Tuesday, January 30, 2018 by The Brown Daily Herald

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THE BROWN DAILY HERALD TUESDAY, JANUARY 30, 2018

VOLUME CLIII, ISSUE 5

‘Call Me By Your Name’ artistic, lacks depth

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Student publications pushed to reduce printing budgets

After pressure from UFB to cut costs, groups scramble for alternate, cheaper printing By MELANIE PINCUS SENIOR STAFF WRITER

GUS REED / HERALD

‘Call Me By Your Name’ has been showing at Avon Cinema on Thayer Street since Jan. 26 and will play until Feb. 1. While aesthetically pleasing, the film fell short in other respects.

Film risks misrepresenting gay love to American audiences, downplays hardships of relationships By JACOB ALABAB-MOSER SENIOR STAFF WRITER

“Call Me By Your Name,” which was adapted from a 2007 novel, directed

by Italian director Luca Guadagnino, promises to pander to audiences with its premise of a gay love story, a theme that has yet to be fully developed in American cinema. But in reality, only the mesmerizing aesthetics of the film might move theatergoers; barren character development and dialogue renders its emotional content fruitless. The film’s protagonist is Elio — played by Timothée Chalamet — a

musically prodigious and multilingual 17-year-old boy who is spending the summer holiday with his parents at their countryside villa in an idyllic northern Italian town. His life appears to be perfect, which the cinematography shows; the camera guides viewers through languid summer days under the Mediterranean sun, which he spends riding bikes through the » See AVON, page 3

Multiple student publications are reducing their budgets this semester in response to requests from the Undergraduate Finance Board to decrease costs, according to representatives from several publications and UFB. UFB alerted publications to upcoming budget cuts when it did not approve any requests to cover printing costs for the spring 2018 semester in their annual budgeting review last April. By refusing budget requests, UFB aimed to spur conversations about reducing costs, The Herald previously reported. “A lot of the groups have been able to show us some reduction in their printing costs and have really narrowed down what is essential” to their papers, said UFB Vice Chair Drew To ’19. UFB approved funding for all but two publications by the end of the fall 2017 semester, according to UFB Chair

Yuzuka Akasaka ’18. The budget of the College Hill Independent — a weekly publication, known as the Indy, run by students from Brown and the Rhode Island School of Design — was approved last week, and the budget of the Clerestory Journal of the Arts — a literary publication — has yet to be approved, according to editors of each publication. Printing costs account for the vast majority of publications’ budgets. For example, 100 percent of the Clerestory Journal’s and 90 percent of the Indy’s budget go toward printing, editors of each publication said. Members of the Brown Noser said they made changes to reduce their budgets for this semester by searching for avenues to decrease their printing costs. The Noser will only print its front and back covers in color this semester instead of the entire paper, according to Editors-in-Chief Francis Bogan ’18 and Katherine Dunham ’18. Similarly, the Intercollegiate Finance Journal “ended up cutting down one of the sections in (the) magazine and then switching the kind of paper that (it was) using for the cover,” said IFJ Editor-in-Chief Ben Bosis ’19. Despite » See BUDGETS, page 2

2018 Oscar nominations Brown-RISD students color Granoff prove more progressive Eventful year in film culminates in wide variety of nominees, representing diverse spread By ZACHARY BARNES STAFF WRITER

The 2018 Oscar nominations came out early last week, firing the starting pistol for the final stretch of what has been one of the most tumultuous, industry-shaking years in Hollywood’s history. They honor a diverse, somewhat untraditional set of films, from the politically spiked scares of Jordan Peele’s “Get Out” to the young woman’s coming-of-age tale in Greta Gerwig’s “Lady Bird.” It’s a poetic coincidence that this year marked by new films breaking into the Academy’s ranks is also the year of Harvey Weinstein’s downfall. The films he produced, under the stamp of Miramax and the nowdefunct Weinstein Company, were largely old-fashioned, serious-minded affairs; historical epics (“The English Patient”), issue dramas (“My Left Foot”) and nostalgia trips (“Chicago”) varied in quality but were united in

INSIDE

their projection of good taste. The wrenching irony of Weinstein as an arbiter of good taste should be readily apparent. But, come to think of it, a “projection of good taste” isn’t a bad description of the Oscars themselves. They purport to acknowledge the best of the best in any given year of moviemaking, but what they really do — at least up until recently — is obligingly acknowledge a certain haughtily middlebrow, white-people-dominated type of movie. The term “Oscar bait” is less a critical judgment than it is a genre. That the world’s most prominent film awards have such a narrow idea of the “best” does neither the art nor the industry any favors. When boring movies — like “A Beautiful Mind” — keep winning Oscars, boring movies — like “The King’s Speech” — keep getting made. But this year’s crop of nominees suggests that our conception of what movies can win Oscars is changing. Take “Get Out,” a film that could scarcely be further away from the Weinstein ideal of an Oscar movie. It is a sharp, uncompromising film » See OSCARS, page 3

SAM BERUBE / HERALD

The Granoff Center’s Cohen Gallery began featuring works from Brown-RISD dual-degree students last Thursday. The tenth annual exhibition showcases art from the selective interdisciplinary program.

Exhibition’s short films, sculptures, furniture highlight program’s interdisciplinary mediums By ELISE RYAN SENIOR STAFF WRITER

For the next month, the walls of the Granoff Center for the Creative Arts will exhibit the unique skills, interests and talent of students in the BrownRISD Dual Degree Program as their tenth annual exhibition presents work in a variety of media. Opened on Jan. 25, the exhibit colors the Cohen Gallery

and overflows throughout the living rooms and corridors of Granoff. The gallery immediately confronts visitors with “X: The Tenth Annual Brown-RISD Dual-Degree Exhibition” printed boldly on the wall. Scattered around this title are statements beginning with “X =.” While some comment on the fact that this reflects the dual-degree program’s tenth year in existence, others hint at themes, such as “X = the ambiguous,” “X = the unknown” or “X = anything you want, baby.” Since its creation in 2008, the five-year-long dual-degree program has maintained its status as a highly selective, intensive course of study.

