C Magazine Vol. 6 Edition 6

Page 1

ISSUE NO 6 may 2018 vol. 6

arts & culture

19

Into a World of Color 22

Downtown Streets Team

25

Arts+Science


EDITORS’letter

THANK YOU TO OUR SPONSORS!

Dear Readers,

We are excited to introduce ourselves to you in the first issue produced by the 20182019 leadership team. As the new editors-in-chief for the upcoming school year, we have put in a lot of hard work to follow in the footsteps of the amazing leadership team we are replacing. We hope you enjoy this issue that we have put together for you. As commonly observed, the intersection of two great industries, such as art and science, can yield results that serve to advance the boundaries of previously established notions. Whether the results are in the form of material products or visual products, the creations that are constructed hold deep meaning in both the realms of art and science. Throughout history, some of the most notable figures in these fields excelled in both simultaneously. This leaves us in search of an answer to the question: how does the integration of art and science benefit society? In this issues’ cover story, “Art + Science,” staff writers Ellen Chung, Angie Cummings, Ashley Guo and Isabel Hadly unpack this complex question and elaborate on the societal distinctions and similarities between art and science. The Downtown Streets Team, an organization that works to integrate the homeless into society, has impacted Bay Area communities greatly. Staff writers Kaillee Correll and Claire Moley provide insight regarding the organization, and share the experiences of three talented members. Staff writers Hannah Darby, Rebekah Limb and Ally Scheve analyze the neurological condition Synesthesia, and colorfully illustrate the experiences of a Palo Altan synesthete in “Into a World of Color.” They explore how the lives of synesthetes differ from most and the benefits they have gained through their circumstance. In “Rewind: a Playlist,” Creative Director Katie Look provides a thoughtfully crafted selection of songs that define the high school experience in the eyes of C Mag senior staff writers. As the 2017-2018 school year comes to a close, an increasing feeling of nostalgia allows seniors to easily reminisce about their experiences at Paly. This playlist offers several unique perspectives, and demonstrates the varied manners in which students experienced their four years of high school. We are so grateful to have been chosen as the editors, and are thrilled to see the variety of stories we will publish for you next year. Happy Reading!

Nazila Alasti Sherwin Amsbaugh Arden & Marilyn Anderson Chip Anderson Melissa Anderson Maya Benatar Angie & Shane Blumel Carol & Larry Blumel Martha Brouwer Lynn Brown & Bob Stefanski Denise & Eric Buecheler Mark & Melinda Christopherson Lina Crane Joan Cummings Dave & Lois Darby Susan Gelman Kirk Gilleran Deb & Paul Gilleran Evelyn & Jim Guernsey Bill & Jane Hadly Juliet & Mike Helft Gary & Wendy Hromada Mary Irving Karen Lambert Juliana Lee Anne & Richard Melbye Bill & Cookie Miley Caroline Moley Andrew & Cathy Moley Katie Passarello Bob Rowell Ed & Susan Rubin Frida Schaefer Bastian Christa Angelika & Guenther Schaefer Ken & Melissa Scheve Tomasina Smith Charlee Stefanski

Ryan Gwyn, Grace Rowell, Lia Salvatierra, Rosa Schaefer Bastian Editors in Chief

EDITORS-IN-CHIEF Ryan Gwyn, Grace Rowell, Lia Salvatierra, Rosa Schaefer Bastian CREATIVE DIRECTOR Charlotte Amsbaugh WEB EDITOR-IN-CHIEF Maddie Yen PHOTO EDITOR Claire Li MANAGING EDITORS Jaime Furlong, Isabel Hadly, Benjamin Rapperport

STAFF WRITERS Chiara Biondi, Maddy Buecheler, Charlotte Cheng, Hollie Chiao, Gabe Cohen, Angie Cummings, Hannah Darby, Lhaga Dingpontsawa, Sam Guernsey, Hannah Darby, Leon Lau, Katie Look, Claire Li, Rebekah Limb, Claire Moley, Lara Nakamura, Mattie Orloff, Alexis Pisco, Hazel Shah, Raj Sodhi, Talia Stanley, Jack Stefanski, Mahati Subramanian, Gigi Tierney, Tyler Varner

COPY EDITORS Emily Filter, Ashley Guo

ILLUSTRATORS Charlotte Amsbaugh, Mia Bloom, Bo Fang, Andrew Huang, Leon Lau, Raj Sodhi

SOCIAL MEDIA MANAGER Ellie Fitton

ADVISER Brian Wilson

BUSINESS MANAGER Kailee Correll

COVER Leon Lau, Charlotte Amsbaugh

PALO ALTO HIGH SCHOOL • 50 EMBARCADERO RD • CMAGAZINE.ORG • @C__MAGAZINE


TABLE of CONTENTS

41

arts 25 33

COVER

14

culture 08

ART + SCIENCE ARTIST OF THE MONTH

SOPHIE NAKAI

REWIND (A PLAYLIST)

36

NURSERY RHYMES

10

THE HEROS BACK HOME

38

AN ARTIST AT PLAY

snippets

14

ARTIFICIAL INFLUENCERS

41

THE VERY LAST VANS WARPED TOUR

04

16

THE EXTREME OUTDOORS

42

PACE

04 04

YOUR MOM

C MAG PERSPECTIVE

06

A DOG'S PURPOSE

19

INTO A WORLD OF COLOR

44

SHAKE WHAT YOUR MAMA GAVE YA

07

ARCHITECTURAL ODDITIES

22

DOWNTOWN STREETS TEAM

46

C MAG'S SUMMER BOOK CLUB


your mom. TEXT AND DESIGN BY MADDY BUECHELER, EMILY FILTER AND SAM GUERNSEY • PHOTOS BY RYAN GYWN

Vivian Feng T-shirt Sweater Guess 1997

Sam Guernsey Jeans Levis 1983


Shopping in someone else’s closet is one of the most effIcient and cost effective methods of revamping your wardrobe, especially when the clothes are your mom’s now-vintage wear. Here are a couple of your mom’s in-style treasures that you’ll want to snag!

Maria Fletcher Jade Ferragut

Tank Top Adidas 1993

Jeans Lucky Brand 1998

Shoes Adidas 1998

Northface Jacket 1997


a dog’s

purpose

U

navoidably loyal and adorable, dogs not only serve as ideal pets, but contribute to modern society in incredibly gallant ways. Delve in as C Magazine interviews Erik Schubert, a Paly sophomore, with a puppy on the path to become part of a Search and Rescue team.

C Mag: What kind of dog do you have and what does she want to do? Erik Schubert: My mother is currently training a purebred yellow lab named Zola. She is seven months old. Her dream is to go on search and rescue missions and maybe even work with law enforcement. Right now my mom is training her by herself at a very basic level, and Zola will hopefully pursue higher service education in the future, which might lead to a career in search and rescue. C: What is the training like for Zola? ES: Currently, she attends some basic obedience classes because she is still very young.

The class meets once a week, and mostly just lays the foundation for being a service dog. Afterwards, we are hopeful that we will be able to get her into CARDA. C: What is CARDA? ES: CARDA stands for California Rescue Dog Association. It’s this organization that will turn Zola from a relatively obedient and energetic dog into a certified search and rescue dog. CARDA is also completely volunteer based, which is really cool. However, even after aspiring service dogs get into CARDA, they have to pass lots of tests to become a certified service dog. I estimate there’s about a one in ten chance that dogs will graduate from CARDA, but the ones that do are the best in the field. C: What do you like about having Zola? ES: Zola is really amazing because in between the hyperactive moments, she’s super relaxed. We watch “The Office” after my long day of school and her long day of training. She also loves playing fetch and messing with her favorite toy, Mr. Monkey. Right now, I am simply a playfriend of the dog. But when she grows up, it will be really amazing to know that I helped her become so talented.

TEXT BY CHARLOTTE AMSBAUGH AND RAJ SODHI ILLUSTRATION BY CHARLOTTE AMSBAUGH PICTURE COURTESY OF ERIK SCHUBERT 6 • SNIPPETS


ARCHITECTURAL ODDITIES TEXT BY CHARLOTTE CHENG AND JACK STEFANSKI • ART AND DESIGN BY LIA SALVETIERRA

Although the Bay Area is full of extravagant mansions and luxury apartments, here are some of the quirkier homes that you may have not seen before.

