-expression inherent to the written letter cannot be denied. There is a personal touch, a sense of connection that can be established merely through putting a pen to paper. Handwritten letters express the writer’s mood, thoughts, and commitment to the action of writing the letter itself. If an individual commits to writing a letter, ze must sit down, pen in hand, and commit thought to paper, expressing whatever ze feels at the time. The recipient of the letter, in turn, is connected to the writer of the letter, touching the same paper, reading the words that traveled from the writer’s brain through the hand that moved the pen. These actions render the writer and recipient undeniably connected.

The psuedo-scientific study of handwriting, known as graphology, has long been considered indicative of both personality and intention. Although not based on scientific theory or fact, graphology posits that the size of the letters, the significance of the spacing between words, the spaces between the letters, and even the angle and slant of a person’s handwriting can offer insight into that person’s character, attitude, and mental state. If graphology is given the benefit of the doubt, a handwritten letter can convey infinitely more than a typed email simply because of the hand that writes the words. Multiple websites advertise graphology as a means of gaining insight into a lover, a parent, or a future employee. One website queries, “What can your handwriting reveal?” and promises that it will teach “How Learning Handwriting Analysis Can Be Your Golden Key to Unlocking Your Hidden Potential, Supercharging Your Love Life, and Even Earning Extra Money in Your Spare Time!” Despite the doubtfulness of these claims of insight that graphology offers, the time and effort that is invested in a letter of any length and the emotional and aesthetic advantages of the written letter are hard to deny.

I received a letter from a friend a few weeks ago, addressed 48 FEATURES

to me in her unique handwriting: the letters slanted to the right, legs of A’s and M’s dipping below the line.

Her return address evoked memories of the town I had left behind. Tearing open the envelope, I found fall leaves: gold, red, and orange tinged with green. I was charmed.

Here was a physical reminder of the place and a person I loved, a memento I could hold, feel, and smell. Unfolding her letter, I discovered more of her handwriting, the mere sight of which brought memories of her flashing before my eyes like clips from a favorite movie. I savored the words she had written, simultaneously pleased and nostalgic. Two months later, the same letter hangs pinned from my bulletin board along with the fall leaves she sent me. The email she sent me around the same time? Sent almost immediately to the “trash” folder of my inbox, victim of my anal retentive organizational tendencies. It leaves one to wonder: how many people decades from now will discover their parents’ and grandparents’ old emails, spritzed with perfume, wrapped in a ribbon, waiting for their legacy to be rediscovered? •

ACTIVISM AS EXPRESSION

By Gabrielle Cook Photographs by Rebekkah McKalsen THE SYCAMORE / FALL 2010 49

FOR THE PAST 11 YEARS, on one day in the early weeks of September, hundreds of bicycles have ridden past Wells College. They have ridden from Stewart Park in Ithaca and are pedaling all the way around Cayuga Lake to return to Ithaca’s Cass Park. It is a hundredmile ride and, for many, takes most of the day, but all of these people take time out of their busy schedules for one common reason: they are there to raise awareness and money for people living with HIV and AIDS. I have been volunteering for the AIDS Ride for Life for four years, and this year, in addition to my Route Support responsibilities, I had the pleasure of interning for the Ride as well. Throughout my experience, I took the time to listen to the stories of the people who were volunteering; I was curious as to the reasons why people felt compelled to either ride or volunteer to work. It just seemed so phenomenal that well over 300 riders and 150 volunteers all come together for a common purpose from so many different walks of life. The environment of the event is truly a sight to behold.

My discovery, interestingly enough, was that many of the people were there for reasons similar to mine. They have known and loved people who have been affected by AIDS, they wanted to be more involved in the events going on in their city, or they could no longer stand by while people in their community suffered. The AIDS Ride for Life raises over 250,000 dollars that go directly to the care of people living with HIV and AIDS in the Southern Tier. This money improves the quality of life of individuals and their families, as well as saves lives, and would not be possible without the people who donate their time and money to an organization that is doing tremendous good in our community, the Southern Tier AIDS Program (STAP).

AIDS is still a very real and present disease in our country; it occupies a marginalized space and is not discussed enough. Being a part of a movement to raise awareness about AIDS and help the people that it affects is my passion. It is one of the ways I express myself to the world, and to those who share this with me: thank you. • 50 FEATURES

THE SYCAMORE / FALL 2010 51

52 FEATURES

THE SYCAMORE / FALL 2010 53

A Brief History of the Arts at Wells

By Kathryn McNamara

I

n 1880, a journalist wrote that “the Wells College girls never yet gave a commonplace entertainment.” Wells has always had a strong foundation in the arts, from drama to music to literature. In the early years of Wells College, arts were incorporated in the form of ladylike “accomplishments,” such as china-painting and parlor entertainment. In 1876, Max Piutti became the director of the music department.

Professor Piutti revolutionized the music department at Wells by implementing a serious music program, emphasizing music as an academic pursuit rather than a ladies’ hobby. He required all students to take part in a choral class, and he only tutored students privately if they had true talent. The 1880 catalog reports that “these concerts, an important feature in the course of study, give valuable aid in developing taste, the programs being selected not to amuse the promiscuous audience, but to afford opportunity for study.” While Piutti was in charge of the music department, Wells had a reputation for excellent concerts.

In 1879, Piutti married a Wells alumna, Anna Adams. Anna Adams Piutti went on to become a dean of the College, and she also became president of one of the most popular clubs on campus, Kastalia (also known as Castalia in some cases). Kastalia was founded in 1868, the same year the college opened. It began as an “arts club” and in later years focused mostly on drama. In its early years, Kastalia presented music concerts as well as plays. A newspaper article from 1880 describes an event in which different Kastalia students represented countries and presented song, dance, and brief skits about their nation. The elaborate show inspired rave reviews in the local newspaper.

Kastalia was open to all students, but a second organization, the Phoenix Society, was exclusive to exceptional students of English. The Phoenix Society, or Phoenix Literarum Societas, was a prestigious club that focused mostly on literature, with some elements of drama and music. Their mission statement was “to stimulate interest and creative activity in the field of literature.”

The club met regularly to exchange ideas. At each meeting, a member would give a report on a given topic in literature, and then the club would decide on an activity, such as each member writing a sonnet. In addition to poetry, songwriting, essays, and formal debates were a part of the Phoenix Society.

The Phoenix Society’s highlight of the year was an annual banquet. Each year, custom invitations were made for the banquet.

Intricate paintings in early years and letterpress printings in later years were used to decorate the invitations. The banquet consisted of dinner, a toast to a chosen department, a presentation by a professor, and then an “ode” to the senior class. The Phoenix Society also presented “evenings of entertainment” similar to the 54 FEATURES / IMAGES COURTESY THE WELLS COLLEGE ARCHIVES

parlor entertainment given by Kastalia. These evenings included skits, songs, debates, and lectures. In addition, Kastalia and the Phoenix Society often collaborated to present plays.

The Phoenix Literary Society was also responsible for The Chronicle, a publication still in existence today. The Chronicle began as a one-page newsprint leaflet in 1873. Originally, it contained informative essays as well as poems. In 1915, The Chronicle expanded to a booklet that was published several times a year. It soon branched off into a separate publication, no longer run by Phoenix, although many Phoenix members were still active in the publication. By the 1970’s, The Chronicle had become a solely literary publication. In the 1980’s, it was titled The Chronicle: A Journey of Women, but this subtitle was dropped after the coed decision. Considering how turbulent the history of news publications has been at Wells (from 1949-1953, there were three different Wells newspapers that failed), it is remarkable how long The Chronicle has lasted. Although the Phoenix Society is no longer in existence, its legacy still lives on in The Chronicle and, until recently, the Phoenix Page in The Onyx.

It is interesting to note how Wells women’s liberal leanings and political activism shined through in their various clubs and publications. Even in the 1930’s, when one might think Wells was more conservative, Kastalia got into trouble in 1939 for presenting Hay Fever, a farcical play by Noel Coward. Dean Katherin Williams wrote the president of Kastalia, Frances McNally, to scold her for not making changes to the original, scandalous script. She warned McNally that “as it is not acceptable in its present form, you will be expected to obtain the cooperation of all concerned in making the suggested deletions from the script.

The use of certain expressions known to be objectionable must be avoided.” The Chronicle also featured many pieces with political messages, including strong pacifist writings during the First World War. Participating in the arts gave Wells women a chance to voice their political views at a time when most women were not given a chance to do so.

Today, Kastalia and The Phoenix Society have disappeared, but the theatre department is going strong and several music groups exist on campus. There are four publications to choose from, as well as creative writing classes for students interested in serious literary study. The arts hold a vital role in Wells, and student participation is the way to keep them strong. So if you like to write, act, or sing, find a club that fits you and get involved! Not only will you be taking an active role in campus life, you will also be taking part in the long tradition of the arts at Wells. •

THE SYCAMORE / FALL 2010 55

athletic expression

by Phoebe Chestna

Athletes express themselves through movement and form, and, in doing so, they create an identity. The basic actions may be the same, but each person performs them differently. As athletes begin to identify with their individual sport, they declare themselves dancers, climbers, soccer players—titles they may carry with them the rest of their lives.

56  FEATURES

MODELING BY REBECCA FURMAN / THE SYCAMORE / FALL 2010 57

58 FEATURES

“I don’t consider myself an athlete, but I do consider myself a climber.”

-Duncan Lawrence, rock climber MODELING BY DUNCAN LAWRENCE / THE SYCAMORE / FALL 2010 59

“If I’m angry, I do a lot of jumps and stiff movements that take effort. If I’m happier, I’ll do something with a lot of turns. You move how you feel.”

–Erika Bareiss, dancer

60 FEATURES

MODELING BY HAYLEY MESSENGER, SARA CHIOCHETTI, AND MEGAN CLAXTON / THE SYCAMORE / FALL 2010 61

“Even if I stop playing field hockey years from now, I’m always going to identify with being an athlete.”

–Adrienne Tomao, field hockey player 62 FEATURES / MODELING BY ADRIENNE TOMAO

TOOLS OF ARRTICULATION A study through diptychs.

Dip•tych |'diptik | noun. A work of art composed of two separate pieces, usually displayed together side by side, producing one continuous image.

- Denis Bloch

64 FEATURES / PHOTOGRAPHY BY ALEX SCHLOOP

MODELING BY EMILY SCHLICK / THE SYCAMORE / FALL 2010 65

66 FEATURES / PHOTOGRAPHY BY ALEX SCHLOOP

MODELING BY ABAGAIL WILLIAMS / THE SYCAMORE / FALL 2010 67

68 FEATURES / PHOTOGRAPHY BY ALISSA KENT

MODELING BY TYLER GRECCO / THE SYCAMORE / FALL 2010 69

70 FEATURES / PHOTOGRAPHY BY CATE DINGLEY

MODELING BY BARRY NELIPOWITZ / THE SYCAMORE / FALL 2010 71

misun L

anguage is the main mode of human expression. Within any given linguistic community, it is our most easily accessible and widely understood method of communication. Other ways of communicating exist, of course, but none are as widely learned and understood as the spoken or written word. From a utilitarian standpoint, language clearly wins out as the most useful means of expression we have at our disposal. In this paper, I will explore three different facets of the alienating nature of language as human expression: how it alienates us from reality, from ourselves, and from each other. I will draw from three major discourses in this discussion: structuralism, post-structuralism, and Eastern philosophy.