Admitting only 15 students each year, the program aims to allow students to collaborate and work interdisciplinarily as they cultivate their academic and artistic interests, according to the program’s website. “I personally find that the work that I did at Brown informs what I do at RISD,” said Laura Jaramillo ’20, a dual-degree student studying furniture design and gender studies who showed an illustration in last year’s exhibition. “It provides a separate window into the same mode of thinking,” said Jake Ruggiero ’21, a first-year in the dual-degree program, speaking to the » See GRANOFF, page 3

WEATHER

TUESDAY, JANUARY 30, 2018

ARTS & CULTURE ‘Music Now’ Forum provides opportunity for students, staff to explore modern music

SCIENCE & RESEARCH Neuroscientists study cerebral cortexes in mice, find previously unknown structures

COMMENTARY Thomas ’21: Second semester of freshman year can cause similar symptoms as sophomore slump

COMMENTARY Mulligan ’19: Government leaders should pay their interns to create equal opportunity

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» BUDGETS, from page 1 the changes, “in the end, it wasn’t a terribly large reduction.” “If they remain as they are, the cuts we made are, we think, totally fine (and) easily manageable,” Bogan said. “I was happy we could hopefully help” UFB. While Bogan said the Noser is happy to work with UFB to reduce costs, the Noser editors were disappointed they did not receive approval of their spring budget until shortly before winter break. “I’m grateful that we are able to print, … (but) we were disappointed that it took so long for us to know, just because if we had to make big changes we would have had very little time to do so,” Bogan said. Despite a lengthy budget review process, the Indy did not end up making any cuts to its budget for this semester, according to Managing Editor Jonah Max ’18. Max said taking time to look for new printers over winter break detracted from other projects, like working to establish paid positions for Indy staff members. “We want to invest a lot of time in making sure that the Independent is as inclusive and accessible as possible to the Providence community and to Brown and RISD, and so the time that we spent on looking for other printers ... comes out of a lot of other initiatives, which I think are more responsive to the needs of Brown,” Max said. Student publications accounted for about 6 percent of Category III student groups in fall 2017, but received approximately 10 percent of UFB’s roughly $850,000 fall budget, according to Akasaka. Category III groups may request supplemental funding from UFB above the baseline amount provided by the Student Activities Office, according to the Undergraduate Council of Students’ website. “That’s a little disproportionate,” Akasaka said. “(We’re) valuing

ELI WHITE / HERALD

Brown print publications such as the Brown Noser and the College Hill Independent were affected by the cuts to funding initiated by the Undergraduate Finance Board. Students were upset by the lack of communication and notice. publications while still cutting down costs … within the context of funding all the student groups.” But Max said he does not perceive this discrepancy as unjustified given the varying needs of different types of student groups. “The idea that it’s somehow a problem that organizations with the most outreach, the most outward-facing presence are going to cost slightly more is sort of ridiculous,” Max said. Several editors echoed the dissatisfaction expressed by student leaders of print publications last spring in response to UFB’s preliminary communications with them concerning cuts. “The way they approached it initially … was not acceptable, so I think that’s something that we’ve communicated” to UFB, Bosis said. Akasaka said UFB is working to improve communication to increase clarity in the future. UFB is trying to initiate “more points of communication,” Akasaka said. “This

year we had feedback forms that we sent out, and the (UFB representatives) have been in contact” with publications. Managing Editor of the Indy and the Clerestory Journal Signe Swanson ’19 said the budget review process thus far has indicated a lack of support from UFB for print publications. “It just reflects a sort of ongoing problem with the UFB, which is as much as they have improved (by) not cutting all of our funds, … they don’t seem to be very receptive to the mission or usefulness of print publications,” Swanson said. Editors of these publications unanimously stressed the importance of existing in print form. Although UFB offered to fund any print publications who expressed interest in becoming fully digital last spring, Akasaka and To said no publications have made this conversion. “Having worked on a digital magazine or newspaper is not going to give you the same experience that print publication jobs are really looking for because there’s just a lot of logistical

issues that come with that (and) that you can’t really get by proxy,” Bosis said. Though UFB continues to work on a proposal it made last spring to bring all print publications under one printer to receive a bulk discount, To added, no consolidation has been finalized. While Bosis and Bogan said they would be open to discussing this possibility, Bosis said it would likely be difficult to find a printer that could accommodate the range of print publications funded by UFB. “One of the difficulties is that paper versus magazine printing just happens very differently, … and I don’t know that anyone’s looked into it to the extent that they know one printer would work for everyone,” Bosis said. Swanson said she is also skeptical that bringing all publications under one printer would result in lower costs, considering factors like the Indy’s longstanding relationship with its printer and the unconventional format of the Clerestory Journal.

“The Clerestory prints with Brown printing because we just have such a fundamentally different printing process than the Indy does,” Swanson said. In the long run, To said UFB’s goal is to find a middle ground with print publications. “We were just in constant communication with them to figure out what they can do and what UFB could fund (to) try to find that equilibrium there,” To said. However, if UFB plans to make further cuts, Bogan said he hopes publications will be given more notice. “If we need to make changes or supplement our budget, that’s a process that takes a lot of time and can be really difficult and we don’t really have the apparatus to do it,” he said. “I imagine that there could possibly be some more reductions. I just hope we get strong advance notice of it.” UFB will hold their first meeting of the semester tonight, where Swanson said they will discuss the Clerestory Journal’s spring budget.

Brown Alumni Magazine to feature new sections, website Magazine founded in 1900 hopes to better connect alums with campus life, research By ANUVA GOEL STAFF WRITER

COURTESY OF BROWN UNIVERSITY

Brown Alumni Monthly brings together alums, featuring voices from many different generations of the Brown community.