L

ocated in the scenic summits of Twin Peaks, two intriguing houses are conjoined by a unique outdoor space. The smaller house is is built around a silo, a large cylinder which is typically used to store grain, however also serves as a staircase connecting all four levels. The entire house is fitted with vaulted ceilings and arched ceilings, which create a structure reminiscent of a barn. The larger structure has a more traditional feel and layout, due to its its typical rectangular construction.

S

et on the picturesque Dolores Park, this renovated church manages to retain all charm of the original design, while integrating modern architectural features. ‘The LightHouse’, as its called by the developers, has several grand architectural aspects that make it a popular site in the heart of the Mission District. The grandeur of the pearl white building is further demonstrated through distinct columns, this along with the large silver dome on the roof create the distinct look of an ancient greek temple.

P

erched on the side of a hill in Hillsborough, the orange and purple ‘Flintstone House’ serves as an eye-catching contrast from the soothing green hills that surround it. Due to its prime location above Highway 280, this house is well-known among the Bay Area community. It is primarily characterized by its strange bulbous shape, vibrant color palette, and a recent addition of dinosaur sculptures in the front yard. The architectural gem shares a few similarities with the house featured in the famous Flintstone cartoon. Both structures, digital and real, consist of features such as distinct oblong windows, a cave-like interior and handcrafted appearance. SNIPPETS • 7


good life

[kanye

2am

[slightly

kusanagi

stoopid] [odesza]

all night

[the

sir duke thinkin bout you

miracle mile everything peaches

west]

[stevie

best i ever had too many years

[ugly

god]

[drake] [kodak

black]

DESIGN BY KATIE LOOK • PHOTOS BY RYAN GWYN

ocean]

war kids] [kaptan]

[in

water

vamps] wonder]

[frank

[cold

loving is easy [rex orange county] tears dry on their own [amy winehouse] hold my hand [jess glynne]

the valley below]

true blue the palisades

[dirty

beaches]

[childish gambino] untitled 06 | 06.30.2014. [kendrick lamar]

jordan belfort dancing queen i know

[wes

walker] [abba]

[mista

rogers]


prisoner guap gold

[the

weeknd]

[big

sean]

[kiiara]

all my friends sunset lover sunday night

[lcd

soundsystem] [petit

biscuit]

[070

shake]

granted yours you & me

[my

brothers and i]

[russell

dickerson]

[marc

e. bassy]

young dumb & broke go gina sativa

good day know no better

[lil

yachty]

[major lazer] i know there’s gonna be [jamie xx]

lose my cool

[amber

mark] father stretch my hands pt. 1 [kanye west] stolen dance [milky chance]

homegrown

[khalid] [sza]

[jhene

aiko]

[zac brown band] body like a back road [sam hunt] signed, sealed, delivered [stevie wonder]


10 • CULTURE


THE

Heroes Home BACK

S

erving in the United States Army is considered to be one of our country’s most honorable and patriotic undertakings. More than two million men and women serve in the force, leaving three million husbands, wives, sons, daughters and parents waiting at home. In Silicon Valley, this path of duty is not as common; many fail to realize the everyday emotional adversities these family members face, no matter where in the world their loved ones are deployed. While it is typical for stories to focus on the heroes who serve, C Magazine has shifted the camera onto the people closest to them. These are the voices of the spouses, siblings and children of those who make sacrifices every day to fight for our country.

TEXT BY ELLIE FITTON, JAIME FURLONG AND LEON LAU • DESIGN BY ELLIE FITTON AND JAIME FURLONG • ILLUSTRATIONS BY HANNAH LI 11 • CULTURE


F

A Daughter

or many children whose parents serve in the military, intermittent time spent without their mothers and fathers is normal. During most of their childhood they are unable to register the gravity of their parent’s sacrifice because for them it is all they have ever known. This, however, does not numb the heartache that is felt every time they watch their parent depart, unaware of the next time they will be able to see them. Staff writer Jaime Furlong spoke with Paly junior Teagan Felt whose father, Stephen Felt, served in the army for 14 years, discharged as Lieutenant Colonel. JF: How long did your dad serve in the army? TF: My dad served in the army for 13 years, starting in 1992 and being discharged in 2006. He originally signed up to help pay for college. JF: Where did your family move to? TF: We moved to Egypt because he was stationed there to prevent and control the disease spread during the Iraq war. JF: What is the longest you would go without seeing him? TF: When we lived in Egypt he would leave for about a month at a time. JF: How about speaking to him on the phone? TF: I would get to talk on the phone with him about once a week, but not always. JF: What was life like in Egypt? TF: I went to an all-American school called Cairo American College (CAC) which started in kindergarten and went through high school. That’s where all military kids went and children of diplomats; I went to school with the Egyptian President’s nephew. At school I had a lot of American friends and Egyptian friends as well. Since I was so young everything I experienced was normal to me. In Egypt, there were guards on every street corner holding big guns. There was also a lot of poverty as it’s a third world country, so there were stray dogs and cats everywhere. JF: How did you feel when your dad got deployed? TF: My dad was in the army years before I was born so growing up

B

I didn’t know anything else, I was used to him leaving. I was always sad when he left, but I always threw a party when he came back. JF: Do you feel like your dad missed out on a part of your childhood? TF: I feel like there are things that my dad missed out on, but for the most part he didn’t miss a lot. He made a big effort to be there as much as he could and he was never deployed for months on end, but for periods of weeks. JF: What was life like when your dad was gone? TF: It was normal to me when he was gone because ever since I was born that’s what my life was like. JF: Did you ever wonder if you wouldn’t see your dad again? TF: I was too young to really understand that he was risking his life and being put into war, so I never feared it when it was happening. Now that I’m older I realized what he was being surrounded by, and it’s scary to think that he could not have come home at any point in his years of service. JF: What are the positives and negatives of your dad’s service? TF: I think my dad’s service gave my family a lot of opportunities as it allowed my dad to continue his education and eventually become a professor and researcher at Stanford. It also allowed us to move to new places and have new experiences like moving to Egypt. A lot of people, when they hear I had to move around a lot when I was younger, think that it would suck, but I loved it as I got to see new parts of the world.

A Wife

eing a husband or wife to those who serve requires grace and endurance. Every military spouse has a story to tell and has made countless sacrifices along the way. Living oceans apart with limited communication poses emotional challenges to many adapting to a life independent of one’s partner. Each day, military spouses everywhere are working hard, many in single-parent situations, finding a way to make their careers fit with their unusual lifestyles. Staff writer Leon Lau spoke with Kristen Yen about her experience as a wife to former US Army officer Will Yen. LL: How long has your spouse served? KY: Six years, he finished in 1999. He actually decided to join the military after he completed his master’s degree. I supported him and it was something he wanted to do and he felt like he needed to do so he signed up. He went through basic training, as anyone would if they were going into the military, but because he had a college degree he went directly into being a officer. LL: What division has your spouse served in? KY: 500th Military Intelligence Brigade in the US Army.


S

A Brother

iblings play a unique role in one another’s lives as their shared childhood forms their companionship. This bond is thought to be one of the strongest and most important in one’s life. Each year, millions of Americans part with their brothers and sisters as they leave to join the U.S. Military. No matter how unjustifiable, the uncertainty of their return fosters a lingering sense of angst, as the thought of losing the lives and therefore camaraderie of brotherhood and sisterhood is painful. Staff writer Ellie Fitton spoke with John Christopherson about his experience as an older brother to Joe Christopherson, a member of the U.S. Army.