I wish to explore first how language separates us from reality.

It is fundamental to the study of linguistics that words represent reality; they are not reality itself. When I use the word “tree,” I am not, as Plato would have us believe, referring to some kind of ideal, essential, universal form. “Tree” is merely a symbol, a representation of a reality that manifests itself differently in the mind of each individual subject that hears or reads the word. This kind theory of language finds its first and most cogent explanation (within the confines of academic Western thought) in the movement known as structuralism. Ferdinand de Saussure, whose immeasurably influential Course in General Linguistics was first published in 1916, formulated the now widely recognized theory of the signifier and the signified: every word, spoken or written, is a signifier, which refers to its corresponding concept (the signified). The sign (or signifier) is, in Saussure’s words, the “sound-image” and the signified is the “concept” (61-62). The link between the spoken sound “tree” and the actual object of a 72 ACADEMIC PAPER CONTEST

tree is arbitrary. This is another key point of structuralism, and applies to the relationship between every signifier and its signified.

Language thus “[e]xists only by virtue of a sort of contract signed by the members of a community” (Saussure 59). In other words, the only reason language makes any sense is because everyone that uses it has a sort of informal agreement that certain sounds correspond to certain objects and concepts. Saussure’s structuralist theory of language also holds that these sound-meaning correspondences can only take on meaning in relation to other sound-meaning correspondences. For example, the word “dog” only has meaning when compared to the words describing all the other animals. This applies to every imaginable word.

However, we cannot give Saussure and the structuralists all of the credit for inventing such an idea. Nearly four thousand years earlier, Hindu philosophy brought forth the doctrine of maya: “The manifold world of facts and events is said to be maya, ordinarily understood as an illusion which veils the one underlying reality of Brahman” (Watts 38). Maya is the world of words, understood as terms of measurement that demarcate and delineate reality so as to be better understood by humans. This is very nearly the same idea that Saussure puts forth with his theory of the sign and signified, but with a key difference: Saussure’s theory was originally meant to apply only to language (even though it was later applied to other categories), while the Hindu philosophy of maya originally applied to all conceivable objects of thought. For example, the emotion of hate can only take on substantial meaning in relation to all other emotions. A book only has meaning in relation to all the other books that came before it.

Taoism also expresses a similar theory to structuralism and

mutual nderstanding ALIENATION IN EASTERN AND WESTERN PHILOSOPHIES OF LANGUAGE

By Sam Share

maya in the Tao Te Ching: Indeed, the hidden and the manifest give birth to each other.

Difficult and easy complement each other.

Long and short exhibit each other.

High and low set measure to each other.

Voice and sound harmonize each other.

Back and front follow each other (5).

Lao Tzu is describing this same idea that concepts can only have meaning in relation to other concepts. Hindu and Taoist philosophy represent where Saussure’s structuralism was eventually taken, in Western thought, as it was applied to aspects of reality beyond language. These ideas represent the understanding of language as an essentially alienating means of expression. Because language does not apply directly to reality, but only to the human way of experiencing and delineating it, we cannot communicate about truth; we will always be a step removed. This is why Zen masters adopt the practice of “direct pointing.” In order to be more in tune with reality, they may choose to communicate non-symbolically—with a direct action such as striking their querent, pointing at an object, grunting, or saying something seemingly pointless and absurd. A Zen master learns to see reality in the same way that Hinduism champions, beyond words and the limitations of human perception. But for those of us who are not enlightened Zen masters, language functions, in a sense, as a sort of mutual misunderstanding about reality between its users.

This brings me to the second point I wish to explore: that language alienates the user from him or herself. According to a

theory by Jacques Lacan, a massively influential twentieth century French psychoanalyst, “Language is a gift as dangerous to humanity as the horse was to the Trojans: it offers itself to our use free of charge, but once we accept it, it colonizes us” (Zizek 11-12). We are born into a world of preexisting words, and we must adapt ourselves to it—not the other way around. Any given individual’s consciousness is formed largely as a result of his or her use of language. Because of this, we are essentially alienated from whatever our “true” nature could have been, either in a theoretical, ideal world without language (which does not and cannot exist), or in a world of different language.

This true self is called “Buddha nature” in Zen. According to the theory of Buddha nature, everyone is already enlightened—they just need to realize it. Our true self, which is one of peace and compassion, is obscured by words. The following Zen poem by Fenyang expresses the idea of Buddha nature quite succinctly: Few people believe their Inherent mind is Buddha.

Most will not take this seriously, And therefore are cramped.

They are wrapped up in illusions, cravings, Resentments, and other afflictions, All because they love the cave of ignorance.

Other forms of Buddhism also express the notion of language as a self-alienating means of expression. “It is fundamental to every school of Buddhism that there is no ego, no enduring entity which is the constant subject of our changing experiences” THE SYCAMORE / FALL 2010 73

(Watts 47). Because of this, “The individual on the one hand, and the world, on the other, are simply the abstract limits or terms of a concrete reality which is ‘between’ them, as the concrete coin is ‘between’ the abstract, Euclidean surfaces of its two sides” (121).

The human individual is not separate from the rest of the world any more than an individual rock or tree is separate from the rest of nature. “Thence it appears that the entire sense of subjective isolation, of being the one who was ‘given’ a mind and to whom experience happens, is an illusion of bad semantics—the hypnotic suggestion of repeated wrong thinking” (119). The only reason that we perceive ourselves as separate from the rest of our experience is because it is easy for us to categorize reality in this way.

The words that we have made up to describe our experience of reality imply that we are separate from the rest of the world, and language is so powerful that it convinces us that such a view is the truth. Because of this, language essentially alienates us from ourselves by obscuring the fundamental reality of human experience.

The final issue I would like to explore is how language alienates us from other people. This idea is central to the work of the immeasurably influential twentieth-century philosopher and literary theorist, Jacques Derrida. According to Derrida’s linguistic theory, “Language always involves delay, deferral of meaning, ambiguity, some degree of the speaker’s ‘distance,’ the possibility of confusion, deception, and unreliability” (Deutscher 13).

Whenever we use language, we are presupposing the possibility for misunderstanding. This is because language is by its very nature ambiguous—it may have different meanings for different people, and it is very easily taken the wrong way or misinterpreted. Derrida does not see this as a problem—he believes that this space of ambiguity is actually essential for human conversation.

He calls for a new ethics of communication in which the possibility for misunderstanding is always acknowledged. Therefore, when communicating with another person, we cannot assume them to be on the same linguistic page that we are. Everyone’s understanding of language is different based on his or her individual experience with it, and we must take this into account.

In this way, language essentially alienates us from the other.

However, “We are also unable to encounter the other as radically foreign. The other is always to some extent understood by my horizon of expectation” (Deutscher 73). Even though language is understood differently by each of its users, it also provides us with a basic structural framework from which we can deduce how the other’s consciousness functions. So while language essentially alienates people, it also gives them a common ground on which empathy and understanding can arise.

74 ACADEMIC PAPER CONTEST

It is undeniable that language is essentially alienating; whether in terms of reality, Brahman, or the Tao, language symbolically represents a realm of experience that it cannot fully reproduce.

This, in turn, also separates us from each other and ourselves. It may seem scary, but this alienation is nothing to despair about.

I believe that Derrida provides us with the most important lessons on how to cope with this knowledge by asking us all to acknowledge the shortcomings of language whenever we use it, and to have a “[p]atient, attentive, negotiating relationship with the ways in which we inevitably fail each other” (Deutscher 82). In this way, we can use the shortcomings of language to our advantage. I leave you with a quote on language from Lao-Tzu, author of the Tao Te Ching, describing, perhaps, another ethics of conversation: Those who know do not speak.

Those who speak do not know. • WORKS CITED Deutscher, Penelope. How to Read Derrida. New York: W.W. Norton, 2006. Print.

Fenyang. “Zen Poems and Koans.” View on Buddhism. 24 Nov. 2006. Web. 21 Oct. 2010. <http://viewonbuddhism.org/resources/zen_poems.html>.

Lao Tzu. Tao Te Ching. Trans. John C.H. Wu. New York: Shambhala, 1961. Print.

Saussure, Ferdinand de. “Course in General Linguistics.” Literary Theory: An Anthology. 2nd ed. Blackwell, 2004. 59-71. Print.

Watts, Alan. Way of Zen = [Zendō]. New York: Vintage, 1989.

Print. Žižek, Slavoj. How to Read Lacan. New York: W.W. Norton &, 2007. Print.

Sam Share is a senior studying postmodernism.

THE SYCAMORE / FALL 2010 75

LEARNING TO RECOGNIZE AUTHENTICITY Recognizing authentic fans is a multi-tiered process. The surface level is understanding fashion, the next level is behavioral impressions, and the last is understanding a fan’s ideals and philosophies. Fans that I interviewed spoke about recognizing authenticity in two different ways. The first way of recognizing a fan was by their “uniform”: the clothing and accessories a person wears.

In a group where rebellion and originality are important, it is unusual that fashion can be a factor in recognizing fans. The tension between rebellion and authenticity is more visible in fashion.

Fans live the ideals of DIY and originality, but are limited by being too extreme—or not extreme enough—to fit into the “punk” style. Even punk style has subgenres of hardcore, straightedge, grindcore, etc. Therefore, within limits of the “authentic” punk, one can be original or more “punk.” Fashion among fans has basic requirements or elements described by many scholars and researchers of fashion in the punk genre. The second indicator was about presence. The ways that fans behave or carry themselves gives insight as to whether or not a fan is authentic.

THE UNIFORM The debate between fans over the hardcore and punk “uniform” is an important one to the discussion of authenticity. Impression and fashion are ways in which people develop an opinion or judgment about a person. In recognizing another person as one’s own, one must look for the social cues. These cues become patterned among social groups. A uniform is a person’s understanding of hirself and others ze views as fans. When a person describes a uniform, ze describes what cues aid in hir processing of information about who a fan is and who a fan is not. A number of respondents mentioned what the “uniform” looks like. Eleanor, female, 20, New Hampshire, described the uniform: A lot of the old school punk fans have the leather or jean jackets with studs all over them and patches sewn in, somewhat tight jeans, and converse. Hardcore kids usually have a T-shirt with their favorite band on it, somewhat tight jeans, skate shoes, and some sort of accessory: bandana, scarf, facial jewelry, etc.

There is a change in the uniform from punk to hardcore, which shows that there is a difference to be made between the two fan groups based on ideology and time. The uniform may differ, but to my understanding, that is because of the evolutionary taste and style changes in the punk subgenre. In order for the new generation of punks to differentiate themselves and be more “hardcore,” they must change the uniform. This change speaks to the roots of punk in band support through buying band merchandise, but

76 SCIENTIFIC PAPER CONTEST

Eleanor also speaks about the shift from DIY to commercialism, which isn’t exactly in the punk ideology. However, purchasing band T-shirts gives the impression that one saw that band live and therefore, ze has a little bit more edge in becoming authentic.

Some question who is authentic and who isn’t based on the commercialization of band T-shirts and need for accessories. Either way, there is a certain way of recognizing fans based on the uniform they wear. While hardcore needed to make itself different enough to be a subgenre, their uniform still provides the same function: recognition.