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At the end of this month, when 115,000 Brown alums check their mailboxes, they will receive a Brown Alumni Magazine with a new look. In its new design, the BAM will feature new sections that aim to better integrate alumni and campus life, as well as a new website. The redesign of the BAM is the first in 18 years. The magazine, founded in June 1900, has always had a mission to connect alums with each other and the University, said Norman Boucher, editor and publisher of the magazine. With the new redesign, the magazine aims to further embrace this goal. “Under the Elms,” the section of the magazine that has traditionally covered campus happenings, will now have several new sub-sections — Big Idea, Big Surge and Courses of Study. These three sections inform readers “about the intellectual work that’s being done on campus” and show “ties between that work and the same work” alums are doing in the world, Boucher said. The topics covered in these sections highlight different perspectives, studies and initiatives being undertaken by multiple generations of the Brown

community. The Big Idea will primarily cover how Brown professors are looking at major societal issues and, in conjunction, will feature an alum’s contribution addressing the issue. “We cover the campus and the (alums), and too often, there’s kind of a wall between those two, so what we’re trying to do is break down that wall,” Boucher said. Readers will also get a broader understanding of the potential implications of the University’s research on the larger population through the Big Surge. Courses of Study will highlight unique elements of Brown’s education, such as students’ independent concentrations, Boucher said. Anne Paris ’88.5 P’21 finds these new changes “promising.” “I’m always interested to hear about what is happening at Brown and what Brown (alums) are accomplishing after graduation,” Paris wrote in an email to The Herald. In addition, an entirely new “Beyond the Gates” section will profile alums doing interesting work in a variety of disciplines and professions, encompassing not only arts and culture, but also science and technology. These sections in the new magazine provide the opportunity to showcase shorter stories, which eventually engage people to read the larger articles, Boucher said. “I’m endlessly fascinated by the varied, diverse lives (alums) lead,”

Dan Woog ’75 wrote in an email to The Herald. Woog is excited about the recent changes made to the magazine. “A lot happens in 20 years, and it was time for the magazine to reflect that,” he wrote. In addition to the changes made to the print magazine, the BAM is working to rebuild its website to follow the broader trend of publications moving from print to online. The publication will try to organize stories in a more web-oriented way to increase engagement, Boucher said. “The magazine has long been known for its editorial quality and its editorial voice,” Boucher said. “So the question becomes: How do you bring that voice and how do you bring that journalistic quality to the web?” While the magazine seeks to expand its brand through the updated website, many readers did not find a new website essential. According to a 2017 reader survey, over half of readers keep their BAM print issues for over a month. Furthermore, when asked whether they prefer to read the BAM in print, online or both, 80 percent of readers indicated “in print.” “I don’t think that our website will ever be a high-usage website, just because people have other things to do,” Boucher said. “The print version, for a long time, will still be the anchor of the Brown Alumni Magazine.”

ARTS & CULTURE TUESDAY, JANUARY 30, 2018 • PAGE 3

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» AVON, from page 1 pristine town and its pastoral environs and swimming in aquamarine pools with gorgeous Italian- and French-speaking friends. The affluent, summery look of the film largely references that of Vittorio De Sica’s 1971 classic, “The Garden of the FinziContinis.” This all changes, perhaps to the downfall of both Elio and the film as a whole, with the arrival of 24-year-old Oliver (Armie Hammer), the visiting American assistant to his father, a scholar of archaeology. At first Elio resents Oliver — for occupying his room, seducing his girl friends and winning over his parents’ affection. But he soon becomes infatuated with the equally intelligent and attractive foreigner, frantically scribbling love notes in his journal and sneaking into Oliver’s room to masturbate to the scent of his swim trunks. He eventually gains the courage to quietly profess his attraction to Oliver in the town square. Though Oliver is initially reluctant for the sake of discretion, he reciprocates and they begin an intense sexual relationship, even though Elio conducts affairs with girl friends all the while. The sensation that Guadagnino thrusts to the forefront of the film is that of hedonism, illustrated by the episode in which a bored Elio innovatively uses a deseeded peach to

» OSCARS, from page 1 about contemporary racism that’s also a horror film that’s also a comedy. None of those qualities point to traditional Oscar success — in fact, they point away from it — and yet “Get Out” pulled in four nominations, including one for best picture. The most notable of its nominations may be the one for Daniel Kaluuya, the film’s star. In “Get Out,” Kaluuya gives the kind of performance that rarely receives awards attention: He is subtle and authentically human, the clear-headed man in the middle of a vortex of off-thewall thrills and political allegory. It’s not a performance that screams “I’m acting!” and yet it’s essential to the film’s success. Though Gary Oldman may end up taking the award for his hammy performance as Winston Churchill, the presence of Kaluuya in this category — along with fellow twenty-something Timothée Chalamet for his pitch-perfect, devastating performance in “Call Me By Your Name” — is as surprising as it is exciting. The Academy’s demonstrated warmth toward “Lady Bird” is another

» GRANOFF, from page 1 connection between his studio classes at RISD and his literary arts classes at Brown. In the Cohen Gallery, a piece entitled “Ladder to the Sky” and composed of cotton, silk, linen and denim fabric towers at the center of the gallery’s concrete floor. At certain angles, its image is reflected in the circular mirror of “Valet Chair,” a piece of furniture created to give one the “chance to sit and tie your shoes, grab your jacket and check your face before you leave the house,” as described by the artist, Jana Butman ’18, in a statement on the piece’s plaque.