EF: Who in your family serves in the military and for how long have they been serving? JC: My younger brother Joe is a First Lieutenant in the Army. He’s been serving for about two years now. He did ROTC (Reserve Officers’ Training Corps) at Gonzaga so even though he’s only been active for a few years, it feels like it’s been longer. EF: How often do you typically get to see him and what kind of emotions do you feel when he is away and when you see him again after a long period of time? JC: He’s stationed out in Colorado so I only get to see him a few weeks out of the year. It’s usually five days or so around Christmas, and then another week here and there for big family events or when he gets leave. The time when he is home is really special. We have a big family but everyone clears their schedules when he’s home so we can all hang out together. The hardest part of it all is when he’s away and everyone in our family is together hanging out. Someone at some point will make the comment that they wish Joe was home. If he’s not out in the field, we definitely call or FaceTime with him just to keep in touch and stay connected. It’s kind of a “catch 22” though because the pride he has in what he’s doing and the pride I have in him for everything he’s doing is huge. It makes the sadness when he’s gone seem easier.

EF: How old was he when he started serving and how old were you? JC: Joe was right out of college, so, probably 22. I was 25. EF: Was everyone in your family always supportive of his decision or did it take some convincing? JC: Everyone has always been supportive. We all knew how important it was to him and that was most important. Initially, it was more worrisome, just because everything was new and you are aware of the possible dangers. As he progressed through ROTC and his training after college, we quickly realized how well trained and knowledgeable the members of the Army are and that eased any of my fears. Even as he gets closer to a possible deployment, I’m beginning to understand that this is their job and they know how to do it safely...or as safe as possible.

LL: When is the longest you have gone without seeing/speaking to your spouse? KY: When he was deployed, I did not get to talk with him over the phone since he was in locations where he was unable to contact me. The deployments were about 2 months long. LL: What kind of feelings have you felt when your spouse was deployed? KY: I was very proud of him and the work that he was doing. I missed [him] greatly when he was deployed but our time apart during those times, pales in comparison to loss of loved ones that other military spouses have experienced. LL: What is life like while your spouse is deployed? KY: I was attending a graduate program, so I was able to focus fully on my studies. It’s not like I didn’t miss him, I had plenty to do on my own, I had my own things that I was focusing on.

LL: What are the positives about your spouse’s service from your perspective? KY: His parents were immigrants and he felt that the United States had given so much to his parents and he wanted to return something back to the US. In my perspective, when he joined the military he ended up growing up a lot; it tossed him a lot of responsibility, and by going in as a officer, by default he become a leader. For me, it was really cool that he got the opportunity to do such a thing that would benefit more than just the families who lost someone in a war or even benefit to villagers who are also affected by the war. LL: What are the negatives about your spouse’s service from your perspective? KY: One of the disadvantages of the military is that it doesn’t facilitate [a career] for a spouse.

CULTURE • 13


0 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 1 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 0 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 Emergency 1 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 Alert 0 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 Be cautious of an oubreak 1 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 of beautiful, artificial instagram models. Objects 0 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 onscreen are more 0 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 deceiving than they 1 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 appear. 1 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 1 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 1 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 0 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 1 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 0 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 1 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 0 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 1 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 0 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 0 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 1 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 1 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 1 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 1 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 0 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 1 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 0 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 1 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 0 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 1 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 0 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 0 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 1 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 1 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 1 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 1 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 0 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 1 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 TEXT AND DESIGN BY LHAGA DINGPONTSAWA 0 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 AND HOLLIE CHIAO • ILLUSTRATIONS BY HOLLIE 1 01110110 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 CHIAO01100101 AND ADRIAN SMITH 0 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 1 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 0 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 14 • CULTURE 0 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 1 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101

01 01 01 00 01 01 01 01 01 00 01 01 01 01 01 00 01 01 01 01 01 00 01 01 01 01 01 00 01 01 01 01 01 00 01 01 01 01 01 00 01 01 01 01 01


0 1 0 1 0 0 1 1 1 1 0 1 0 1 0 1 0 0 1 1 1 1 0 1 0 1 0 1 0 0 1 1 1 1 0 1 0 1 0 1 0 0 1 1 1

01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 Initially, Wilson was interested in developing Miquela’s authenticity is her status01100111 in the 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 a non-profit, artistic experiment, yet Shudu’s fashion and activism communities. Recently 00100000 01100110 01101111 01110010 01100101 01100101 01110010 01100011 01101101 perfected images began01110110 to garner widespread named Vogue’s “Fictional It Girl,” Miquela’s attention, serving as a 01110010 clear indication01100101 of her comments on topics regarding 01110010 political 01100001 01100111 00100000 01100110 01101111 01110110 01100101 future prominence on social media platforms. activism, more specifically the Black Lives 01100011 01101101 01100001 01100111 01101111 01110010 01100101 01110110 Similar00100000 to celebrities 01100110 in the past, Shudu’s Matter Movement, displays her authenticity notoriety has provided 01100111 her with opportunities as a 01100110 virtual model.01101111 Miquela’s interactions 01100101 01110010 01100011 01101101 01100001 00100000 01110010 to partner with brands and promote products on social media promote a more intimate 01100101 01110110 01100101 01110010 01101101 01100111 00100000 to the 01100011 public. The rapid transition 01100001 from a connection with her followers, actions01100110 that are digital 01100101 rendering into01110010 a humanized 01100011 beauty representative of the cultural shift concerning 01101111 01110010 01100101 01110110 01101101 01100001 01100111 influencer demonstrates the progressing fame and what it means to be a celebrity that 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01100011 01101101 interests of the community on Instagram, wields01110010 influence. most 01101111 of whom are 01110010 attracted to 01100101 surface The application of01100101 social media and other 01100001 01100111 00100000 01100110 01110110 01110010 aestheticism. In conversation with Harper’s technologies in a modern context demonstrates celebrities have struggled 01100011 raditionally, 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 with what is made public and what is Bazaar, Wilson described Shudu’s primary how effortless it has become for contemporary “Shudu is an01100111 ‘art piece’ and00100000 [I see] celebrities to form a 01101111 strong following01110010 or gain 01100101 kept 01110010 01100001 01100110 from fans or01100011 critics, whether01101101 it be purpose. her as a ‘virtual’ celebration of beautiful, darkinfluence. With limited resources, celebrities their history, personal relationships or family. 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 The status that celebrities hold and the sense skinned women,” Wilson said. “As a fashion in the past solely relied on word of mouth [I] wanted to recapture the kind to create a substantial following, the only 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 of mystery that surrounds them provoke a photographer, of beauty epitomised by black supermodels, way to promote themselves being through burning 01100110 curiosity for an 01101111 inside look into01110010 their 00100000 01100101 01110110 01100101 01110010 01100011 01101101 private lives. However, the introduction of and Shudu is an extension of [the] impulse their established talents. This forced artists to frame beauty.” In addition to promoting to perfect their skills,01100101 as impressing 01110010 a crowd 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 social media in the modern day has allowed Fenty Beauty, Shudu has shared an Instagram at a concert could potentially be their only fans to 01101101 gain an intimate perspective of 01100011 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 photo sporting earrings by Oscar de la Renta, chance to obtain support. In the modern celebrities’ lives, eliminating the previously a famous Dominican-American day, social media platforms and the ability to 01100101 01110010 01100011 01101101 01100001 01100111designer. 00100000 01100110 01101111 01110010 established sense of privacy. This inherently Her Instagram feed is currently comprised of communicate online allow for a more personal introduces a new type of fame, one that is01110010 more 01100101 01110110 01100101 01100011 01101101 01100001 01100111 00100000 01100110 connection between celebrities and their fans. digitally based and centered around social Through Twitter, Snapchat or Instagram, fans 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 media platforms. In the modern era of fame, from all over the world have the opportunity Instagram models and 01101111 Twitter personalities 00100000 01100110 01110010 01100101 01110110 01100101 01110010 01100011 to bond with a celebrity, a concept01101101 that a are often compared to more traditional seemed impossible just decades ago. When 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 celebrities. However, recent transgressions social media influencers such as Lil Miquela within 01101101 pop culture have revealed 01100111 more 01100011 01100001 00100000 01100110 01101111 01110010 01100101 01110110 and Shudu have the ability to reach out to an contemporary celebrities, ones that are tainted amount of people comparable in number to a 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 by technological advancements, including that of a Hollywood artist or singer, the reality photoshop and sophisticated CGI programs. 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 of where society’s 00100000 interpretation 01100110 of fame These digitized celebrities, commonly known is headed in the future becomes apparent. 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 as ‘virtual celebrities,’ contradict the standard The undeniable contrast between older and “insta-famous celebrity,”01101111 as the person behind 00100000 01100110 01110010 01100101 01110110 01100101 01110010 01100011 contemporary celebrities not only 01101101 suggests the camera is actually a digital illustrator or various other promotional posts, as well as a how the undeniable influence wielded by social 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 a graphic designer instead of an amateur magazine cover with Ulihoumism Magazine, media, but how that influence can adjust the photographer. The emergence of these project01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 an obscure arts and culture publication. way people view fame and how society dictates based social media figures sets a controversial Shudu’s01100001 journey to fame demonstrates two who is01100110 considered “famous.” The introduction 01100101 01110010 01100011 01101101 01100111 00100000 01101111 01110010 precedent for fame. transgressions made within society: the of virtual celebrities into mainstream media Coining the term “digital supermodel,” 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 power of social media in the modern day and and their increasing association with fame Shudu, the world’s first virtual supermodel, the increasing attraction to technologically indicates that the new standard is headed 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 has racked up a strong social media following beauty. down an unprecedented path. of over 100,000 people.01101111 Her account, 01110010 easily enhanced 00100000 01100110 01100101 01110110 01100101 01110010 01100011 01101101 Lil Miquela is another Instagram-based mistaken for an average beauty or fashion and singer whose smooth complexion, 01100001 01100111 01110010 01100101 01110110 01100101 01110010 Instagram account, rose00100000 to fame after01100110 she model 01101111 stiff body positions and proportional features was featured in the promotion of Rihanna’s 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 highly-anticipated makeup line, Fenty Beauty. are components reminiscent of characters from the popular virtual reality game00100000 Sims. 01100101 01100011 01101101 01100001 01100111 01100110 01101111 01110010 Shudu’s 01110010 physical appearance, although These questionable elements of Lil Miquela’s impossibly perfect, appears realistic. However, 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 if you look behind her external facade, it appearance culminate skepticism within her media audience, primarily regarding 01101111 01110010 01100011 01101101 01100001 01100111 becomes01110010 apparent that 01100101 every aspect of01110110 her social 01100101 their ability to determine the real from the persona 01100110 and online collective serves an artistic 00100000 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 artificial. Although she has not addressed purpose. More than just a digital supermodel, the questions and rumors concerning her 01100001 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 Shudu 01100111 is a long-running photography authenticity, many believe that her photos project 01101101 created by photographer Cameron 01100011 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 Wilson, who ran the account until Shudu’s are thoroughly edited to achieve her CGIlike appearance. What01100111 continues to promote 01100101 01101101 01100001 00100000 01100110 01101111 01110010 identity 01110010 was revealed 01100011 in March of 2018. 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 01100011 01101101 01100001 01100111