Fashion didn’t always matter to the participants; in fact, oftentimes, fashion played no role in their recognition, or even confused their recognition of fans. The interviewees often mentioned the “surprise factor”: that the uniform didn’t connect with its meaning to most fans. This produced confusion or complete lack of recognition. Symbols such as the uniform provide the most basic sign of recognizing fans; however, when those signs are dismissed or jumbled, that meaning is lost. Authenticity comes from being recognized as a fan, and the best way to do that is adopt the uniform. Participants often described events where the uniform, or lack thereof, was misleading in recognizing other fans. Alice explained: Some people are really obvious with the way they dress or wear their hair, and that’s cool, but some people you would never guess until you’re looking through their iPod.

Alice notes that being a fan isn’t determinate on fashion alone, but that music also plays a role in authenticity. In cases where uniforms are misleading, public musical tastes can give light to who is an authentic fan. Oftentimes, participants mentioned that fashion has little to do with being a fan, and that music is more symbolic of hardcore or punk fandom: basically, the mentality that music makes the fan rather than the style that one picks up along the way.

Fans are, at times, surprised by other fans, which suggests that there is a level of impression management in being a hardcore or punk music fan. Basically, in order to demonstrate fandom of punk and hardcore, fans show elements of a style or a discography that can be classified by others. By promoting the visibility of such material goods, fans are more readily noticed. Logan shared a similar experience: Sometimes I can [tell], through typical stereotypes like long hair in a guy, or wearing band T-shirts. Other than that, I feel as though I am more surprised by the people who are actually fans. A lot of the times I cannot tell at all.

Logan and Alice described how one can be surprised or misled by social cues about fandom. But is this a good thing? How do

fans feel about appearance and impression management? Melanie explained the tension that exists in recognition of fandom: I mean, some people look like “punks” and then it turns out they listen to generic radio “punk.” I don’t look like a punker either, but I probably listen to more punk music than those traditionally identified as punk. It’s hard to tell. And I like it that way.

For Melanie, one side suggests that fashion can be misleading because the musical tastes fans have may not match the uniform they are wearing, which suggests that there are different styles of punk and each carries its own weight in authenticity. The other side that Melanie describes is one of rejection of fashion as a necessary element of fandom. However, going without recognition can prevent others from knowing whether or not you are, in fact, a fan. For Melanie and others, this suggests that being a fan is more personal, or that rejecting fashion can provide a sense of higher power, such as that she listens to “more punk music” than those who look punk. For Melanie and others, it is important to take fashion somewhat out of the equation to make their fandom more legitimate or authentic. It is enjoyable to not have a niche and be rebellious, especially in the punk and hardcore scenes.

Favorable are DIY uniforms that are not mass produced, or band merchandise that is, but only sold in select venues. The creation of stores that sell punk- or hardcore-specific items changed the importance of fashion to fans. Newly formed rebellion comes from dismissing stereotypes within fashion as social indicators of inclusion. Punk and hardcore subcultures work to be rebellious by dismissing the usual ways of recognizing others’ position in a culture. Choosing to dismiss fashion as a social indicator of position is a rational choice. For example, when Paul was asked how he recognized other fans, he stated: A lot of people would say [they recognize a fan by] the way someone is dressed, which is absolute bullshit to me. Persecuting someone for clothes they’re not wearing is just as dumb as persecuting someone for the clothes they are wearing, which is the exact materialism that hardcore speaks out against.

Paul feels passionately about the messages that hardcore presents to him as a fan. Because of these messages about anti-materialism, he makes a conscious choice to ignore fashion as an indicator of authentic fandom. For Paul, it’s deeper than style. The tension that exists here is that fashion is a way to be recognized as a fan, but recognition is deeper than fashion. Recognition comes from a combination of fashion, music, and ideologies. Punk and hardcore authenticity stems from performing original practices, where one does it oneself, but material fashion is in the mainstream. The combination of the two is paradoxical by any means.

A large part of the uniform is commodity- and reputation-driven.

If it is generally accepted that a certain type of fashion symbolizes a fan, then a fan can be inauthentic, but no one would know because of impression management, which is a common concern among hardcore punks. The idea that a uniform as a symbol of authenticity can be debated demonstrates that there may be a divide among what makes a fan recognizable. Additionally, the identity of the punk or hardcore ideology is a way of discerning fans from posers, because fashion as a symbol of authenticity has prompted many issues in a capitalist society.

VISIBLE IDEALS AND PHILOSOPHIES When asked about what fandom is and is not, Leeland described the ideals and philosophies of the subculture’s lifestyle: It’s really hard to tell; there are a lot of posers in the punk scene because its structure is really loose and there are a lot of variants. I can tell more by a person’s philosophies of life, someone who lives the ideals of a punk lifestyle. Shoe in suffering or get out. Punks avoid labeling themselves.

To “shoe in suffering” is to live the lifestyle of constant battle.

Suffering as a lifestyle is one that requires the strength of a person to overcome it, and to work against it for a long time. The common thread of punks is the urge to go against the way things are. For most, going against capitalism and politicians or other unjust processes provides a world in which punks have little say, except in the way they live their own lives. I have noticed that a large portion of punk fans come from the middle- to lower-class structure and also come from urban areas where injustices in the social system are clearly visible. This connection further suggests the ideology of the punk fan, as they share similar backgrounds.

This background can provide for an authentic experience as well, while the suffering happens to the lower socio-economic classes.

Punks don’t want to upwardly mobilize, but rather, resist the injustices they see at ground level. Punk ideology has often been about talking about the world as it is, and that resistance to such a world could maybe lead us into another direction—hopefully a better one. The “getting out” that Leeland is referring to is upward mobility, or leaving the scene in order to be another pawn in the social system.

There is a lack of respect for those fans that do not have a lifestyle in which being able to suffer is possible. When someone chooses to try and adopt the lifestyle in which they do not believe, they are recognized as inauthentic. A way of recognizing this is when posers decide to label themselves as punks. The action of self-labeling is not favored by the punk ideology. The idea that one can put themselves in a “caste” defeats the purpose of living

THE SYCAMORE / FALL 2010 77

one’s life with resistance to order and the commercial world. Inauthentic fans attempt to purchase a life that isn’t theirs. Leeland further explains: But when those messages fade, posers take their place. A poser is an attitude, a fashion, or a focus on reputation. It is someone who just wears the scene but doesn’t live it. A silver spoon on a paper plate.

In the scene, the ability to recognize inauthentic fans comes from their philosophies and their actions in demonstration of those philosophies. When fashion or an attitude becomes all that a fan is, the fan becomes inauthentic. Fans can easily pick up on inauthentic fans based on their actions, their conversations, and their background. When there is any discontinuity, the “fan” quickly becomes labeled as a poser.

PERFORMANCE The punk fan must behave in a certain manner most of the time; most importantly, ze must perform a role at live shows. There are many elements at a show for which fans become recognized. Live shows are the access point in which most fans learn about their peers. For under fifteen dollars, one can attend a live show that has five to seven bands on the ticket. At a live show, the music is that much more real, as it is visible and touchable. Everyone can see the audience as well, which is crucial in recognition: one is being seen by others in the scene. A live show is the perfect time for critique, growth, and education for fans. Most important for authenticity are the dancing performances and other performances such as stage diving, “skanking” and slam-dancing/ getting into a mosh pit.

In a mosh pit, there are certain rules and expectations. While aggression seems to be the cause to outsiders of the scene, it is much more than that to insiders. For example, one basic rule is that when a person falls down in a mosh pit, it is important that they are picked up and pushed forward—it is important to fans to help others keep going. Secondly, there are no targets; this means that everyone hits everyone—no fights exist; the punching and kicking and dancing are part of the energy of a show, but it is equally dangerous to everyone. No personal fights should exist; everyone should be at the show for the show and its message.

When these rules are abandoned, authenticity is questioned. For example, Paul notes that the biggest indicator of an inauthentic fan is the actions that take place at shows. Paul speaks about his experience: Shit like that [starting a fight] happens at shows where it clearly demonstrates people are there for the wrong reasons.

Whether it be a trend, or I don’t know what else, at times there has been a very dumb, ignorant idiot culture around hardcore that is something anyone in hardcore should despise, and instead, it’s infiltrated it.

Another indicator that a fan is inauthentic is hir failure to live the messages put out by hardcore or punk musicians. If the messages are out there and someone chooses to act in the opposite

78 SCIENTIFIC PAPER CONTEST

manner, ze cannot call hirself a fan. Paul later told me that he didn’t want to go to live shows anymore because of the inauthentic fans that ruin the scene for those who are authentic.

SEEN BUT NOT HEARD Visibility is an important concept in becoming recognized as an authentic hardcore or punk fan. Fashion is visible, and can oftentimes make connections between punks and their lifestyle.

Other times, it provides a sense of materialism, which creates issues with the ideology of punk. Having an ideology that is visible requires more upkeep and consistent impression management. If a fan has elements of antipunk ideology in hir lifestyle, hir authenticity is called into question. Additionally, if a person decides to abandon the punk lifestyle, ze is considered a sell-out. The first sell-outs were bands that deserted the punk ideology for capitalistic gains. Ultimately, these bands were selling their message and their lifestyle, which created a stickier situation for understanding authenticity from a fan perspective. The most prominent way to be recognized is to be seen, but one doesn’t talk about how punk one is, or label oneself as punk. Being heard instead of seen is a part of the problem with society according to the punk ideology; politicians speak a lot and don’t show much promise. Ads and consumer culture talk to us all the time to tell us to buy things, but there is nothing to show for quality or happiness in products. Therefore, authentic recognition comes from being seen, but not heard. •

Abagail Williams is a senior sociology major. The text presented here represents the fourth chapter of her senior thesis.

Th e D e v i l Inside of Me

by Marc Garland I. The Squirrel

While with an eye made quiet by the power

Of harmony, and the deep power of joy,

We see into the life of things.

(William Wordsworth, “Tintern Abbey”)

M

aybe I'm crazy—delusional crazy. I spend a lot of time trying to re-summon the ability to see into the life of things. I believe that there's some sort of cosmic energy that inhabits the world, and that only I can perceive it.

Really. I think that. Because I have seen it.

Maybe I'm “Touched by God” in some synaesthetic way. But I saw him once—God. Or whatever it was.

Possibly. I'm not quite sure what I saw, exactly. But I saw— well, now I sound unreliable. So, let me explain: One morning I was sitting on my front porch drinking coffee, searching out portents of the greater purpose of life, “humanity's suffering,” etc., when I experienced the Greater Romantic Lyric.

What I mean is, I was entranced by a squirrel. It was a normal squirrel, if you can really call any squirrel “normal”; this guy was gray, fluffy, twitchy, industrious-looking. But that little thing held my interest for way too long. My coffee got cold. My dog peed in the house.

It was carrying a beech nut. I don't know if you're familiar with what beech nuts look like, but I can't imagine anything you'd be

less likely to enjoy eating, let alone hoarding. It's this almondshaped shell wrapped in a hairy, spiny something. If porcupines grew on trees, they'd be beech nuts. But this squirrel, who looked just as (un)intelligent as any other squirrel I've ever seen, was absolutely enthralled by it. He spent about ten minutes of his short squirrel life looking for the absolute perfect hiding spot. He walk-hopped around the yard, brushing aside the still-colorful fallen leaves. Then, he decided, “Screw it, Imma bury this shit right out in the open.” So he did. He came to the only clear spot in the garden, the whole yard really, where there was no flora to hide him or his prized nut. He buried it there. He packed the dirt back on top of the nut with his little hands and, when he was satisfied, looked right-left-right, and as smoothly as I've ever seen any cat move, walked slowly away—careful not to look back.