pleasure himself to the point of ejaculation, the remnants of which are later discovered by a delighted Oliver. But the film does not bear such fruits, not even the normal kind. For all the richness in the soundtrack, which features Sufjan Stevens, and the visuals masterfully shot in 35mm film, there is no emotional content to the film. Elio cries when Oliver inevitably leaves at summer’s end, but it is difficult for the viewer to empathize with a character whose inner thoughts are never revealed, regarding a romance with emotional complexities that are never revealed. It’s a mystery as to why Elio loves Oliver so deeply in the first place. It is also unclear why they call each other by their own respective names, the film’s eponymous conceit. While Elio’s father expresses his acceptance of his son’s first love in a moving speech, it’s too late for the viewer to care. Maybe what the film lacks is a grounding in any real hardship, but that apparently would not exist for a gay couple of somewhat disparate ages in a small town in Italy in the ’80s. At its best, the film is beautiful but dull. The inimitable, Instagramreminiscent aesthetics relegate any space in the film for explaining the intricacies of Elio and Oliver’s desire for each other to close-ups of butts and six-packs. At worst, the movie risks misrepresenting many facets of gay love to American audiences, many of

whom are viewing it on screen for the first time. The narrative centers around two main characters who are hyper-attractive, privileged white people. Even more problematic is how Guadagnino explicitly relates the pair’s romance to the ancient Roman practice of pederasty — the type of love between an adult man and his younger companion, which repeatedly appears in the artifacts of Elio’s father and Oliver’s archaeological work. This certainly does not help deflect the many enduring claims of gay men as predatory. The film marks — in many critics’ summations — Guadagnino’s big break into American cinemas and audiences. By combining many tropes of his previous films — which range from beautiful European settings to polemical displays of romance — Guadagnino effectively caters to American viewers’ appetite for vapidity, betraying any essence of emotional substance to concentrate on aesthetics. It begs the question of how to portray intimacy on screen, especially between individuals of queer identities. Unlike “Moonlight,” a truly pioneering film in its delicately profound and insightful depiction of growing up queer and its romantic trials, “Call Me By Your Name” presents gay desire as an empty pursuit comprised of nothing beyond good looks and shallow intellectual fodder. Ultimately, the film and its characters look too good to be true.

point of pleasant surprise. In the moment of #MeToo, it’s tempting to opt for the blinkered and crudely drawn female rage of “Three Billboards Outside Ebbing, Missouri,” and the Academy still might. But “Lady Bird,” in its sensitively crafted portrait of a mother and daughter living their lives and figuring out their relationship, is a female story scaled to human life and is all the more powerful for being so. The film received five nominations, including one for best picture and two for its terrific central acting duo, Saoirse Ronan and Laurie Metcalf. But most exciting is Greta Gerwig’s directing nomination. Gerwig doesn’t have the awesome technical prowess of Christopher Nolan, and she doesn’t make obvious ploys for cinephilic rapture a la Guillermo del Toro. But she has a crisp visual style, a keen sense of rhythm and a deep understanding of her characters. Her direction isn’t attention-grabbing or jaw-dropping; it’s simply perfect. Kudos to the Academy for recognizing it as such. “Lady Bird” and “Get Out” are deviations from the Oscar norm just based on the films themselves, but they’re different in a more obvious

way, too: Neither is directed by a white man. In response to things like #OscarsSoWhite and Natalie Portman’s sly “all-male nominees” barb at the Golden Globes, the Oscars face mounting pressure to diversify — and they’re making strides. In June, the Academy invited a record 774 new members, many of whom were women and people of color. The nominations for “Lady Bird” and “Get Out” make more sense, then, and point to a brighter future for the Academy. Because the two films aren’t just different in who they represent, on screen and off. They are different in their politics, their genres, their themes and even their aesthetics. Thanks to activists’ insistence on diversity in Oscar-nominated films, the Oscars have had to nominate movies that normally wouldn’t circulate in awards circles, and — quelle surprise! — they’re a whole lot better than “The Artist.” So Weinstein can keep the “Tulip Fever” Blu-rays for the twenty-to-life that’s coming to him. A number of talented artists — Gerwig and Peele chief among them — have arrived to make their mark, and Oscar is just starting to know it.

Upstairs, a “semi-satirical, semi-documentary short film” — as described on its plaque — by Haysung Yoon ’18 titled “To do, To Avoid” plays behind the 3D building at the stair landing. Down each corridor, pieces of multiple dimensions are displayed. The tenth-annual exhibition was hosted by the Brown Arts Initiative. “Our … philosophy is that we are interested in work that is experimental, collaborative (and) engaged,” said Chira DelSesto, associate director of the BAI, adding that the dual-degree students are “poster children” for what the BAI stands for. Much of the work that they are doing is in new media, DelSesto

said, adding that it is the type of “real boundary-pushing work that the BAI promotes.” The event was attended by students, faculty and community members. “Annually, the opening for the Brown-RISD show, which was just last week, is always our most well-attended exhibition opening, regardless of what the work is,” DelSesto said. This speaks to the community, spanning between both universities, that is fostered by dualdegree students. “For me, (the exhibition) is … a way of catching up with my friends in the program,” Jamarillo said. The exhibition will be on display in Granoff through Feb. 18.

‘Music Now’ Forum presents guest Kate Soper

HERALD FILE PHOTO

The Orwig Music Building hosted the Brown Arts Initiative event last week. Students had the opportunity to hear from composer Kate Soper.