T


THE ext

OUTDO TEXT BY LEON LAU, CLAIRE LI BENJAMIN RAPPAPORT DESIGN BY LIA SALVATIERRA

H

iking alone across the United States, exploring ice covered mountains or free climbing over a 20 foot drop may seem like something only highly trained adults could do, but these Paly students are pushing their limits to conquer their goals. Oscar Scherer, Sinclair Myrick and Maddie Dong have all set out, exploring the great outdoors in ways normal high school students could only dream of. In a world of parents coddling and protecting their children from the scary outdoors, these students travel into the wilderness to push their boundries.

16 • CULTURE

Oscar Scherer

O

scar Scherer, a Paly senior, tosses a sleeping bag, sleeping pad, raingear, a supply of food and bear spray into his bag. This is all he needs for his next adventure — conquering the infamous Pacific Crest Trail. This hike stretches along the west coast from the south of Canada to the Mexican border; Scherer is planning on hiking the entire trail alone. His passion for the wilderness began when he was younger, from hearing stories of his uncle’s journey through the Appalachian Mountains. This, combined with a lifelong love of backpacking and hiking, inspired him


xtreme OORS

TEXT BY LEON LAU, CLAIRE LI AND BENJAMIN RAPPERPORT DESIGN BY LIA SALVATIERRA to take a gap year and pursue what he has always dreamed of, a year in the mountains. However, there are necessary steps Scherer must take in order to prepare himself for three and a half months in the wilderness. “I go backpacking fairly often,” Scherer said. “Over spring break, I went hiking a lot and I try to go once every weekend.” He occasionally trains at the gym, but tries to avoid it because it cannot compare to the outdoors. Despite his urge for adventure, Scherer is still nervous about the trip. “Of course I’m going to be scared, I’m gonna be out there

for 3 months,” Scherer said. Despite his concerns, he still remains optimistic about the journey. He won’t be completely isolated as he is planning on making frequent pit stops in nearby cities for supplies. After completing the trip, he plans to return home and take on various jobs for a year or two, hoping for a career related to backpacking. “If you’re not ready for college, I would recommend taking a gap year and doing something you love,” Scherer said. Even if the experience falls short of his expectations, it allows him to further himself and discover more about the world around him. CULTURE • 17


Sinclair Myrick

P

aly senior, Sinclair Myrick, emerges from his tent, knowing that it is the day he conquers the tallest mountain in South America. While many train for years, refining their rock climbing skills, before deciding to conquer a 22,841 foot peak in the middle of Argentina, Myrick first started his quest of mountaineering his sophmore year. Mountaineering is the sport of summiting peaks in any way necessary, using ice picks, rock scrambling and rock climbing. “We read ‘Into Thin Air’ and that really got me into the world of mountaineering,” Myrick said. While many would turn away from scaling huge mountains after

Maddie Dong

C

limbing is a spectrum, there are many aspects to it, you can climb inside, for competition, or outside,” Maddie Dong, a Paly senior, said. “Climbing outside always takes me to beautiful places.” At age ten, Dong first fell in love with rock climbing after participating in a summer camp that involved climbing indoors. This immediately ignited her passion for the sport, where she is driven to push herself further everyday. Even though Dong mainly climbs indoors, her practice and familiarity of climbing has prepared her for the outside trips that she has taken. Over winter break, Dong and her friends went to Bishop, California to climb some of the areas most well known boulders. The extensively rough terrain pushed her to her limits, yet “the goal of getting to the top

reading “Into Thin Air,” a book about a climbing disaster on everest, Myrick was very attracted to it. “After reading about it, I realized it’s all about decision making and mountaineering can be very safe if you make the right decisions” Myrick said. As practice, Myrick climbed mountains in Yosemite and other national parks. During his junior year, he traveled to Argentina to climb the Aconcagua Mountain, the tallest mountain in South America, with his guide as his only companion. “We climatized at 15,000 feet for about a week and then went to Aconcagua,” Myrick said. There were many different reasons for climbing the Aconcagua Mountain that

attracted Myrick’s attention. “It was the perfect combination of everything: high altitude, technical and in an awesome place,” Myrick said. “It was perfect.” While it was an incredible experience, it was not an easy goal to accomplish. “The Summit Day alone [the day they reach the top of the mountain] was 20 hours, so after taking in the amazing view I was ready to come back down,” Myrick said. Myrick wants to encourage others to find the courage to set out and climb a 20,000 foot mountain one day. “Start by rock climbing and have someone teach you the basics,” Myrick said. “Start small and build your way up.”

is always worth it,” Dong said. Dong has gotten a chance to experience both indoor and outdoor climbing and has been able to thoroughly compare the two. “Climbing outside is my favorite of both,” Dong said. “I think there is something very tangible about finishing the climb which is very satisfying to an athlete like myself.” Due to the risks that accompany climbing, many people are turned away from giving the sport a try. “This is definitely a sport where you need some annoucsive bravery in your system,” Dong said. Even though she will be graduating this June, Dong does not want to give up her passion for rock climbing. She plans on trying out for the collegiate climbing team at the university she will be attending. Dong encourages others to try out this

sport since she believes that a enormous amount of bravery must be exercised. Climbing can be safe in a controlled atmosphere, but still pushes people to step out of their comfort zones. “You don’t need as much upper body strength as you may think, so I would encourage anybody to go to their local gym to try it out,” Dong said. At first, it may be scary to pursue an intimidating challenge that seems dangerous, but the feeling of conquering the latest mountain, climbing that rock with no support of a rope or hiking hundreds of miles makes individuals forget their fears. Pushing one’s body to its limits and working to get themselves into the best shape possible is extremely gratifying and is the reason these Paly students fully pursue their extreme passions.