When I came back to my coffee I realized that I was just like that squirrel. I hoard my memories, I bury them. What have I buried? What have I shoved so far down that I won't be able to find it again once winter's over? What am I walking coolly away from, schooling myself not to look back at?

II. Introduction of the Apostle

In the sun that is young once only, Time let me play and be Golden in the mercy of his means...

THE SYCAMORE / FALL 2010 79

And the sabbath rang slowly

In the pebbles of the holy streams.

(Dylan Thomas, “Fern Hill”)

W

hen my clothes were frayed and few and life still crisp and new, I (wondering) wandered.

I walked barefoot across saturated fields, through grass that blocked my view of the rising sun. Striding along walls of grain in the indescribable certainty of youth, I could sense the delta wheat press in around me, whispering its secrets in husky voices as it waltzed with the wind. It urged me on with the gentle nudge of family toward a destination it implied was worth the wait.

I came upon a clay-ruddied muddy stream that rollicked all the sun long in its Southern sidling way. On the bank, toothless men cast silver threads that hung in the air like sine. Their clothes were like mine, those men—grease-tarnished, dirt-stained, in spots seeming to evaporate into some delicate smoke tamed by thread. In unison, this group of ragged men threw their shoulders back and cast.

“Flaah fishin',” the closest man called it. Some people look like names, and since I never asked, his name was Dennis. Face lined as leather beneath shoddy gray stubble, he talked in a widemouth slur, lips compressing into a line that made his chin disappear under cracked country lips. He had the misshapen ovular stomach of a small, pregnant cat. The rest of him was angles of joints to thin bones stabbing out like pornography.

Would you believe me if I told you that this man, whose countenance was dust and squalor, was my Apostle? That he led me to myself?

I had so many questions for him. Why aren't you using a regular pole? What kind of fish are you catching? Why don't you just wait until they come up to breathe and use a net?

“Don' haf ta. Any kin'. Dey don' breave ayr lie wee doo.”

Several things dovetailed in my mind. I questioned everything: how I got here, who I was, how I could possibly, in the large scheme of the world, be alive, be breathing. Did she know this about me? Is this why she did it? Is this the devil inside of me?

There was a wetness on my right arm and a thud on the mud under foot. Below me, where there once was only trodden grass and slick pebbles, there was a flopping fish. Dennis bent his bent back and creaking knees to pick her up. Bigger than his rheumatic hands, the fish lashed her tail between Dennis's fingers, gills heaving. But her small, yellow eye was accepting. Red started to run down Dennis's gnarled hand, spiderwebbing across his forearm. As he turned the fish, held now by its tail, upside down, blood started running into and around her terrified, tranquil eyes.

III. Another Red Spiderweb

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

(W.B. Yeats, “The Second Coming”)

I

was carousing in the bitter Ohio snow—nose and cheeks red, fingers blue, I couldn't feel my feet. I stood from where I had been rounding a snowball I intended for my sis-

80 SHORT STORY CONTEST

ter’s face and my eyes tasted everything they touched. The skeletal apple trees, arms raised in frozen anticipation of the faithful spring. The lemony tinge of the evergreen bushes, purple berries dangling between green needles on bark-gray branches. The staleness of rusting neighbors shoveling their driveway with the fervor of Eternal Sisyphus.

This was my grandmother's house, this faux-Georgian, redbricked behemoth that sank into the glittering white. This was the closest I have ever come to having a home.

It began to snow. The kind that's compact, good for eating.

Tilting back my head, closing my eyes, I stuck out my tongue.

“Come on inside now! Weatherman says it's about to storm!” came a frail voice before I got a taste.

I ran in, fabric scratching sweaty skin. “I can't feel my toes!” I yelled, somehow excited by this.

“Take off your boots and go put your feet in front of the fireplace,” as she smiled around her words. Startling blue eyes stared out behind plastic, pink-rimmed glasses that dwarfed her crinkled face. Her white hair, curled every morning, sprang outward and caressed her head like a halo.

“Nuh-uh-uh! Before you get onto that carpet, please.”

I obeyed.

“Alright,” she said, satisfied. “I'm going to go in and make you kids some hot chocolate. Go on, get warm.” And she shooed me into the living room.

(I don't know why, but I think it's important for me to say this.

Even now, with as much as I've gone through, with everything that happened to me in that place, I really miss that living room.

I bled on that floor so many times, cried on that floor so many times; what happened in that room has changed my life. But I was sad when I heard it burned down. Sadder when I saw what it's become. I know it doesn't make sense, but it doesn't matter.

“I am large, I contain multitudes.”)

The best part about the living room was the carpet, a plush, scarlet bed of happiness. It made your toes sing, your soul glow. I was happy to sit on that floor in front of the fireplace, feet drying off. But I soon grew restless in anticipation of that hot chocolate.

I decided to just start spinning around on the carpet.

I spun and spun as I lay on the floor, the TV and the couch and the walls passing by in a continuous Scooby-Doo loop. I was feeling sick, and dizzy, and tired. I was flying.

Then, a sharp pain on the back of my head. I stopped spinning.

Did I fall? No, I was still in the same position, just not moving. I pushed off to start spinning again by the pain returned. I started to rise off the floor, upper body first, head leading the way.

From behind me came my grandmother's voice: “Just what were you doing to my carpet?” I tried to answer but was silenced by the same sharp pain on the back of my head. This time, I felt my neck jerk back with it. My grandmother had me by the hair.

She spun me around to face her. Her nose almost touching my chin, her eyes level with me she asked, “Is that what good little children do? Destroy other people's things?” There was a flash in her. “That carpet is MINE not YOURS.” I tried to respond but was cut off by another jerk of my hair. She was quiet. I could see her eyes dart back and forth between mine.

“You're going to your room without any hot chocolate.” This was sad news indeed. I started to walk toward my punishment, but not fast enough.

Her one hand clasping my scalp, I was pulled along the red floor. The carpet did nothing to ease my pain. Instead, it began to

burn as my whole body's weight was pulled across it. I screamed.

So she pulled harder.

I screamed again.

She began to pull me up the stairs. My body, invoking inertia, began to pull me back down and I could feel the skin under my hair try to detach itself from my skull. I grasped her strong wrist with both of my little palms and held on, pulling up to release the tension on my hair.

But it was too much and I began to squirm. I turned over, hoping at least to crawl up the stairs and lessen the pull. Just as I rotated, she pulled upward hard and the bridge of my nose met the edge of the sixth step from the top. It popped loudly and, after a few creeping seconds, began to bleed. I knew even then that it was broken. I was one of those children who, when cut or scratched, would suck their own blood. But this is the first time I remember tasting it. It flowed out the front of my nose, down the back and out through my mouth, over my tongue.

I screamed louder and harder than ever. My blood, conscious of the potential consequences, tried to blend in with the redcarpeted stairs. But my offering was too dark.

At the top of the stairs, my grandmother turned around, looked down to survey her feat of elderly strength, and saw the blood.

“You little monster! Look what you've done to my stairs! How am I supposed to get that blood out?! Look what you've done to your nose!” At this, she bent down to touch my poor, ruined appendage. I didn't think it was possible, but this pain was equal to the initial break, my resulting scream every bit as primal.

She drew back, surprised at my reaction. Her eyes began searching mine again. I met her gaze and, through my blurred vision, saw the hate in her face. I will always, always remember that look.

The trance was broken when she kicked me in the ribs, the stomach, the thigh. When I doubled over to protect myself, she refused to relent. Instead, she grabbed me again by the hair, lifted me up onto my feet, and bent down to look at my face. “Listen, you little bastard. You have the devil in you! The devil is in you, boy!” I was dazed when she threw my head away from her by my hair, and my head bounced off the floor.

She walked down the stairs, never looking back.

When the room came back into focus, I rolled over and pushed myself up. I could see my sister at the bottom of the stairs crying for me. My grandmother pulled her away, around the corner and out of sight. I walked toward my bed to fulfill my punishment.

I passed a mirror. Rivulets of blood circled around my tranquil, terrified eyes. My nose hung there, attached by some invisible thread. There was a gash where the bridge of my nose used to be, where now there was only blood and bone. My nose hung down and covered a part of my upper lip. Across my cheeks, in my ears, over my forehead and into my hair was blood. It spiderwebbed across my face.

Knowing if I ruined the bedding with my blood that she would hurt me again, I went to the bathroom to wipe my face with a warm cloth. Everything I touched hurt the kind of hurt that's in the bones. Deep, hollow, ringing hurt. I couldn't breathe through my nose. My head was throbbing. But I knew this was my fault.

I felt her words. I was evil, I was terrible. I had the devil inside of me.

I went to bed. I don't know if I fell asleep or not, or how long I laid there. But eventually the door creaked open. Hoping it was my mother, my eyes shot to the door, but closed again instantly.

It was her again.

She leaned over me and shook me until my eyes opened. “Oh baby!” she exclaimed with honest kindness. “Your poor nose! I'm going to help you. I need you to be very still right now, I'm going to help you. This will hurt, but after, you'll feel better. I promise.

Okay?”

I nodded. She loved me. And I trusted her. She put her left palm on my forehead, pressed down hard. She touched my nose with her right hand and pain shot though the whole of my body.

I let out a stifled moan, not wanting to scream.

“Shh shh shh. I know baby, I know. Just wait one. Second.

Now.” A sound louder than before echoed around my head. The same pain. But I could breathe through my nose again. It hurt, but I could. I began crying again, quieter than before.

She pulled my upper body into her arms and held me against her chest, stroking my hair. “It's okay. It's okay. Shhhhhhhhh.”

She put my head back to the pillow and stroked my forehead until I fell asleep to her whispering, “It's okay, it's okay, it's okay.”

IV. The Apostle’s Pronouncement

I am the fish, the fish

glitters in me; we are

risen, tangled together certain to fall...

Out of pain,

and pain, and more pain...

(Mary Oliver, “The Fish”)

H

urry! She’s bleeding! Give him back to the river!”

Dennis looked down at the fish gone still in his hand.

“So she is.” He looked at me and crouched down. “Lissen son. Has ya eva been sad?” I nodded, remembering. “Death ain't nuthin ta be afraad of. When ya die, lie dis fish, ya cain't eva be sad a-gain. Dis fish is happy. Cain't eva be sad a-gain.”

I nodded, but opened my mouth to ask a question. Any one of the thousand that sprang into my mind.

“Dere's a reezin fo evathann, son. Gawd looks at us awl, an' he sheltas us awl. Evaone 'as dey own Gawd inside. Dere's a Gawd inside a' ya. Ya juss has ta fine 'em.”

I nodded again. This time, my mouth stayed shut. He told me he couldn’t keep a dead fish without ice so he dropped her into the stream and she floated limply away on the current, red blooming around her body until she was out of sight. I sat down beside of Dennis and watched as he cast and cast again.

V. Seeing into the Life of Things

Mine, O thou lord of life, send my roots rain.