Forum provides students, faculty opportunity to study contemporary music viewpoints, voices By LIYAAN MASKATI SENIOR STAFF WRITER

Students passionate about composition listened eagerly as performer and composer Kate Soper discussed her experiences in the world of music last Wednesday. The event was part of “Music Now,” an informal lecture series established in 2015. “We founded (Music Now) with the goal of providing a forum for students and faculty interested in contemporary music,” said Assistant Professor of Music Eric Nathan, who founded the series along with Assistant Professor of Music Wang Lu and Professor of Music and Director of the Brown Arts Initiative Butch Rovan. The series hopes to give younger composers “an opportunity to see what’s going on in the field” and to build a community, Wang said. In selecting the artists for “Music Now,” diversity is a key criterion. “We try to have diverse representatives from different cultures, ages, ethnicities and genders,” Wang explained. “Music Now” also looks for artists that run the gamut of musical voices, aesthetics and viewpoints, Nathan said. The artists featured this year comprise a “terrific line up of musicians,” he added. They include Kristina Warren, Tania León and Joan Tower, among other celebrated musicians. Soper’s credentials are a testament to the high standards of “Music Now.” A Pulitzer Prize finalist, Soper “is garnering great recognition in the field for her work and is having her work presented at top institutions,” Nathan said. She “has done very interesting things using voice and theatrical context,” he said,

adding that he has included her music in his teaching and that his students have loved it. “I knew (her talk) would be something our students would be really looking forward to.” Most of Soper’s recent and current compositions are focused on music with text, Soper said. “I try to think about how meaning exists in music and how the presence of text can complicate that meaning,” she explained. “What happens to a text when you set it to music? Can music tell us something real and direct?” Soper also said she often employs theatrical elements in her work, which allows her to engage with the audience in a different way. It prompts them to start thinking of the musicians more as fellow humans rather than as people merely making music, she said. Soper’s talk gave an overview of her music and answered both practical and abstract questions about how to be a composer. “I hope to alleviate anxiety amongst young composers,” she said. “I wanted to share some of the conclusions I’ve come to.” While a significant number of the artists featured in the “Music Now” series are involved with composition, the founders have made a point of also inviting guests who are not composers, Nathan said. This includes conductor Gil Rose and pianist Gloria Cheng as well as Nadia Sirota, violist and producer of the Peabody Award-winning radio show “Meet the Composer.” Some of the artists are also faculty members, which allows students to see what Brown faculty are doing in their creative work, Nathan said. The doors of “Music Now” are open to the general public, Nathan said. “We want to bring new music and new ideas about music to the Brown community — but to the larger Providence community as well,” he said.

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U. researchers uncover new structures in mouse brains Neuroscientists explore layer deep within cortex that plays role in sensory communication By TANUSHRI SUNDAR SENIOR STAFF WRITER

A sixth, largely unexplored layer in the cortex was the focus of a recent study by Brown University neuroscientists. The work provides new insight into how the cortex and thalamus communicate about sensation. The thalamus is a sensory switchboard responsible for relaying information to other areas, according to the Huntington’s Outreach Research Project at Stanford University. The cortex is “at the top of the brain — literally, but also in a functional sense,” said Barry Connors, an author of the study and professor of neuroscience. It performs the most complex work on neural information, in charge of many abilities that distinguish people from other animals, including the processing of sensory information and memory creation, he added. The findings, published in the journal Cell Reports, uncovered new communication circuits in the cortex. For 50 years, neuroscientists have studied mouse whisker barrels, which are neural structures in the cortex that model how the mammalian brain receives sensory information. Researchers at Brown discovered similar structures two layers beneath the mouse whisker barrels in mice. These structures, known as “infrabarrels,” were found in the sixth layer of the cortex and provide a better picture of the circuitry involved in sensation. They were also shown to have a role in cross-talk between the thalamus and the cortex. The discovery explores a part of the brain that scientists previously knew “almost nothing” about, said Alison Barth, professor of biological sciences at Carnegie Mellon University, who was unaffiliated with the study. The study allows researchers to infer how information is processed in the layer from looking at the neuronal architecture,

COURTESY OF BARRY CONNORS

The researchers isolated neurons in the sixth layer of the brain’s cortex, aiming to study more closely their connections to each other and other parts of the brain. The team hopes to explore the relationship between the thalamus and cortex further in future research. anatomical inputs and electrical properties, Barth said. This new insight on brain circuitry in the cortex helps researchers better understand uniquely human abilities such as language processing and abstract thinking, as well as diseases such as epilepsy and schizophrenia, Connors said. “By studying the basic circuitry of the brain and sensory systems, we then have a foundation for a better understanding for disease states in which sensory processing is disrupted or communication between cortex and thalamus is disrupted,” said Shane Crandall, lead author and a former Brown postdoctoral student who is currently an assistant professor at Michigan State University.

In general, findings from rodent studies can be applicable to humans, Connors said. While people don’t have barrels in their brains, the details discovered about these structures can form a comprehensive model for areas that process visual or auditory information, or even decision-making and motor control, Barth said. Scientists previously knew that the thalamus sent information to the cortex, where it was then processed and sent downstream. The study suggests that “the cortex not only receives information from the thalamus during sensation, but actually sends signals to the thalamus to control the amount of information coming back to the cortex,” Crandall said.

The researchers used “cutting-edge, molecular genetic techniques to very carefully isolate one set of neurons in layer six to understand how those neurons connect to each other and how they are connected to other parts of the brain,” Barth said. Using genetically engineered mice that expressed fluorescent proteins, the researchers found that neurons located within the infrabarrels project from the cortex to the thalamus. They are located directly underneath mouse whisker barrels and arranged in similar structures. Through optogenetics, a technique where specific neurons are activated or suppressed through pulses of visible light, the researchers found that

neurons between the infrabarrels received strong input from the thalamus, though these neurons communicated mainly within the cortex. “I like to think of neurons in the cerebral cortex as a high school lunchroom: There are hierarchies,” Barth said. Cells communicate, but some initiate conversation and others do not, she explained. In future experiments, Connors and his team would like to understand why the cortex is talking back to the thalamus. Is it tuning that information — switching it on and off — or transferring it from one place to another? They would also like to address where the cells extend to and how they communicate with each other.

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Salt and Pepa Jerk Chicken, Risotto Primavera, Baked Sweet Potatoes

VERNEY-WOOLLEY LUNCH

DINNER

Mac and Cheese, Krinkle Cut Fries, Buffalo Wings, Latin Style Slaw, Pork Carnitas

Chicken Pot Pie, Quinoa and Chickpea Curry, Mashed Butternut Squash SAM BERUBE / HERALD

sudoku

Bruno looks wistfully out at the Main Green, deep in contemplation. Students, similarly, contemplate the upcoming semester as they navigate classes during shopping period.