L O O C R F O D L R O W A O T N I

Exploring the secondary sensation experienced by synesthetes and how it impacts their lives.


O

ur unique perception of every individual we encounter is a natural aspect of the human thought process. When meeting someone new, we may register their eye color, posture or tone of voice, often times developing judgements based on those observations. However, for Palo Alto resident Marena Herr, a freshman at Menlo School, the cognitive stimulation she receives when interacting with an unfamiliar person does not stop there, but instead leads to the involuntary experience of a second sensory pathway, in her case, the sensation of color. This phenomenon is known as synesthesia. Synesthesia, a neurological condition otherwise known as joined perception, is a cross-wiring in the brain that connects two distinctive senses, such as sight and taste or sound and touch. It can occur in a multitude of combinations, with an Herr, Synesthete estimated 60-80 subtypes of the condition. These forms include an array of extraordinary capabilities, such as seeing music, smelling

“I usually never forget a name because I am able to identify people with their colors.” - Marena

20 • CULTURE

colors or hearing textures, demonstrating the spectrum of unique ways someone can experience synesthesia. “A simple way of explaining it is that it’s a mixing of senses,” Melinda Mattes, an AP Psychology teacher at Paly, said. “There are different types. For instance, color-graphemic synesthesia is when an individual perceives letters and/or numbers as colors.” Some of the most accomplished authors, musicians and artists of the past century have lived with synesthesia, and the condition has helped them throughout their careers. One example is Duke Ellington, a jazz icon of the 20th century, who felt colors and textures for each musical note, helping him to compose innovative jazz music. Partially due to its rarity and non-harmful effects, the condition of synesthesia has not been thoroughly researched. It is estimated that around four percent of the world’s population lives with synesthesia. Herr is one of the few with this rare condition. She realized that she experiences synesthesia after a conversation with her sister years ago. “[My sister] Eva was reading a book about it [synesthesia], and she told me what it was about and I told her she was an idiot because everyone could do that,” Herr said. To her surprise, this was not the case. After surfing the internet, she discovered that her capacity to associate each person she meets with a color was not a universal ability. Synesthesia has offered various benefits to Herr, and allows her to easily categorize people she connects with. “It’s been kind of helpful to me, as it is a way to organize people,” Herr said.“I usually never forget a


name because I am able to identify people with their colors.” These colors present themselves more intensely when she is having a conversation with the specific person. However, Herr does not always immediately feel a color for everyone she meets. “Sometimes I will have a color for someone after meeting them only once and for others it takes longer,” she said. Herr also possesses the capability to

Many aspects of Herr’s type of synesthesia, such as the absence of a color that correlates with herself and her twin, are baffling and left without answers. The unpredictability of each synesthesia combination and the resulting cognitive abilities presents a unique and individual experience for each and every synesthete. Although Herr’s condition includes an organizational factor of identifying people with their colors, aspects of Herr’s form of synesthesia still remain unclear. “There aren’t really any patterns and if my feelings towards someone change, their color won’t change,” she said. “Although there aren’t patterns, the most common - Melinda Mattes, AP Psychology Teacher colors that people are, are yellows and reds. visualize rooms or objects as People are barely ever grays, light blues or a color different from the one actually pinks.” present, a capacity only shared by only It is likely that what is known about some synesthetes. “When I am in a teacher’s synesthesia will expand. Researchers may classroom, it will feel like the color of the never be able to explain why Herr does not classroom is the teacher’s color when it really feel a color for herself and her twin sister, or isn’t,” Herr said. why it takes longer to feel a color for certain One of the most interesting nuances of individuals compared to others. However, Herr’s synesthesia is that her identical twin by listening to the individual experiences of sister, Vivian, is the only person, other than those with synesthesia, and implementing herself, that she does not associate with a color. new technology and resources in researching “I don’t know why this is, but when I think the condition, more knowledge surrounding of her, I don’t immediately feel a color like I this elusive condition is bound to be do when I think of other people,” Herr said. unlocked.

“A simple way of explaining synesthesia is that it’s a mixing of senses.”

TEXT AND DESIGN BY HANNAH DARBY, REBEKAH LIMB AND ALLY SCHEVE • ILLUSTRATIONS BY DAVID FOSTER


TEXT AND DESIGN BY CLAIRE MOLEY AND KAILEE CORRELL • PHOTOS BY KAILEE CORRELL

Streets A Cities don’t just consist of large buildings, beautiful landmarks, and frenetic streets. They encompass unique stories told from the point of view of their citizens.

22 •• CULTURE CULTURE 22

city is often considered a complex ensemble of streets and overlooking structures, yet, there are distinct, imperceptible social boundaries that divide the population into two primary factions. This dividing line is not drawn by race or gender, but rather the issue of housing. In every urban community, homeless people line the sidewalk, lying inside flimsy canvas tents or pushing shopping carts piled high with their sole possessions. With nothing more than a glance from the corner of our eyes, the same thoughts fill our minds each time we pass. We start to wonder: what do homeless people do each day? And how did they find themselves in this situation? Larger cities, such as San Francisco, serve as a common place for homeless people to find shelter. Outlets within these cities include facilities that provide restrooms and other hygienic resources to the homeless; additionally these outlets are prime panhandeling locations. As the homeless population grows each year, a Northern California organization works to find a solution for this situation. The Downtown Streets Team works to minimize the number of homeless people in the Bay Area, providing them with jobs cleaning streets in municipal areas and in return temporary,

safe places to live. The organization serves as a stepping stone to find a stable way to live, work and ultimately lead a better, more empowered life. Generally, the program achieves an average of eight employment placements and ten people housed per month. These teams exist throughout the Bay Area and work together, not only to change lives, but to give back to the environment through various group-based work programs. The organization has many locations, including sites in Palo Alto and San Jose. When walking down University Avenue, you may see some of the team members sweeping the streets or cleaning parking garages. They are easy to identify, with vibrant yellow shirts and neon vests, labeled with the Downtown Streets Team logo on the front right pocket. Some of their current projects include working at Elizabeth F. Gamble Gardens, the Downtown Food Closet and various other locations in downtown Palo Alto. The group also works closely with the Palo Alto Police Department. Driven by the motto “Ending homelessness through the dignity of work,” the Downtown Streets Team maintains their promise by helping the community, reducing the number of people living on the streets and increasing their members’ sense of purpose.


Downtown Team

Dowtown Streets Team is an organzation dedicated to providing solutions to the struggles of the homeless population.

Impact

S

ince their foundation in 2005, the Downtown Streets Team has had an immense impact on its members, securing over 1,500 homes and jobs for their participants. With the jobs they have found through the program, team members have earned a total of $3.3 million dollars since 2011. Not only has this program provided long term stability and empowerment for its team members, but it also works towards helping the community. The team is one of the primary reasons behind the recent 50 percent decrease of crime in Palo Alto, as well as the 75 percent decrease in panhandling. The team has also been successful in their work towards cleaning up the neighborhoods, creeks and city streets of their communities. Team members from across the Bay Area have swept over 88,000

tons of debris away from the urban waterways that lead into the San Francisco Bay. Additionally, members from San Jose have helped clean up mounds of garbage and abandoned household items from the local homeless encampments. Another environmental issue that provides work opportunities, is the improper disposal of cigarette butts. Members of the San Rafael team began to pick up cigarettes off the streets and have influenced other cities to follow in their footsteps. According to a team member, this is a “win win win” scenario, as the environment and the surrounding community benefit from these clean ups. The last ‘win’ is reserved for the previously homeless people who have been given a second chance to show they are making a positive change in their lives.

CULTURE • 23


Gypsy

T

he path to becoming homeless is different for everyone. Most aren’t able to earn enough money to ensure their ability to take care of themselves in a healthy manner.