(Gerard Manley Hopkins, “Thou art indeed just, Lord”)

I

thought he was a crazy man. Find me any well-adjusted person who would say that stuff to a kid.

I listened to him though, and I looked for my God. I searched the churches of the South. I didn't find love or forgiveness. I found bigotry, racism, anti-Semitism, and misogyny in the smiling, empty faces of my white pew mates. I saw the insensitivity-created routine in every prayer, heard the plaintive sorrow in every hymn. And I heard my grandmother's echo in THE SYCAMORE / FALL 2010 81

every sermon, in every conversation. They say the devil is inside everyone.

I looked in places other than church too. I was always wandering somewhere or nowhere, depending on your definition. Through fields, woods, neighborhoods, parks, alleyways. I was looking for something, someone like Dennis to show me. Anything.

All I had to do was wait.

I was walking in the rain one day when it happened. It was a warm, fat-dropped summer rain. In the South, thunder rolls instead of crashes and today, it was rolling like I had never heard. I was listening for a pattern in the drops of rain, when I saw. The rain was looking at me. I swear it stopped its fall and stared. And I felt. I just felt. It didn't start again immediately. There were other people outside, running to their cars, running into their houses, and none of them noticed the rain's suspension.

When air gets caught right in the middle of your chest and you're stuck somewhere between breathing and screaming, that's how it feels to see into the life of things. I caught a glimpse of God that day. There was no power, no joy, no harmony, but there was a feeling. When I coughed the air back out of my chest, I felt the devil go with it.

And then the rain woke up.

VI. Tattoo Nature smiled. Never mind, dear, she said. You are a lovely link in the great chain of being. Think how lucky it is to be born.

(Ruth Stone, “Yes, Think”)

T

his morning, I'm sitting on my front porch drinking coffee, searching out portents of the greater purpose of life, “humanity's suffering,” etc., when I experience Experi-

ence.

What I mean is, I am entranced by a squirrel; my squirrel, now.

Over the weeks, he's become aware of my presence and I've grown to think of us as compatriots. At the very least, he views me as a non-threat (which, if you think about it, is quite an accomplishment considering he’s such a twitchy, skittish little thing). I've begun carrying a piece of cheese outside with me, thinking that one day he’ll come close enough for me to feed him. I'm aware of the possibility of rabies, the likelihood of common diseases, of animal filth. Yeah. I'm also aware that it’s improbable a squirrel would want cheese. Is cheese in their natural diet? I don’t think so. Do you know how long it takes to make cheese, even with the advantage of industrialization?

Whatever. I'm just trying to say that we sort of grew into friends, even if we never became acquainted in the storybook way that I would have liked.

The morning is cold and clear; through opaque breaths and climbing coffee-tendrils I see the sfumato of distant miles.

The leaves have gone from the trees; their colorful emissaries sit lumped by the road, waiting for the town compost truck to come suck them up and be recycled back into life. My squirrel is searching for a beech nut, a twig, a heart-shaped rock—whatever it is that squirrels look to fumble between their gray digits in the rosy-fingered dawn.

Some few voyeuristic minutes intervene as we play out our ritual. He walk-hops across the yard. I sit-sip from my white, balustraded perch.

He stops his purposeful (purposeless?) search of the yard to glance in my direction. Standing on his hind legs, his cheeks twitter back and forth, his nose works the air, and his fingertips rest against his sternum. His head tilts to the left and his ears stand stiff against the light breeze. I don’t know if I’m adding this retrospectively, but I think he looked at me and blinked once more before— Out of the corner of my eye, orange. A roughened calico stalks out from behind an evergreen bush on slow moving thighs. Her eyes are blank and pitiless as she slouches toward my squirrel. Then quick as the cat stalked slow, they bolt. They move in blurred, chromatic figure-eights across the dying green grass in the beautiful, terrible danse macabre that is nature amidst civilization. Around the trunks of papery trees they half climb before circling back to dart in and out of leaf piles.

In desperation, the squirrel flees across Main Street. Twothirds of the way across, with salvation in sight, he’s hit by the back wheel of a large pickup truck—the compost truck. The spinning speed of the crass rubber throws the squirrel up into the truck’s hot underbody and then discards him back to the cold, black road. He lay there some seconds before getting up sans his front left leg. He is then finished by a speeding Mercedes.

The cat, seeing the end of her fun, stalks back into the bushes, guiltless.

Human as I’ve become in the presence of death, I sit, stunned.

When the tendrils from my coffee cease their ascension, I go to see him.

His detached leg is on my side of the street, but I leave it there.

His entrails are strewn across the road, treadmarks tattooed in the crimson stain. One eye stares up into the indifferent gray sky.

The other is gone, replaced by a maroon wet-streak and a screaming, palpable emptiness. •

Marc Garland

is a senior english major with a concentration in creative writing.

82 SHORT STORY CONTEST

voiceless

By Chris Becker

They put her in a coma to keep her alive.

Senseless and seeking something, You call her girlfriend, Who just needs a distraction, Hoping you might be helpful from hundred of miles away.

The wonders of technology: A conference call with seven people And you still feel alone.

Stunned into silence, How can you work up the words to say It’ll get better?

Everything will be fine?

Afraid to say, Don’t be afraid, you wait.

Courage finally mustered, you whisper comforts – to silence And feel thwarted.

When everyone else is sleeping, You discover the secret of all your ineffectual words: Your microphone’s been muted for hours.

Chris Becker is a senior English major with a concentration in creative writing.

QUILL CONTEST / THE SYCAMORE / FALL 2010 83

I

n America, our rights to free speech and freedom of press are stated clearly in the First Amendment of our Constitution.

Yet there have always been instances when our rights have been threatened or infringed upon. There is a longstanding precedent of governments attempting to stem the flow of radical thought, and methods such as book burnings were very common. As we view the present day situation, however, it seems as if the methods may have changed much more than the practice of censorship itself.

The word “censorship” originated in ancient Roman times with the government position of censor, a person who took the census and “took care of the morals of the people” (Britannica). In ancient Greece, religious worship was viewed as a privilege of the citizen. To refuse to conform to the recognized worship of the city-state in which a person resided was considered blasphemy, and to do so was to subject oneself to difficulties within the community, backed up by legal sanctions. Discussions of politics and public business were not typical amongst average citizens, but often occurred between rulers. The city-state of Athens was considered to be more liberal in regards to free speech, but this can be attributed to the fact that more of the city’s population was involved in the government than in many other city-states. In one of the most famous instances of censorship to date, Socrates was tried, convicted, and sentenced to death by poison for “corruption of youth and his acknowledgement of unorthodox divinities” (Newth) in the year 399 B.C. As the Christian era began and the orthodox religion was established, the spread of heretical thought was almost unmanageable due to the invention of the printing press and the increased availability of the book. The distribution of printed material aided Martin Luther over the course of the Protestant Reformation. In an attempt to stem this unwanted heretical knowledge, the Roman Catholic Church issued its first Index of Prohibited Books in 1559 by the order of Pope Paul IV. The Index was a part of the Sacred Inquisition, whose most famous victims include Tomas More and Joan of Arc. In 1633, scientist Galileo Galilei joined the ranks of the accused when he was called out for his support of Nicholas Copernicus’s theory of heliocentrism. Accused and tried for heresy, he was forced to publicly recant his support of the Copernican theory. He was then sentenced to house arrest, where he remained for the last nine years of his life.

In continuation of their attempt, the Catholic Church declared in 1543 that no book should be printed or sold without the express permission of the church. Several secular rulers also took this stance, following the decision of Charles IX of France, who declared in 1563 that no books should be printed without his permission. Under these laws, the government would have control of what their citizens learned. This attitude was transferred 84 FEATURES

A CONCISE HISTORY to their colonies, culminating in the burning of the Mayan codex.

The rise of journalism and the newspaper in Europe began to make information available to the literate people of Europe. The governments grew wary of the press, especially during times of war and conflict. They feared “the harm inflicted on peoples morals and minds” (Newth) and took steps to prevent this harm. Britain enforced the Licensing Act of 1662, and Germany repressed news of the Thirty Years War through restrictions on trading and lack of paper. The Licensing Act remained in effect until 1664, after John Milton addressed the English parliament with his “Areopagitica” speech in defense of freedom of expression.

The first law guaranteeing freedom of press was passed in 1766 by the Swedish government. The Swedish law was closely followed by a similar Norwegian law in 1770, then by the First Amendment of the American Constitution in 1787. Still, throughout the eighteenth century in Europe, most papers were subjected to censorship. It would not be until the nineteenth century and the great emergence of the independent press that freedom of the press would be finally granted.

While the nineteenth and twentieth centuries may have been kinder to the press, there was still great public concern with appropriate literature. Libraries were expected to be the censors of their books, especially in regards to children. Mark Twain’s novel, The Adventures of Huckleberry Finn, was first challenged in 1885, and was still in danger as recently as 1984. The typically liberal-minded countries of Sweden and Norway who passed the first laws concerning freedom of press still had authors in fear of censorship at the end of the twentieth century. There is a long history of the deliberate burning of libraries, beginning in China in 221 B.C. In 1683, the Oxford University library was razed on the orders of the King. Throughout the period of 1990-99, all of Kosovo’s library collections of Albanian literature were sought out and destroyed when the Serbian government declared the Albanian language illegal for “instruction at all levels of education” (Newst). Public book burning was also the censorship extreme favored by Nazi Germany during Hitler’s regime.

The Union of Soviet Socialist Republics holds the dubious record of longest-lasting and most extensive censorship. Between the rise and fall of the USSR, the citizens endured many years of government-approved information. After a decade of openness under the reign of Czar Alexander II (1855-65), the censorship laws were reinstated. During the decade of openness, the press had been allowed to speak freely and had introduced the public to radical ideas. The reinstatement of censorship quelled anything that may have taken root. In April of 1917, all of the censorship laws were lifted, allowing for the whole country to speak freely once again. This freedom was short-lived, however, as the laws were all restored once again in October of the same year. This

OF

CENSORSHIP

time, they stayed in place until the late 1980’s, when the USSR introduced its period of Glasnost, or openness, which concluded the longest recorded period of censorship.

Towards the same time as Glasnost, in the year 1978, American comedian George Carlin was involved in a lawsuit having to do with his infamous list of seven words you cannot say on television. A father was driving with his son as Carlin came on the radio and was not pleased that his son had been subjected to the crude language of Carlin’s routine. He called the Federal Communications Commission to complain. The FCC, in turn, contacted the radio station. The legal battle that resulted went all the way to the Supreme Court, where the court voted in favor of the FCC, 5 to 4, stating that the FCC had the right to prohibit indecent material from being broadcast on either radio or television. George Carlin thus became the martyr of sorts for censorship in American entertainment. Opinions still vary on whether or not this decision was just. Some parties may say yes, if only for children, who do not need to be subjected to coarse language at a young age. Others disagree, saying that freedom of expression is much too close to freedom of speech, and that by censoring, our rights are being infringed upon.

According to the American Library Association, the difference between a challenged book and a banned book is simple: when a book is challenged, an attempt is made to remove it from the library shelves. When a book is banned, the book in question is removed. In the past nine years, American libraries have been faced with 4,312 challenges. Some of the most oft-challenged authors of the past decade are Judy Blume, Lauren Mycale, and J.K. Rowling. The list of books that were either challenged, banned, or removed for the 2009-10 year included 53 titles.