Q U O T E O F T H E D AY

“I like to think of neurons in the cerebral cortex as a high school lunchroom: There are hierarchies.” — Alison Barth, Professor of Biological Sciences, Carnegie Mellon University

See BRAINS on page 4. R

c r o s s w o rDd

Edited by Rich Norris and Joyce Nichols Lewis

ACROSS 1 Tons o’ 6 Blows, as a script line 11 Has permission 14 One may be passed around at a reunion 15 Like the Vegas strip 16 Honest prez 17 One of Beethoven’s 32 19 Moll’s leg 20 More pitiful 21 Channeling state 23 Gas from the past 24 Rants and raves 27 Charity’s URL ending 29 Change to zeros 30 Social service item? 34 Wing measurement 38 More than impress 39 Debit card ID 40 Where to get off: Abbr. 43 __ Deco 44 Sweet root 46 Proverbial nonexistent meal 49 Davis who was married to Ruby Dee 52 “Collages” author Anaïs 53 Place of central interest, man 57 Dog in the FDR Memorial 61 Hang up the gloves 62 Hollered 64 Slick-whistle connector 65 Has a meal, and as the circles show, what 17-, 24-, 30-, 46- and 53-Across each does 68 Chi follower 69 Farsi speaker 70 Edible little sphere 71 Oeuf seasoning 72 He bested Alexander in 1804 73 Fragrant compound

DOWN 1 Brain freeze 2 Jumbles 3 Snowboarders’ aids 4 Venting car option 5 Parisian possessive 6 Apt name for a woman with a green thumb? 7 Jeremy in the 2012 NBA’s Rising Stars Challenge 8 Acting teacher Hagen 9 Steep-sided hills 10 Spread out 11 __ Carta 12 Bead counters for bean counters 13 Arabian republic formed in 1990 18 Composer Prokofiev 22 Creates some drama? 25 Like the vb. “to be,” in most languages 26 Hunch 28 Sales __ 30 Oft-grabbed ride 31 Be in hock to 32 Admission price 33 Not up to snuff

35 Part-goat deity 36 __ de Triomphe 37 Extreme degree 41 Some odometers show them 42 Clay, since 1964 45 Songwriter Amos 47 Matter in court 48 Displays, as a flag 50 Montenegro neighbor 51 __ Club: conservation group

53 Completes a shoot 54 1946 Literature Nobelist Hermann 55 Cybersales 56 Invite to enter 58 Took the hit, financially 59 Time off 60 Venomous snake 63 Double-reed instrument 66 Musical talent 67 “It’s __-brainer!”

ANSW R

O S

CORRECTIONS The article “University faces further litigation in sexual assault case” had been earlier updated to state that Doe does not claim that she was served a spiked drink by a Phi Kappa Psi brother. In fact, she does claim that Smith, a Phi Kappa Psi brother, spiked her drink. She does not claim that Smith or any other Phi Kappa Psi brother sexually assaulted her. The Herald regrets the errors. In a previous version of the article “Graduate students uncertain about future income,” GSC Chair of Student Life Andrew Lynn referred to the group Stand Up for Graduate Student Education. In fact, the group’s name is Stand Up for Graduate Student Employees. The Herald regrets the error.

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“Where Do You Get Your Drugs?” 10:00 A.M. Metcalf Research Building

Spring Career Fair 11:00 A.M. Sayles Hall

Wellness at Brown: Breath and Bliss Yoga 12:00 P.M. South Street Landing, 498

Play-Doh & Paper: 3D Art 2:00 P.M. King House

TOMORROW

Working at Brown: Ask the Organizer 12:30 P.M. Sayles Hall

Michael S. Goodman ’74 Memorial Lecture Series 4:00 P.M. Metcalf Research Building, 101

International Lounge Reception 4:00 P.M. J. Walter Wilson, 313

Talk By Aurelle Vialette 6:00 P.M. Rochambeau House

COMMENTARY PAGE 6 • TUESDAY, JANUARY 30, 2018

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COMMENTARY TUESDAY, JANUARY 30, 2018 • PAGE 7

THE BROWN DAILY HERALD

The second semester slump QUENTIN THOMAS op-ed contributor The idea of the “sophomore slump” has significance outside of the college context: An artist’s second album might not be as good as their first, star rookies lose their luster and sequels are often worse than originals. So, it only makes sense that the second semester of the first year in college may be more challenging than the first. But we don’t acknowledge this particular slump, instead implicitly deeming sophomore year the only acceptable time to experience a decline in enthusiasm. This oversight can make the experiences of some freshmen almost invisible, with serious consequences for students’ well-being, graduation rates and higher education at large. A reckoning with this question is long overdue: What happens when the “sophomore slump” actually comes during your second semester? There are many reasons why the second semester might produce a lull. For starters, a month-long winter break can be jarring for some freshmen still working to find their groove on campus. Most high school winter breaks are two weeks long, which is short enough that most students find it easy to get back in the rhythm of classes. In college, though, the break is much longer. Brown’s winter break is double the time, and rightfully so

— the work that goes into a semester at Brown warrants more time off. The issue arises when students must return to campus after such a long layoff. While students should enjoy the well-deserved break afforded to us, our semester-long adjustment to life at Brown resets. Right before heading home, we’re operating at full speed and as soon as we get back, we’re thrown right back into the thick of things, expected to pick up where we left off. It’s kind of like when you first

tween 1989 and 2016, a 10 percent uptick in self-oriented perfectionism — the need for perfection — and a 33 percent increase in socially prescribed perfectionism — thinking others expect a lot from you — among American, Canadian and British college students. Andrew Hill, a co-author of the study, believes that this pursuit of perfection can potentially harm students’ mental health, noting increases in student depression, anxiety and suicidal thought levels. So, while the