Blake Hadang

A

This, in turn, leads to time spent sitting on the street asking passer-bys for loose change. Brandy Blumenschein, commonly known as “Gypsy,” remembers his experiences asking for money on the streets. “I’ve been homeless for a long time, and I’ve made money [by sitting] in front of the 7-Eleven and asking people for change,” Gypsy said. However, begging for money in this manner did not cover his cost of living. “I would sit out there for six hours or more and get anywhere between five and forty dollars depending on the day,” he said. With this unsteady source of income, Gypsy was unable to live a healthy and secure life. This state of economic insecurity resulted in a few minor criminal offenses and court appointed community service. Through the court, he found the Downtown Streets Team and joined the welcoming community. The Downtown Streets Team provided

n old Toyota van was the only source of shelter available to Blake Hadang when he faced homelessness, a situation that was unexpected for him. Five years ago, he was living in his van, attempting to find a solution to his financial dilemma and lack of housing. When he first found out that the Sunnyvale Downtown Streets Team met at a local church, he was hesitant to reach out and connect with them. However, once he joined, he was equipped with the ability to rebuild his life. “[The Downtown Streets Team] has done a fabulous job for me [and] has helped me tremendously,” Hadang said. “[They] helped my pay off a lot of my credit card debt, fix my car, and they helped me with my housing.” Things are looking up for him, and through the team, he has found a place to live

him with a stipend, consisting of gift cards for convenience stores and gas stations. This form of economic support means that Gypsy is no longer worried about how much money he will collect out on the streets. In addition to the stipend, Gypsy is now attending classes at Foothill College. “They pay for my books so that I can go to school,” Gypsy said. So far, the experience has positively affected him, as he is now able to buy necessities, such as textbooks and school supplies. The Downtown Streets program has allowed him to live without economic or housing concerns, and provides him a sense of pride. “It shows the community that I’m changing and progressing as a person,” Gypsy said. “When you go out there and help the team clean the streets, it makes you feel good and [like a] productive [member of ] society. It gives you a real sense of purpose.”

after searching for four and a half years. Aside from housing and financial stability, he has also taken on more leadership opportunities, such as determining if the trash cans lining University Avenue should be emptied. The Sunday team leader, Reverend Deb Anderson, described Hadang as “cheerful, always on time, dedicated and [someone who pays] close attention to detail.” With so many different stories and experiences of being homeless, it is easy to brush over the details. When he was put in this unexpected position, Hadang was starting to lose hope. But with the Downtown Streets Team, he was able to find a new direction for his life.

Deb Anderson

T

he Downtown Streets Team benefits more than just the homeless, offering benefits to various community members as well. Each team is made up of a combination of community volunteers and homeless team members who are working in exchange for room and board. Within each team, green and yellow shirts distinguish team member levels. Deb Anderson, a former minister, is now one of the Palo Alto team leaders, and has recently been named a community outreach leader. “Prior to being a team leader, I was interfacing with businesses in the Palo Alto area,” Anderson said. This connection provided

the streets team with donations of unsold items from small businesses in the area, supplying some of the homeless members with shoes or jackets. As a leader, Anderson works to support each team member, giving words of encouragement to inspire them. To her, the team is a great opportunity for current homeless people to become employed and remain committed to the organization, helping them gain work experience. The Downtown Streets Team changes thousands of lives and helps make the environment a better place to live in. “The downtown streets team is as great as it can be.”


ART SCIENCE

TEXT AND DESIGN BY ANGIE CUMMINGS, ASHLEY GUO, ISABEL HADLY AND ELLEN CHUNG ART BY CHARLOTTE AMSBAUGH AND LEON LAU


C Magazine explores the unlikely intertwining of two opposing subjects, art and science, and the importance of incorporating this new duo into society.

T

he analytical, intensely detailed world of science and the creative, freeing world of art are commonly perceived to exist in disparate realms. Though these broad areas of study appear to be polar opposites, their intersection yields innovation and advancement in both the art and STEM (Science, Technology, Engineering and Math) fields. The collaboration between art and science is evident in many different elements, ranging from the materials used, to visual products, advancements in technology and more. As t i m e has progressed, it has become clear that without elements of art in science and science in art, the advancement of both become limited. Integrating art and science throughout society, starting in education programs like STEAM (Science, Technology, Engineering, Arts and Math), has begun to expand people’s mindsets and will broaden the future opportunities for young people. This combination will not only advance each individual field, but will lead to massive changes and improvements within society itself.

Background ---------rom the scientific revolution of the 14th century to the mass

F

26 26 • ARTS CULTURE

media age of today, art and science have worked cohesively to revolutionize the way in which we perceive the world. The drastic changes in the art and science fields during the Renaissance, extending from the 14th to 17th century, allowed artists like Leonardo Da Vinci to push for a deeper understanding of their surroundings. A primary example of the cohesion of art and science in Da Vinci’s work is his use of human anatomy to create life-like works of art. During the Renaissance period, spanning across three centuries, radical changes within the art world took place, such as the use of linear perspective and chiaroscuro to advance shading. Despite the advancements that arose, there were persistent societal restrictions on any free thought that went against the strict religious dogmas of the 15th century. Later, the Enlightenment Era allowed scientific fields to flourish; coinciding with this prosperity, millions began to question the world they lived in and the purpose of their actions, resulting in a rapid progression of art and artistic techniques. Paul DeMarinis, a Stanford Art Practice professor and artist, comments on the fundamental need for both subjects, saying, “Art and early science both provided ways of coping … with [the] changes imposed by external events.” The transition from a feeling of predictability to an overwhelming sense of confusion resulted in a complete shift in the art world; thus, a time of reasoning and introspection called the Baroque period was born. DeMarinis believes that the use of cultural practices to cope with an ever-changing world is one of the fundamental aspects of art throughout history. “The traditional roles of all these cultural practices, including art was, for many hundreds of millennia, to maintain a kind of predictable and steady orientation within a world full of


unpredictable events,” DeMarinis said. Revolutionary scientific discoveries of the Enlightenment fascinated populations and artists who used their artworks to capture this extreme enchantment in the eyes of millions. Whenever science progresses, it alters the way people perceive their surroundings, permitting art to step in and aid a population’s understanding and acceptance concerning the changes in their lives.

Technology ---------echnology and artwork are often viewed as separate entities,

T

but technology can be incorporated into artwork to enhance a piece, allowing the artist to express a wider variety of ideas and emotions through their work. Aspects of technology can be utilized and applied to art in ways that add a practical function to a piece in order to fulfill and convey an artist’s intended message. Technology can provoke diverse thoughts and provide a unique view on different topics, allowing people to find beauty in fields traditionally considered strictly technical and not creative. “People under 30 know how to pay attention to electronic media while many do not know how to sit through a concert of music or look at paintings for very long,” DeMarinis said. While traditional art may seem mundane to younger generations, the addition of tech grabs their attention due to its familiarity, creating a connection between the viewer and the piece. While technological aspects help engage younger audiences, some believe using tech decreases the value of a piece, as it does not conform to the standards of traditional art. “Authenticity no longer depends on the aura,” DeMarinis said. “Rather, [it depends on] the cult of the artist.” When creating a piece, the artist is the one who chooses the message they want to convey to their audience, whether it be social reform or personal thoughts. The way in which an artist utilizes technology and the level of artistry within the piece can directly affect the viewer’s perception of it. The amount of tech used is not necessarily what is important, but rather how it is utilized and how it benefits the piece. Some also believe the genuinity of art correlates to the amount of effort put in. Modern technology can now create paintings and songs with little to no effort required from the creator. “‘It is too easy’ – machine learning (e.g. WaveNet) can compose a classical piano sonata in a wink,” DeMarinis said. There is a worry that technology provides a shortcut to a beautiful end product. Technology used in art without thought or skill can be degrading, but when applied intentionally to convey a message, it is an effective and enhancing addition to a variety of pieces. Artist Peter Wegner created the piece “Monument to Change as it Changes,” displayed by Stanford’s Graduate School of Business,

Consider art and science to both be cultural practices, art perhaps predating what we now think of as science

--paul demarinis

ARTS• •27 27 CULTURE


spanning a wall with steel and polycarbonate. The structure displays 2,048 flaps of different colors, each programmed to flip into various patterns. These designs change, and each can remain unique and unrepeated for a duration of eight hours. The technology behind this piece comes from European train stations where flaps similar to these are used to display train arrival and departure times. These changing train station times are displayed on rotating flaps which had inspired Wegner’s work. This installation is a representation of the constantly evolving future. Especially in the world of business and finance, the future of industries are always adapting. These shifting patterns mimic reality and symbolize the movement of the world since it never remains stationary. Wegner’s art piece has given colorful emotion to the technical world of business and finance. It exposes a different, softer side of industries, altering the way people think of these numerical and highly structured fields and the reality of an evolving future. The use of technology allowed Wegner to convey his message and show change in a way that fully embodies the versatility of communities, people and of the world around us.