There were some regulars on the list, such as Harper Lee’s To Kill a Mockingbird, Mein Kampf, by Adolph Hitler, and Maya Angelou’s I Know Why the Caged Bird Sings. Each of these books has been featured on the list multiple times for various reasons.

Some of the other books include a biography of Kurt Cobain and the Merriam-Webster Dictionary.

Some argue that the news Americans receive today is censored by the fact that the news is owned by large corporations who do not want their own news program to air anything that may cast them in a negative light. In other ways, print journalism is able to operate with little to no interference, as long as they avoid a libel suit. The music industry is often criticized for the lyrics of hit songs at the same time that television is oftentimes labeled as vile. As is proven by the continued existence of book banning, the written word has yet to escape scrutiny. Though the methods may have changed, the American news and entertainment industry still has an exceedingly long way to go before complete freedom of expression is present and tolerated. •

WORKS CITED

“About Banned & Challenged Books.” American Library Association. American Library Association, 2010.

Web. 8 Nov 2010. <http:// www.ala.org/ala/issuesadvocacy/banned/aboutbannedbooks/index.cfm>.

Anastaplo, George. “History of Censorship.” Encyclopedia Britannica. Academic Edition. Web. <http:// www.britannica.com/EBchecked/topic/101977/censorship/14926/History-ofcensorship>.

Doyle, Robert P. “Books Challenged or Banned in 2009–2010.” American Library Association. American Library Association, 2010.

Web. 8 Nov 2010.

Mo, Steve. “Censorship How it Effects Out Rights.”

Associated Content. N.p., 13 Jan 2010. Web. 8 Nov 2010. <http://www.associatedcontent.com/article/2575585/ censorship_how_it_effects_ our_rights.html?cat=2>.

Newth, Mette. “The Long History of Censorship.” Beacon for Freedom of Expression. N.p., 2001. Web. 7 Nov 2010. <http://www.beaconforfreedom.org/about_project/history.html>.

BY JILLIAN FIELDS THE SYCAMORE / FALL 2010 85

HAVE A N an exploration of automatic expression

BY JESSICA FOSSETT

S

ocial norms dictate that when you make a transaction in this country, you will receive some kind of send-off along the lines of: “Thank you. Have a nice day!” But through my experiences as a checkout girl in a small town local market, I began to realize that different people have very different responses to the conventional practice of saying “Have a nice day!” These atypical responses often caught me off guard and were always witty. Moreover, they gave me a sense of reassurance that the world has some originality and an awfully good sense of humor. Some of the responses I’ve heard (besides the expected “you too”) include: “Always do,” “I’ll try,” and “If you insist.”

With the question of whether the overuse of the phrase made it useless, I dug a bit deeper into the history of the phrase to see what I could discover. The results were shocking and disheartening. Oddly enough, the first recorded use of the expression comes from the eleventh century: Layamon’s Brut. It even reappears in Chaucer’s fifteenth-century work, The Canterbury Tales, in the phrase: “Fare well, have a good day.” But it didn’t become a staple of the American way of life until around the 1970’s. With the amount of time this practice has been going on, it is natural that it has become tired out.

Today, the routine of saying “Have a nice day!” is often viewed in a negative light because people believe store clerks are sending out bitter, sarcastic, insincere, artificial, meaningless fluff. It feels as if society has become so automated that we can’t even enjoy the niceties because we know they, like everything else we are fed, are artificial. In fact, just the other day in the Dollar Store in Auburn, the girl at the register had her headphones in as I was checking out. My disgust towards the situation caused me to think that the deterioration of the quality of “service with a smile” could be suggestive of other declining qualities in our country. The quality of products, services, training, management, pay, and benefits have gone downhill. And that doesn’t make for happy workers. Thus, their valedictions to customers may not appear as heartfelt as they once did.

Yet even though such little pleasantries may sound insincere, they may be something Americans like to hear—especially in today’s world, when interaction is continually cut back by selfcheckout machines in stores and online shopping. A little cheerful human interaction might do us all some good. But, alas, based on customers’ responses to something as simple as “have a nice 86 FEATURES

NICE DAY day,” I would venture to guess that most Americans have become jaded by the phrase and take it more as a mechanical part of the transaction than as a well-intentioned well-wishing.

One grocery store in Detroit conducted a survey of customers who had cashiers tell them to “have a nice day.” The survey found that more than half of the customers were unaware of if the clerk had even said the phrase! Several customers even commented that they hated being told to “have a nice day” (Brown 22). This kind of response stems from feeling that the service employee is being sarcastic or passive-aggressive. Customers often really dislike the phrase in these situations. Since service industries strive to appear to have excellent service, shouldn’t employees be treated better so that they, in turn, treat their customers better? Wouldn’t that be a win-win situation?

Instead, service workers are often treated so poorly that even their health is affected. Scientific studies have shown that service jobs that require you to “smile and say ‘have a nice day’ result in workers who are more prone to illness. They are more likely to become depressed which will lead to lowered immune systems” (Hall). It is horrifying to think that service jobs might actually be killing us.

In the end, this journey has brought me to the realization that shallow, artificial interactions aren’t better than none. They might be worse. But honest expressions of goodwill could actually be beneficial to our well-being, and scientific studies indicate that people who regularly smile are more likely to say “have a nice day.” So, the happier we are, the more sincere our interactions with each other are. And to be honest, hearing a well-wishing farewell does bring a little joy to my day. • WORKS CITED Brown, Mark Graham. Keeping score: using the right metrics to drive world-class performance. New York: Quality Resources, 1996. Print.

Hall, Allan. “Have a nice day - and a short life.” The Age [Melbourne] 21 Mar. 2006: The Age. Web. 10 Nov. 2010.

THE SYCAMORE / FALL 2010 87

LADY GAGA’S STYLE AND CONTEMPORARY ART

BY CATE DINGLEY “My intention is to one day have the Lady Gaga exhibit at the [Museum of Modern Art],” Lady Gaga told People magazine. Regardless of what one might think, her goal might not be so farfetched. Everyone knows that Lady Gaga loves high fashion; she openly adores Valentino and Karl Lagerfeld among many others and wears their creations in all her music videos. But few know that Gaga also takes style inspiration from famous contemporary artists, artists one can find in MoMA or other world-class institutions. Judge for yourself in the following photos just how much these two inseparable modes of expression, art and fashion, combine in Gaga’s stylish persona.

88 STYLE

3

1

4 2 Above is a still from Lady Gaga’s video “Paparazzi,” where she sports a very futuristic pair of arm braces [Image 2]. Like almost everything she wears, the braces are glamorous—even (fictionally) handicapped, Gaga makes a fashion statement. But she is not the first person to make walking aids chic; Helmut Newton made a series in 1995 entitled “The Empowered Woman,” which features models in couture and canes, arm braces, and wheelchairs, depicting women working and overcoming adversity [Image 1]. Surprisingly, the models even have bleached white hair.

It is easy to picture Lady Gaga being inspired by Newton’s iconic photographs, both for their aesthetic content and their concept.

Many people have seen a photo of the Guggenheim in Bilbao, Spain [Image 3]. The Guggenheim is considered one of the most important architectural works in the past thirty years, so when Gehry agreed to design a hat for Gaga’s performance at the Los Angeles Museum of Contemporary Art, he had a lot of interesting ideas. “Since I’ve never designed a hat before, I was afraid she wouldn’t be able to walk… I did have an idea that involved people with sticks holding it up, walking behind her. I didn’t know how far I could go with this thing,” Gehry said to The New Yorker. He ended up creating a hat that could only come from his mind—a hat that is very reminiscent of the Bilbao museum [Image 4].

PHOTOS COURTESY GOOGLE / THE SYCAMORE / FALL 2010 89

7 5

8

6 At the MoCA performance, Gaga got to play on a beautiful pink piano that was covered in cobalt blue butterflies [Image 6]. The design on the piano happens to be a copy of artist Damien Hirst’s work Blue Butterfly [Image 5]. Damien Hirst could be thought of as the Lady Gaga of the art world; among other things, he is extremely rich and very controversial. In September 2008, he sold a complete show called “Beautiful Inside My Head Forever” for a record-breaking $198 million. He is an artist who is a serious businessperson, too, much like Lady Gaga. But according to Gaga, her first priority is still her own art: “The objective is to always be making something that belongs in a museum. Even what I’m wearing right now.”

90 STYLE / PHOTOS COURTESY GOOGLE

9

This image presents us with a fashion statement that has gotten quite a bit of press lately: the meat dress [Image 8]. Gaga sparked a huge controversy among sensitive vegetarians and vegans when she accepted her award at the MTV Video Music Awards in a meat dress and appeared on the cover of Vogue Hommes Japan in a meat bikini [Image 9]. She explained her outfits to Ellen DeGeneres in an interview: “If we don’t stand up for what we believe in, and we don’t fight for our rights, pretty soon we’re going to have as much rights as the meat on our bones. And I am not a piece of meat.” While her intention was admirable, her originality was lacking. The meat dress was first created in 1987 by artist Jana Sterbak [Image 7]. The dress is now in the Centre Pompidou in Paris, where it has rotted and dried out naturally over time, and is displayed among other feminist artworks in an exhibition called “Elles.” •

Personal Style expression through

Compiled by Niya Johnson

WHAT NAME DO YOU GIVE YOUR STYLE?

“Unique, hardcore, and nadass.” - Katie Cloe

“I call it neo-expressionist artist, and yes, I just made that up.”

- Rebekah Kosier

“Confident and elegant. It says a lot about how I care to be noticed by other people. I am a relatively conservative person but really like to be able to play with my clothing and look nice while still sticking to my values and what I consider an appropriate style of dress.” - Lily Rowny

“Even though I don’t believe in labels, I guess it’s a mix of hipster and goth, since I love having something black on. Or to be honest, whatever fits and makes me feel good.” - Alicia Vicioso “Dressy casual, sometimes with some vintage influences.”

- Courtney McNamara “It has been defined before as ‘snappy casual.’ I like to think it’s chic.”- Ana Diaz WHERE DO YOU SHOP? “Banana Rep & Gap, Jocket, Target, and Wal-Mart” - Mitch Moulton “Anywhere I find clothes that I like, so it could range from WalMart and Target to Hot Topic and Spencer’s. I also enjoy occasionally making my own clothes.” - Rebekah Kosier

HOW DOES YOUR PERSONAL STYLE INTERFERE WITH YOUR PROFESSIONAL LIFE, IF AT ALL? “Wearing a lot of black causes people to label me as a goth or devil worshiper, and yes, I’ve had people come up to me and say, ‘God will damn you to hell!’ But just as long as I like what I am wearing, I really don’t care. Professionally, I know I should wear more color, since the career I want promotes happiness to children, and I don’t think it’s a good idea to be dark and gloomy.

I do wear some color, just not enough. In the end, it does not interfere with my life, because I am happy with what I am wearing and I grew up not caring what people think of me and what I wear.” - Alicia Vicioso

“I shop everywhere. I’ve worn clothes from Pac Sun, Bass Pro Shop, Abercrombie, and anywhere in between.” - Jesika Roth

“Well, since I never wear pants, at work or during performances I usually have to break my normal style and put on nice dress pants and a good shirt instead of something comfortable like shorts and a T-shirt.” - Michael Lynch

“I shop at vintage stores and make my own clothing.”