Perhaps the biggest difference between the first and second semesters of college is the latter’s focus on the future. Where last semester it may have been possible to stay in the moment and focus on the present, it’s now impossible to escape talk of the summer and next year. It can feel like the ability to explore and play in the sand has been rolled back a bit — and it has. Conversations with your Meiklejohn shift from, “What classes should I take this semester?” to “How

A reckoning with this question is long overdue: What happens when the “sophomore slump” actually comes during your second semester?

arrive to college, minus all of the orientation stuff. A new semester also means new opportunities — and new challenges to students’ well-being. Using their first semester as a benchmark, second-semester freshmen might push themselves to do more and do better — both in classes and in extracurriculars, social engagements and other activities — than they did their last semester. But, in the race to make the most out of the college experience, other important priorities can fall by the wayside. A recent study in the Psychological Bulletin found, be-

goal of making the most of a new semester might initially seem positive, some freshmen might succumb to the pressures of perfectionism and inadvertently develop a fear of imperfection or failure. And, in its worst forms, this fear can drive some freshmen to lose confidence and even drop out of school altogether — after all, only 58 percent of American freshmen return to the school at which they started for a second year. In a convoluted way, attempts to excel in the second semester may have the potential to produce a slump before students even get to sophomore year.

do I become a Meiklejohn?” In addition to the books and papers assigned in classes, you also have to read up on companies and organizations to start crafting cover letters. To be clear, becoming a Meiklejohn and applying for summer opportunities are not the immediate causes of a slump. Rather, it’s the way in which they reorient the typical workload from one centered around classes to one that is concerned with classes, resume-building and career development that can cause a slump. Of course, it’s reasonable to expect changes in workload and focus as you progress through

college. But this change occurs sooner than we might think, and not everybody is ready to handle it the first time around, in their second semester. Because the “sophomore slump” is the dominant narrative, those who find the second semester to be much more of a challenge than the first might feel isolated in their experiences and think less of themselves for feeling the true weight of college earlier than they’re “allowed” to feel it. But freshman year is a pivotal, makeor-break time for college students. Ignoring their experiences will only make it harder to improve graduation rates, improve higher education and make sure students leave college with a strong sense of purpose. So, what can be done to remedy the “second semester slump?” Brown might consider developing programming for the second semester, similar to orientation. Unit-wide presentations that highlight resources on campus, managing the internship search and planning for sophomore year would not only provide students with useful information entering their second semester, but would also allow them to reorient themselves to Brown before being thrown right back into the mix. The second semester of college is different from the first, but there are ways it can be enjoyable, too.

Quentin Thomas ’21 can be reached at quentin_thomas@brown.edu.

Paying future leaders will pay off CAROLINE MULLIGAN op-ed contributor What do Donald Trump, Chuck Schumer and Paul Ryan all have in common? It sounds like I’m about to write a joke about the lack of diversity among federal politicians. That’s certainly tempting, but as I’m bombarded with emails about career fairs and resume-writing workshops, there’s another, not entirely unrelated, issue at the front of my mind: None of them pay their interns. Trump boasts about how the economy and the job market have improved under his presidency. But while 21 departments in the White House offer internships, all are unpaid. Schumer was involved with co-sponsoring the Minimum Wage Fairness Act, which would have eventually raised the federal minimum wage to $10.10 per hour, but Schumer’s interns currently work for free. Paul Ryan has, so far, raised over $10 million for his 2018 campaign, yet has the gall to say that he is “unable to offer paid internships.” If politicians want to make a statement about economic equality, if they want to drain the swamp of the Washington elite and open up opportunities for economically disenfranchised Americans, then they should start with their own hiring policies, and compensate their interns for the work they do. In addition, because race and wealth are inextricably tied, unpaid work poses an additional barrier for students from underrepresented minorities seeking government work. Though there is an awareness in Washington among senators like Schumer that

the lack of diversity in the Senate is a huge problem, there has not been enough attention devoted to making access to government jobs more equitable. Penn estimates that it would cost students a minimum of $4,500 to work an eight-week internship in Washington, D.C. Time had a higher estimate in 2016, calculating that it would cost around $6,200 to spend 10 weeks at an internship in one of the five cities that students most wanted to intern in, D.C. included. Whatever the exact number, the point remains that it’s ex-

be faulted for assuming that Democrats would pay at a higher rate than Republicans; after all, it’s typically the left that campaigns for minimum wage increases. But White House interns were unpaid under Obama, just as they are now under Trump. This bipartisan reliance on unpaid interns is further highlighted by a 2017 report from Pay Our Interns, an organization which “advocates for an increase in the amount of paid internships within our government, for-profit, and nonprofit sector(s),” which showed that while 8

What does it mean when our public servants expect us to pay for the privilege of interning for them?

pensive: According to the Council for Community and Economics Research’s report from the second quarter of 2017, D.C. had the fifth highest cost of living in the United States. The only students who can afford to take unpaid internships with the government, then, are the ones who have several thousand dollars saved. They’re the ones who don’t have to worry about earning money to pay for the following semester. The government officials who refuse to pay their interns ensure that the connections, recommendations and experience gained from a summer on Capitol Hill are reserved only for the financially secure. This issue crosses party lines. One wouldn’t

percent of Republicans in the House paid their interns, only 3.6 percent of Democrats did as well. Apparently it’s easy to support pay increases in theory, but when it comes to putting your money where your mouth is — well, that’s a little harder. It’s not impossible, certainly; Bernie Sanders does, in fact, pay his interns $15 per hour, the minimum wage that he has repeatedly endorsed. But Elizabeth Warren, another wellrecognized progressive on Capitol Hill, only offers the vague statement that a stipend might be available to students who aren’t getting academic credit or receiving funding from other sources. Political leaning doesn’t mean much when it