Authenticity no longer depends on the aura, rather the cult of the artist. --Paul DeMarinis

Materials and Ceramics --------- --- --------

A

rtwork can benefit from the utilization of scientific techniques through the analysis of the material components of a piece. In the field of material science, the design and discovery of substances are combined with an understanding of physics, chemistry and engineering. By inspecting art mediums through a scientific lens, scientists and artists can work together to determine the best elements for a particular piece, in order to elevate its quality and longevity. To combine these focuses, Stanford University chemical engineering professor Curt Frank and Stanford art teacher Sara Loesch-Frank teach a class called An Exploration of Art Materials: The Intersection of Art and Science, where students study art materials in a scientific context. Frank and Loesch-Frank created an environment where painters, sculptors and photographers interact with chemists, anthropologists, and bioengineers to enrich their understandings of the scientific and artistic aspects of art materials. “Artists and scientists both enjoy experimenting so it is odd that they have been thought of as opposites over the years,” Frank and LoeschFrank wrote in their paper, Perspectives on Art Materials. “Through trying different approaches, both fields benefit, so this pairing seems appropriate.” Analysis of the composition of art provides an in-depth view of the materials that were relevant to the time period it was originally created in. This application of material science exposes the cultural context of the artwork. By examining the properties of various pieces, scientists and artists can make claims about art during varying times in history. “Getting to see beneath the surfaces of Old Masters [paintings made before 1800] from all over the world, with the aid of scientific techniques, is similar to having a conversation with the artists of various 28 • CULTURE


cultures and times,” Frank and Loesch-Frank wrote. The progressive interactions between science and art not only provide insight into the history and culture surrounding past works of art, but also contribute to the quality and longevity of the artwork for the present, as well as the future. Some materials do not retain the same properties in certain conditions and can negatively affect the longevity of pieces. Health issues are also associated with the use of various materials, as many artists have suffered from symptoms as a result of prolonged exposure to toxic compounds. Through creating an interdisciplinary study of material science and art composition, Frank and Loesch-Frank contribute to the art community by educating students about the importance of understanding the health effects of certain techniques and components in art. “Often other processes can change how the materials behave and sometimes can have dire consequences to the artist, the artwork being created or the ability of the artwork to stand the test of time,” Frank and Loesch-Frank wrote. “Conservation and preservation of art are aspects that need scientific backgrounds and can help us better understand the culture in which they were made.” Ceramics, in particular, is a highly technical form of art that gains a great deal from material science studies. Though many master sculptors manage to develop the intuition to determine the best molding, firing and glazing techniques through years of hands-on experience, it is useful for sculptors to connect these artistic techniques to broader topics of physics and chemistry. Ceramicists perfect their craft by understanding how to manipulate heat and pressure by applying scientific concepts to different techniques. Hideo Mabuchi, a professional physicist and the Department Chair of Applied Physics at Stanford University, investigates ceramics and ancient craft

Through trying different approaches, both fields benefit, so this pairing seems appropriate. --Curt Frank & Sara Loesch-Frank practices through the lens of applied physics by using state-of-theart microscope equipment. “As an artist working with clay, there are many ways to achieve beautiful fired surfaces using traditional firing techniques if you understand how best to tailor your clay body composition and the details of your firing process,” Mabuchi said. “Being a professional scientist myself, however, I believe that there is a lot to be gained by making those connections [to broader scientific ideas] whenever you can.” Mabuchi teaches an applied physics class called The Questions of Clay: Craft, Creativity and Scientific Process, where students learn about the technical aspects of ceramics. This class encourages students to use their experience of applied physics in a creative manner that is less theoretical and more tangible. “I find that the real unifying theme of the class is creative process,” Mabuchi said. “Students need to develop a sense of creative process in order to make ceramic artwork that is expressive and individualistic. At the same CULTURE time, I try to•help 29


them realize that scientific research relies upon a kind of creative process that can be very similar to what they pursue in the studio.”The intersection of these seemingly unrelated fields yields many results that provide insight into the cause of many natural phenomena. By combining applied physics and ceramics as an interdisciplinary study, Mabuchi has found that the connections between the two subject areas can be used to advance both technology and art. “It is possible that further research on these unexpected connections could yield new clues for improving high-tech approaches to synthesizing these kinds of crystal formations,” Mabuchi said. “At the same time, I think that knowing about these connections makes the traditional wood-fired ceramic surfaces more profound and, in a sense, more beautiful.”Thanks to the various explorations of the art and science intersection, advances and discoveries have been made that can benefit the world in many ways. Whether it is developing a better technique to preserve an art piece, researching the health risks associated with different art materials or studying the physical concepts of wood-firing ceramic surfaces, the undeniable connections between science and art are paving the way for a growing interdisciplinary field.

Visual ------

V

isual art can be found in many different forms, ranging from photography to drawing and filmmaking to architecture. However, science, unrecognized by most, plays a large role in creating these pieces, making them more appealing, innovative and marketable to a wider audience. There are many different ways that art and science can be combined; one example is when artists and scientists collaborate to create a

cohesive, innovative piece. When integrating science and visual arts, there are many elements to consider, such as color, lighting, angles and creativity, all of which are combined to produce an original piece. Science and visual art have been present throughout history as shown by individuals such as Albert Einstein, Leonardo Da Vinci, Galileo and many other notable names who worked to create scientific and artistic change, giving a platform to the development seen today. Jeannette Murray, an art adviser to the American Association for the Advancement of Science (AAAS) in Washington, DC, researched some of the first cave paintings. These paintings date back to the European Ice Age, depicting animals, weapons and other hunting images that were “perhaps the first instance of the interweaving of art and science.” However, visual arts began making significant advancements in the 19th century, with inventions such as the camera and television, showing that this combination still has more to offer throughout the advancements of society. As this field progresses, it continues to gain more attention and is more commonly seen in media, schools and society in general. “The use of images to explain the invisible in science is [an] everyday example,” De Marinis said. One example of merging images and science to create an educational yet beautiful piece is an exhibit called “Plasticity: Our Changing Oceans” by JD Whitman, a Master of Fine Arts (MFA) candidate at the University of Iowa. Whitman studied marine biology during her Stanley Fellowship in Ireland, while working with the local Natural History Museum. In her collaboration with the museum, Whitman created a piece that “‘is a hybrid between art and marine ecology,”’ she explains in an interview featured in The Gazette. Whitman’s piece is a simulation of an underwater world, with magical drawings of sea life projecting on the inflated walls made

In my opinion, both of these sorts of one-way approaches fall short of what should be our true goal...to do work that is both art and science at the same time.

---

Hideo Mabuchi

30 • ARTS


of discarded plastic that Whitman has collected over the course of two years. Whitman’s intent with this piece is to educate the public on the beauty and importance of the ocean, as well as the impact that plastic pollution has on it and its organisms. “Plasticity: Our Changing Oceans” is just one of many examples of how art and science are combined to benefit and impact society. As this approach of combining these two subjects to create a product continues to spread, both artists and scientists are begining to envision more creative ways to expand their own fields, marveling at the beauty of intertwining two subjects that are thought to be opposite by most.