- Tyler Grecco

“With the way I look, people assume I’m a deviant and stupid.

Socially, I attract other weirdos.” - Katie Cloe

HOW DOES YOUR OUTFIT MAKE YOU FEEL? “All my outfits make me feel comfortable and confident; if I’m not confident in what I’m wearing, then I don’t wear it, with the exception of some things I wore for Odd/Even.” - Jesika Roth “I feel like people can tell a lot about me by the way that I dress, because I dress the way I feel. So, on a given day, I might (try to) dress like a hippie, and so I would look more like a hippie than on days where I dress more modern and normal.” - Rebekkah McKalsen

“It accentuates my personal style, of course. And I’m pretty sure it makes no never mind to my professional style, but it has the potential to interfere. After all, it might make it hard to take me seriously in future offices and such.” - Rebekkah Mckalsen “It interferes with life a little in the sense that I own no T-shirts or real work clothes.” - Mac Greschak “It has never interfered. They definitely go hand in hand and borrow a lot from each other.” - Ana Diaz •

THE SYCAMORE / FALL 2010 91

It’s all relative... or is it?

I

n 2004, a high-ranking government official declared Thanksgiving Day to be National Family History Day. No, this government official was not a sentimental senator concerned with genealogy, but rather the Surgeon General at the time, Vice Admiral Richard H. Carmona, M.D., M.P.H., F.A.C.S. (HHS). A more concise moniker for Dr. Carmona’s brainchild would be National Family Medical History Day. Carmona likely envisioned families using the annual get-together as an opportunity to discuss familial health problems—just in case it wasn’t good health they had to be thankful for.

National Family History Day is just one of many components of the Surgeon General’s Family Health History Initiative— a measure that shows the Department of Health and Human Services recognizes the importance of a knowledge of family history and its impact on public health. Looking at the most basic of statistics, it’s not difficult to understand why the issue has caught Washington’s attention. According to the Center for Disease Control and Prevention, heart disease claimed the lives of 616,067 Americans in 2007. In the same year, cancer was responsible for over half a million deaths, and cerebrovascular diseases—the kinds that often lead to stroke--clocked in as the third leading cause of death with 135,952 victims (CDC). What is the common thread between these common killers?

92 HEALTH

The many facets of gene expresssion

By Judy Lavelle

Many types of heart disease, cancers, and cerebrovascular diseases—in addition to a host of other common diseases and disorders like arthritis, diabetes, and schizophrenia—are multifactorial disorders. This means they are, in fact, inherited in some way through generations of blood-related family members. This may come as a surprise to people who associate these ailments with lifestyle and who have a preconceived notion of the term “genetic disease.” However, one need not—and should not—separate the idea of lifestyle choices from genetic influence and vice versa.

For many people, “genetic disease” calls to mind conditions like hemophilia—rare and incurable maladies that gather attention by striking high-profile families. These types of family diseases follow what is known as a Mendelian inheritance pattern. Gregor Mendel was a nineteenth-century Austrian monk who, by studying the varying traits of pea plants, discovered the founding principles of genetic inheritance. Among his essential discoveries was the heritable unit—the allele. A century prior to the discovery of DNA, Mendel theorized that an organism receives one allele from its female parent and one from its male parent. These alleles could be either dominant or recessive in that one dominant allele and one recessive allele in an organism would produce a trait based on the dominant allele. Mendel was able to use these laws of inheritance to predict the results of genetic crosses between

his plants in precise and mathematical ways (MNSU). However, these laws are just the foundation from which many, many exceptions spur; one of these exceptions is multifactorial inheritance.

Multifactorial inheritance is far more complex and less predictable than Mendelian inheritance. For one thing, multifactorial inheritance is closely associated with polygenic inheritance—to the point of being considered synonymous for some purposes.

Polygenic means “many genes,” meaning that multiple, interconnected genes come into play when a person acquires a multifactorial disease. To further complicate the matter, in addition to being inherited, genes that “cause” multifactorial disease are influenced by the environment or the lifestyle of the person with the genes in question.

Anyone unconvinced of the environment’s influence on certain genes need only look at twin studies. Because identical (monozygotic) twins originate from the same fertilized egg and share the same genome, they are optimal, observable subjects for genetic studies. Through these studies, geneticists have observed that traits that follow Mendelian patterns of inheritance occur equally in monozygotic twins. In dizygotic twins (twins that originate from unique eggs fertilized separately but are carried to term in the same pregnancy), the presence of traits depends on their dominance but will have a twenty-five or fifty percent probability of emerging due to the rigid probability rates these traits follow in offspring from the same parents. However, according to Dr. Joe Leigh Simpson of the Global Library of Women’s Health, the probability of genetically identical monozygotic twins to both display multifactorial traits (including diseases) is only fifty to seventy-five percent. The probability for dizygotic twins and non-twin siblings with very similar DNA is as low as five to ten percent (Simpson).

Clearly, without the environment’s influencing the expression of DNA, there would be no explanation for identical genomes producing distinctly different traits and diseases. But how does the environment actually influence one’s genes? Well, it’s a matter of expression.

Geneticists estimate that coding DNA—genetic material that actually contains the information required to make a protein— makes up only ten to twenty-five percent of the human genome (Ridley). Among this remaining seventy-five to ninety percent of genetic material are mechanisms that can act as on/off switches for the coding of genes. In addition to these “switches,” molecules outside the DNA also work to influence the expression of genes based on environmental conditions. This can often be very complex, but a commonly used example of this process is how cigarette smoke can trigger cancer.

When cells in the human body divide, the process is strictly regulated by genes that produce proteins related to cell division.

An individual may, however, have a genome that accounts for a genetic predisposition for a glitch in this process. In short, this person may have an “oncogene” related to a higher risk of uncontrolled cell division which results in a diagnosis of cancer. However, a genetic predisposition alone is rarely sufficient to lead to cancer by itself; it often needs an environmental boost to produce its full effect. Tissue in the lungs, for example, may be regularly exposed to carcinogenic cigarette smoke which triggers changes in DNA that lead cells to divide rapidly (NCBI).

In other multifactorial diseases, faulty genes are inherited directly from parent to child, but the penetrance of these genes is incomplete without environmental factors—anything from harsh

chemicals to a sedentary lifestyle—that fully activate them. Essentially, both a genetic predisposition and environmental factors must be present for a disorder to emerge; one cannot occur without the other. Unfortunately, these predispositions are very common in the population. But fortunately, environmental factors can be controlled, and, in this way, disorders can be prevented (Ralston).

Most college kids fail to grasp how relevant the threat of multifactorial disease is to their everyday lives. Though the onset of diseases like cancer, heart disease, and diabetes often occur during middle age or later, every student can take precautions now to avoid acquiring a potentially life-threatening multifactorial disease. During the college years, the body and mind transition from youth to adulthood. This makes it the perfect time to establish beneficial health habits that may ensure faulty genes won’t be expressed.

One of the most fundamental steps in protecting yourself against multifactorial disease is to collect your family health history. The CDC estimates that while ninety-six percent of Americans believe that “family history is important to health,” only thirty percent have made the effort “to collect and organize their family history information” (CDC). This statistic is unfortunate because collecting and organizing this information is essential to preventing history from repeating itself. This is precisely why most health professionals ask about their patients’ family histories during physicals or upon hospital admission.

Before you seek any health-specific information, make sure your family information is correct and complete; make a chart or tree accounting for every individual in your family. Begin with one parent and record hir name as well as the names of hir parents and siblings. Do the same for the other parent and remember to include both living and deceased relatives. Also record the names of any siblings you may have. For most people, the health information of these individuals should suffice as a complete family history, but it may be beneficial to include any cousins, greataunts, great-uncles, or great-grandparents who have had a heritable disease.

Once you have this basic outline, you can begin filling it in with specific, health-related information. Include the ages of your living relatives and the age and cause of death for your deceased relatives. Then list by each relative any and all chronic diseases— long-term, often incurable illnesses—they have been diagnosed with. Filling in this information may require some help from your relatives, so don’t be afraid to gather and confirm this information by starting a conversation with your family. Holidays, as you may remember, are a perfect opportunity for these discussions!

As part of the Surgeon General’s aforementioned Family Health History Initiative, the Department of Health and Human Service has created an online tool to make the process of collecting

“Every college student can take precautions now to avoid acquiring a potentially lifethreatening multifactorial disease.”

THE SYCAMORE / FALL 2010 93

and organizing family health information even easier and more efficient. This tool, My Family Health Portrait, can be accessed online at familyhistory.hhs.gov. In an estimated fifteen to twenty minutes, My Family Health Portrait guides you through your family history to produce an orderly pedigree of your family in a simple format your relatives and your health care provider will appreciate. The patterns that emerge from these charts will help your doctor assess your risk for certain diseases that may be common in your family.

Once you have collected your family health information, it may seem unclear as to how it can actually help you. First and foremost, the information should be shared with your doctor or any other medical professional who manages your primary care needs. Only they can recommend specific medical precautions.

Based on the prevalence or severity of multifactorial disorders in your family health history, you may be asked to consider regular screenings or a particular therapy as a preventative measure.

However, even without medical supervision, there are things any college student can do to ward off common multifactorial disorders.

Every lifestyle choice you make, from the food you eat to how much you sleep, can affect your susceptibility to acquiring what might “run in the family.” Beginning with the food you eat, a good number of multifactorial diseases are directly affected by nutrition. Multifactorial diseases that affect metabolism—like diabetes—are more likely to occur in people who eat large amounts of refined carbohydrates, sugary drinks, and saturated fat than those who eat a balanced diet. Hypertension (high blood pressure) and hyperlipidemia (high cholesterol) are in the same category and can both be prevented in part with a diet low in fat and high in fiber.

Regular aerobic exercise is also an important measure in preventing hypertension, hyperlipidemia, and many other cardiovascular conditions. Aerobic exercise, stretching, and resistance training are key in preventing musculoskeletal diseases like arthritis and osteoporosis. Exercise and a healthy diet will also help you maintain a healthy weight, and obesity is a major risk factor for a majority of multifactorial diseases. The simple rule of eating well and moving more will help prevent a host of diseases to which many people are susceptible based on their genes.

It is also crucial to mention stress. Chronic, unrelieved mental stress and physical tension increase your risk of many multifactorial diseases, such as high blood pressure, if you carry a predisposition to them. Interestingly enough, stress can have an effect on diseases not always thought to be preventable. Though it is still unclear exactly how effective stress relief could be in preventing mental illness, some studies suggest some multifactorial mental diseases—like Alzheimer’s, schizophrenia, and some types of bipolar disease—are more likely to occur in individuals with both a genetic predisposition and chronic stress (Harrison).

Because multifactorial diseases are influenced by your surroundings, it’s important to surround yourself with a healthy environment in addition to living a healthy lifestyle. If cancer is common in your family, it is important to take special care around possibly carcinogenic materials. This includes taking the necessary precautions and using proper protective equipment. Exposure to carcinogenic materials often occurs occupationally, so ensure that your employer is offering information and protection from any hazardous chemicals or radioactive materials. Even if you don’t work in a high-risk environment, you can avoid everyday 94 HEALTH

carcinogens by avoiding produce that may have been exposed to carcinogenic pesticides and, of course, by not smoking. Avoiding tobacco use of any kind will cut down your risk of cancer and certain respiratory illnesses even if they run in your family.