comes to paying your workers. Students without the means to easily fund their own unpaid internships are left with an uncomfortable choice. They can stretch their finances to the breaking point, maybe taking out more loans to pay for the next semester. On the other hand, they can eschew whatever free time they would have had to explore D.C. and take on a second, paying job. Of course, they could just not aim for an internship with Congress or the White House. They could spend the summer working for a local politician, saving money while living at home. Or they could find a different, paying job or internship altogether. But the fact that students have other options makes the existence of unpaid internships no less disturbing. What does it mean when our public servants expect us to pay for the privilege of interning for them? When the officials who are supposed to represent us, who are supposed to be pushing for our best interests, are only willing to offer positions to people who can either afford it or who are willing to make significant financial sacrifices? If politicians won’t begin paying interns on their own, then it falls to their constituents to pressure them until they do. It’s time to stop normalizing unpaid labor. The only way to have a government for the people is to have a government made of the people, and that won’t be possible until everyone has an equal chance to make their way into the political arena.

Caroline Mulligan ’19 can be reached at caroline_mulligan@brown.edu.

SPORTS THE BROWN DAILY HERALD

TUESDAY, JANUARY 30, 2018

W. BASKETBALL

Bruno picks up win, drops three to open Ivy League play

COURTESY OF BROWN ATHLETICS

Consistent scorer Justine Gazino ’20 raced down the court in a decisive loss to the Yale Bulldogs Jan. 12. This marked the start of conference play that will take place over two months. The Brown Bears will be facing each team from the Ivy League twice in the hopes of qualifying for the Ivy League tournament.

Gaziano, Mehta, Steeves shine in split record with Yale, losses to Harvard, Dartmouth By RILEY PESTORIUS SENIOR STAFF WRITER

The women’s basketball team (13-4, 1-3 Ivy) opened conference play against Yale (9-8, 2-2) Jan. 12, beginning a twomonth stretch that has them facing off against every Ivy League team twice in hopes of qualifying for the Ivy League tournament. The Bears got off to a weak start, collecting one win and one loss versus the Bulldogs before dropping two straight to Dartmouth (10-7, 2-2) and Harvard (11-6, 3-1). The first contest against Yale was a decisive defeat with a final score of 63-77 in favor of the Bulldogs. Bruno erased a six point halftime deficit, tying the game with just under seven minutes left, but failed to contain an offensive surge from Yale that would help them pull away and win. The

Bulldogs finished with a 19-5 scoring run to finish the game, ultimately tallying 25 points in the fourth quarter. Yale took advantage of Brown’s blunders, scoring 17 points off of its 18 turnovers, while the Bears scored just six points from Yale’s 10 turnovers. Bruno relied heavily on its starters for scoring purposes, earning zero points from the bench. Forward Erika Steeves ’19 led the way for Brown, notching 18 points and 11 rebounds, while guards Justine Gaziano ’20 and Shayna Mehta ’19 added 13 and 12 points apiece. “We have quite a few players that can put up points very quickly. Unlike many of the other Ivy teams, we play at a fast pace, and our 80.6 scoring average is top in the league,” Mehta said. Seven days later, the team looked to avenge its defeat, taking on Yale at home. The Bears were successful, besting the Bulldogs 81-71 in an exciting overtime decision. Brown held the lead for nearly the entire game, but its defense faltered in the fourth quarter, giving up 25 points to Yale and allowing

them to tie the game at 65 and send it into overtime. The team’s rebounding prowess and a fast-paced offense worked to its advantage, allowing Bruno to collect 57 rebounds and tally 14 fast break points. Forward Janie White ’19 added 12 rebounds and 17 points, while Steeves grabbed 11 boards. White and Steeves have led their team in rebounding this season, averaging 7.5 and 8.8 rebounds per game, respectively. Brown pulled away in overtime, outscoring the Bulldogs 15-5 to cinch the victory. Scoring off the bench made a difference in the contest this time, as the Bears tallied 24 points in the win. Gaziano led the team with 20 points. The team looked to continue its winning ways, traveling to Dartmouth Jan. 26, but came up short 78-73. The close game was highlighted by Mehta’s 25-point scoring performance, which sent her to 12th place on the team’s all-time scoring list. Once again, the Bears were hardpressed to finish the game strong,

giving up 45 to the Big Green in the second half and squandering a fivepoint halftime lead. “We need to improve by playing a full 40 minutes of Brown basketball,” Mehta said. Dartmouth had an efficient shooting night, converting on 30 of its 62 attempts. While both teams shot the same number of free throws, the Big Green was a perfect seven for seven from the line, while Bruno struggled, going just four for seven. This alone gave Dartmouth a three-point advantage in a game that was decided by just five points. Gaziano was a reliable scorer once again, putting up 18 points. Steeves’ 16 points, seven rebounds and three blocks highlighted her well-rounded game. The team attempted to bounce back from its loss the next day, playing Harvard at home, but added another close defeat 87-85. There were 10 ties and eight lead changes throughout the game, which came down to the wire. Guard Dominique Leonidas ’21 scored

a layup with just 34 seconds left to play to bring the Bears within one, but they were unable to close, missing a gametying layup as the buzzer sounded. “Our team needs to prioritize the next possession philosophy, both on offense and defense, by being grittier and by working harder for each possession than the other team,” Mehta said. Bruno showed its shooting strength, making 33 of 62 field goal attempts. Guards Gaziano and Mehta put on a scoring display. Gaziano was particularly efficient, scoring a season high 28 points on nine of 13 shooting, with four three-pointers made on six attempts. Mehta added 25 points, seven rebounds, three assists and three steals. Ultimately, the Crimson was able to find the upper hand through rebounding and bench scoring. Harvard collected 40 rebounds versus Brown’s 31, and scored 24 points from the bench, while the Bears once again struggled off the bench with just nine points. The team will continue Ivy play Friday, Feb. 2, hosting Penn at 6 p.m.