It may come as a surprise that these tips seem similar to the kind of advice you would receive in health class. This is simply because the same habits that help to maintain day-to-day well-being ultimately also prevent multifactorial disease. In fact, the same unhealthy habits that may make your faulty genes express themselves can negatively affect you on a day-to-day basis. Likewise, maintaining a high level of health will bring about plenty more benefits than just a resistance against multifactorial disease. •

WORKS CITED CDC. “FASTSTATS - Leading Causes of Death.” Centers for Disease Control and Prevention. 2007. Web. 23 Oct. 2010. <http://www.cdc.gov/nchs/fastats/lcod.htm>.

CDC. “Genomics|Resources|Diseases|Family Health History Awareness.” Centers for Disease Control and Prevention. Web. 23 Oct. 2010. <http://www.cdc.gov/genomics/resources/diseases/family. htm>.

Harrison, Catherine. “Stress Theories of Schizophrenia.” Schizophrenia - Guide to Schizophrenia Diagnosis, Treatment and More. 10 Jan. 2008. Web. 03 Nov. 2010. <http://schizophrenia. about.com/od/whatisschizophrenia/ss/WhatCauses_7.htm>.

HHS. “Surgeon General’s Family Health History Initiative.”

United States Department of Health and Human Services. Web. 23 Oct. 2010. <http://www.hhs.gov/familyhistory/>.

MNSU. “Gregor Mendel.” EMuseum At Minnesotta State University, Mankato. Web. 23 Oct. 2010. <http://www.mnsu.edu/ emuseum/information/biography/klmno/mendel_gregor.html>.

NCBI. “Cancers -- Genes and Disease -- NCBI Bookshelf.” National Center for Biotechnology Information. Web. 23 Oct. 2010. <http://www.ncbi.nlm.nih.gov/bookshelf/ br.fcgi?book=gnd&#8706;=A10>.

Ralston, Amy. “Environment Controls Gene Expression: Sex Determination and the Onset of Genetic Disorders.” Scitable.

Nature Education, 2008. Web. 23 Oct. 2010. <http://www.nature.com/scitable/topicpage/environment-controls-geneexpression-sex-determination-and-982>.

Ridley, Mark. “Non-Coding DNA.” Evolution A-Z. 2003. Web. 23 Oct. 2010. <http://www.blackwellpublishing.com/ridley/a-z/ Non-Coding_DNA.asp>.

Simpson, Joe Leigh. “Polygenic/Multifactorial Inheritance.”

Global Library of Women’s Health. Web. 23 Oct. 2010. < h t t p : / / w w w. g l o w m . c o m / ? p = g l o w m . c m l / s e c t i o n _ view&articleid=343&SESSID= icps338ctbfgt1dg1rnk5sviv1>.

Dear Minerva Wells’s resident goddess answers your burning questions.

PHOTO BY JENNY CARLOS / THE SYCAMORE / FALL 2010 95

Dear Minerva, DEAR MINERVA,

DEAR MINERVA,

DEAR MINERVA,

How should I go about becoming more friendly?

How can I connect with my roommate more? She’s an exchange student and we get along, but don’t talk very much.

There’s a guy who is interested in me, and I wanna be friends. How do I let him know I don’t like him that way?

Sincerely, Looking for Connection

Sincerely, Trying to be Nice

Dear Culture Challenged,

Dear Let Him Down Easy,

It’s great that you want to make an effort to get to know your roommate better. One of the best ways to get to know people better is to ask them questions about themselves. People love to talk about themselves; it’s something they know all about! Asking your roommate about her home country, culture, and family is a sure way to have a personal conversation and make a connection. Another idea you could try is making a meal together. Everyone loves food!

You could make her American food and taste some food from her culture as well.

This is always a tough situation—how to retain the friendship while being honest. The best thing you can do is let him know as soon as possible. You can sit him down one-onone, have a chat with him, and just be honest and straightforward. Another way you could communicate to him that you only want to be friends is to push him into “the friend zone.”

One effective way—but maybe not the nicest way—to do this is to tell your friend about another guy you’re interested in. You could even ask his opinion of this other person or what he would think if you dated this guy. This way, your friend will understand you’re not interested in him without having to confess his feelings and create an awkward situation.

Sincerely, Seeking Social Skills Dear Feeling Unapproachable, I suppose to better answer your question, I would have to know why you are not coming off as friendly. Are you standoffish or just quiet? I’ve found the best way to become more friendly is to practice. Get involved in all types of social situations and really practice putting yourself out there to meet others and be as friendly as possible. Another great way to be more friendly is to smile. Think about it: if you saw someone smiling at you, you would probably think ze is a nice person, which would make it easy to strike up a conversation. If you saw someone scowling at you from across the room, you would probably wonder what hir issue was and stay away from hir.

96 DEAR MINERVA

, DEAR MINERVA,

DEAR MINERVA,

DEAR MINERVA,

My roommate likes to “express herself ” by singing loudly and badly all the time. How can I tell her to be quiet?

How do you deal with a partner who won’t commit but wants to continue “seeing” each other?

Sincerely, Acoustically Annoyed

Sincerely, Wanting More

How do I deal with all the drama on such a small campus? Short of completely withdrawing from all social situations, I can’t seem to avoid the drama.

Dear Bleeding Eardrums,

Dear Craving Commitment,

Unfortunately, there’s no easy way to tell someone you hate her ear-piercing screeching.

You could just ask her to stop under the pretense that it’s one of your pet peeves. If you two are friends, you could always try the whole, “Who sings that song? … Let’s keep it that way!”

This is a joking way to tell her to stop. You could also buy her singing lessons for her birthday/ Christmas/Groundhog’s Day. If none of these ideas work, you should probably invest in some great earplugs or headphones and request a new roommate for next semester.

If your partner has already voiced that ze is not interested in a commitment, then it’s unlikely ze will change hir mind, no matter what you do. Therefore, I doubt there’s a good way to “deal” with your partner. Instead you need to ask yourself whether you want to continue “seeing” this person, even if they don’t want to commit to a relationship. Just be warned that most people get fairly attached to someone they are seeing casually, causing more emotional pain later if a commitment is wanted and not obtained.

Sincerely, Drowning in Drama Dear Dealing with Drama, This is a common dilemma when living in such close quarters with so few students. The drama and gossip are everywhere, and it is indeed hard to avoid getting tangled in the web. However, I have some advice that should help you out. Tip #1: Stop gossiping. Let me guess—you may have something juicy to tell your best friend, a friend that will surely never EVER say anything to anyone, right?

Wrong. At some point, something you have said about someone else will get out and then you’ll be immersed in drama. Tip #2: Don’t let things upset you. If you think about it, most of this drama you’re dealing with will have no effect on your life next week, not to mention the many years ahead of you.

THE SYCAMORE / FALL 2010 97

here is someone in class who bri heir laptop and pounds away on eys the whole time, obviously not aking notes. It’s so annoying. Bu DEAR MINERVA,

DEAR MINERVA,

DEAR MINERVA,

I live off campus. How should I bond with all you on-campus living peeps?

My roommate is extremely obnoxious. We are starting to clash. Our mutual dislike for one another is to the point that I’m staying in other friends’ rooms. Suggestions?

There is someone in class who brings their laptop and pounds away on the keys the whole time, obviously not taking notes— it’s SO ANNOYING! But the professor is too nice to say anything.

Sincerely, Left Out Dear Feeling Like an Outsider, This is an easy fix. Join clubs and organizations to meet other people that live on campus. Go to as many on-campus activities as you can, especially dances. Once you make one on-campus friend, just ask to be included in the fun with their other friends, and soon enough you’ll be in a group of campus-dwellers.

Another good way to meet people is to ask someone from class if ze wants to get together to do class work or study. Once you’ve met with them outside of class once, other get-togethers are easy to arrange.

DEAR MINERVA, Why do boys insist on hiding their feelings, when being honest would make life so much easier?

Sincerely, Sick of Guessing Dear Typical Female Frustrated with the Male Gender, I agree that honesty is the best policy, but just because he doesn’t want to tell you what’s going through his head doesn’t mean he’s being dishonest. Could it be possible that maybe he’s just confused and cannot tell you what he’s feeling? The best thing you can do is the next time you two are alone in a non-pressured or pre-arranged situation, be honest with him about whatever subject you want him to open up about. Hopefully your honesty will inspire him to be honest as well. Keep the conversation casual, and if you can, avoid too much direct eye contact. Most people will open up more readily if they’re comfortable.

98 DEAR MINERVA

Sincerely, Starving for Separation Dear Roommate Challenged, I know it seems silly, but you know those roommate agreements that Wells gives you in the beginning of the semester? I would highly recommend revisiting it—or even rewriting it. Another option is getting your RA or a neutral party to sit down and chat with the two of you so you can work out some of the issues. No one says you have to best friends with your roommate. You just have to live with each other until at least the end of the semester. If you sit down and have an honest, open, and friendly conversation, I’m sure you can reach an agreement that will allow the two of you to live in peace together!

Sincerely, Sick of the Clamoring Clacker Dear Trying to Learn, It’s always frustrating when people come to class and blatantly ignore everything that’s going on around them while also causing a disruption. I’m sure you’re not the only one in your class who has noticed this person’s loud presence. Unless you plan on confronting this person yourself, I would suggest gathering yourself and some others in the class that are annoyed and explain the situation to the professor in private. Hopefully the professor will feel pressured to address the noisemaker.

If the racket continues, I suggest moving your seat so the clicking isn’t as distracting.

DEAR MINERVA,

DEAR MINERVA,

How do I best resolve an argument when I don’t want to continue the fight?

I doubt a millipede actually has 1,000 legs.

How many legs does a millipede have— FOR REAL?

Sincerely, Dueling Dragons Dear Kung Fu Fighting, The resolution to this problem depends on how stubborn you are and how much you care about this person you’re fighting with. If you don’t care about the nature of your friendship with this person, then you could just cut your losses. However, if you’re interested in patching things up with this person, then the best way to settle the conflict and maintain any sort of friendship is to apologize. I know you may not think that you’re wrong, and you may not believe you have to apologize, but if you want to end the fighting, you might need to be the bigger person and do it.

Sincerely, Many Burning Questions Dear Interested Inquirer, The name millipede comes from the Latin word “mille,” which means thousand, and “pes,” meaning foot. You’re right to think that millipedes don’t actually have 1,000 legs.

However, one rare species, Illacme plenipes, has 750 legs! More common species have between 36 and 400 legs. I know you’re most likely disappointed in the truth, but please remember that this is The Expression Issue of The Sycamore, and therefore, you should accept the millipede’s chosen form of expression, regardless of its name. •

ings nt the ut

PHOTO BY JENNY CARLOS / THE SYCAMORE / FALL 2010 99

What better represents expression than years of it unconsciously at work, collecting on the floor of the Campbell art studio? This cosmic splatter just below our noses is the residue of hundreds of paintings and creations—no human could manifest this random pattern purposefully—this colorful, magnificent, expressive design was coordinated by chance, spirit and drippy paintbrushes.

“CAMPBELL FLOOR”

PHOTOGRAPHY CONTEST WINNER: KATIE YATES ’12