Education ---------

T

he concept of mixing art and science has also made its way into the education system. Up until recently, students either specialized in STEM or liberal arts. Statistically WWspeaking, individuals who study STEM go into higher wage professions and, therefore, are often given more attention, resulting in a lack of focus on art programs in schools. In order to truly give students a well-rounded education, schools ranging from elementary to college are attempting to integrate art and science into their curriculums. Many individuals who lack an emphasis of arts in their education are less qualified for a multitude of jobs and have less flexibility while exploring different careers. Having a creative mindset is essential in all types of professions, but is not achievable if school subjects are strictly segregated. The integration of art and science within schools is starting to be implemented at preschool levels and is expanding all the way to some of the most prestigious colleges. One example of advancing open-minded thinking is the STEAM initiative. This competitive program began as a curriculum led by students at Rhode Island

School of Design (RISD) is now being offered at elite schools such as Brown, MIT, Yale, Harvard and more. Based on the principles of STEM, the goal of STEAM is to create a program that covers all of the skills necessary in the 21st century. STEAM offers subclasses that specialize in certain fields such as BioSTEAM, which explores living things and their visual aesthetics, and CyberSTEAM, which looks into the ways computer science and technology can create art and understanding. Incorporating STEAM into schools is not an easy task, however, since it takes hard work and communication between teachers of various subjects to create collaborative lesson plans. Nonetheless, these programs that fuse art and science together are becoming significantly more popular as they expose students to the idea that it is okay to be interested in two seemingly opposite subjects, and possible to be successful in more than just one.

---rt and science are inextricably linked in ways that many

A

cannot begin to fathom. We live in a world where art is valued for its expression, and science is valued for its analytical attention to detail. There is not, however, any clear reason that the two subjects should be exist in such separate domains. Together, the two areas of study reveal deep connections in nature that both scientists and artists strive to emulate in their work, leaving infinite possibilities for the combined future of these two expanding fields. “Often, the initial attempts that people make tend to fall into one of two categories: art in the service of science… or science in the service of art,” Mabuchi said. “In my opinion, both of these sorts of ‘one-way’ approaches fall short of what should be our true goal. I think we should aspire to do work that is both art and science at the same time.”


Congratulations Class of 2018!


MONTH

It takes a lot to truly make a character come to life on stage. Behind the curtain, Sophie Nakai exemplifies the skills used to transform an idea into a production.

SOPHIE NAKAI

Artist of the

Every great theater production is propelled by the detailed and extensive work put in behind the scenes. From the precise decision of lighting that guides the mood of every scene to each particular costume design that ensures the complexity of individual characters, backstage production is just as elaborate and important as the show itself. Every step a character takes and every spotlight they stand under is a conscious decision that is executed, rehearsed and perfected. Yet, to truly bring a character to life, actors not only need to play the part, but look it as well. The careful planning that goes into constructing a character’s appearance, from their facial expressions to their costumes, works to generate a full transformation. Behind the curtain, Paly senior Sophie Nakai plays a role in the meticulous backstage work that goes into a theater production. Although Nakai has been involved in a variety of theater productions since fifth grade, her love for costume began her freshman year of high school. Through working on costume design for Paly theater, Nakai was granted the opportunity to discover a passion that has now resulted in a potential career path for her. Her hard work has subsequently landed her a spot in the freshman class at Carnegie Mellon University School of Drama.

TEXT AND DESIGN BY LARA NAKAMURA AND GIGI TIERNEY ART COURTESY OF SOPHIE NAKAI PHOTOS BY RYAN GWYN

ARTS • 33


t first, Nakai was an actress, performing in plays for her middle school and the Palo Alto Children’s Theatre. As Nakai grew older, however, she began to find that the spotlight was less enjoyable than before and developed paralyzing stage fright. In eighth grade, this performance anxiety became so prominent that Nakai could no longer go on stage. However, instead of giving up on theater, Nakai made the transition to stage tech and behind the scenes work so she could continue to be a part of what she enjoyed so much. During her freshman year at Paly, Nakai joined the costume crew and in doing so, was able to delve into

A

The Beginning a new aspect of theater production. The combination of her love for fashion, history and theatre aligned perfectly with the role of the costume crew. Upon joining, Nakai was introduced to one of her older sister’s friends who took her under her wing. “I learned everything from her,” Nakai said. As a sophomore, with the teachings of her mentor, Nakai went on to design her first solo show for Paly theatre’s production of Shrek the Musical. Reflecting on the show, Nakai recognizes the great progress that her costume design has made since. “I had absolutely no idea what I was doing,” Nakai said. “I kind of just went for it, my designs were so bad and it’s not even in my portfolio.”

S ince then, Nakai has completely expanded her skillset as a designer. Her drawings have improved and her research on the characters has become more complex and as a result, so have the final costumes. She began collaborating with other members of the backstage crew, such as the hair and makeup team, to discuss ideas about how the characters should look. In order to strengthen the character analysis used during the design process, Nakai relies on this collaboration with others, even if they are not directly related to design. In Paly Theatre’s most recent show “Venture”, which told the story of a woman working in the Silicon Valley tech industry, Nakai took inspiration from the objects and people around her to create the costumes. One of the main characters in the show,

The Shows

Callie, wore a costume that was inspired by the Amazon Echo, a small, black cylindrical voice-controlled speaker that performs a variety of commands. Nakai’s aim for Callie’s costume was to have it be sleek, modern and vaguely related to tech in order to compliment the plot of the play. Movies and pop culture also play a large role in her creative process. For the production of Beauty and the Beast, Nakai looked towards the Disney original movie and other historical references for inspiration. She combined looks from the film, like the gold ball gown and the blue dress that Belle wore, along with different French styles from the 1750s. This play, in particular, provided Nakai with a chance to fully mix her love for history and fashion.


ARTS • 35

O

ne of the most notable and rewarding experiences of Nakai’s time as a costume designer was her invitation to attend the Carnegie Mellon University Pre-College Summer Program on a full-ride scholarship. Throughout the course of six weeks, Nakai and 12 other students participated in ten different classes in the design and production program offered at the university. The classes consisted of a range of skills that Nakai had never studied before: carpentry, backstage lighting, sound design and painting. She specifically recalls working with a professor, who was an award winning costume designer, and learning about figure drawing, a technique used to draw the human form in a way that is helpful for costume designers. It creates a visual for how the body looks and and how the costumes will fit. From the same professor, Nakai was also able to acquire knowledge on how to make a scale inch model, understand how fabrics look on different body types and how to blend a character into a setting so that they become a part of it rather than stand out. “I understand what I am doing now,” Nakai said. “I know the process of design, how to design and how to work with other people better than I did when I was a sophomore.” After attending the summer program at Carnegie Mellon, Nakai completed an exit interview in which she reflected upon her experiences throughout the summer and shared her design portfolio with a team of reviewers. Nakai

presented her scale-inch models, draftings and the blue dress design used for Belle in the production of Beauty and the Beast. Soon afterwards, she received her evaluations of the interview in the mail and was formally invited to the freshman class of 2022, which Nakai will be joining this coming fall. Although Nakai’s plan is to major in costume design, she will be taking classes in all different areas of stage tech during her first semester at Carnegie Mellon in order to fully solidify what she wants to do. The School of Dramatic Arts, which Nakai will be attending, has a three percent acceptance rate and will play a significant role in determining her future as a designer. Nakai’s theater experience from performer to designer and her transition from one side of the curtain to the other is a unique story that shows the possibilities and opportunities that can come from starting something new.

The Future


NURSERY RHYMESre

P a ly ’ s

Top ten

LIL AND YoUNG RAPPERS

[Based on a survey of 40 Paly students]

TEXT AND DESIGN BY HOLLIE CHIAO, MATTIE ORLOFF AND ALEXIS PISCO • ART BY MIA BLOOM 36 • ARTS


1 2 3 4 5 6 7 8 9 10

Lil Wayne: Known by a select few as Dwayne Carter Jr., this rap legend hasn’t released any

new music lately, but he continues to feature on popular new wave trap artists’ songs, notably appearing on Kodak Black’s “Codeine Dreaming.”

Lil Uzi Vert: Symere Woods or Uzi’s mix of dark, catchy and playful makes him easy to listen to for those who are dipping their toes into trap music for the first time. His lyrics could easily fit into any emo-punk, pop, rap or trap playlist, making him extremely popular among a diverse fan base.

Lil Yachty: Miles McCollum, an Atlanta-based rapper and singer, portrayed his various

alter egos throughout his six albums. “Darnell Boat” is an uncle to Lil Yachty and “Lil Boat” is a more confident and aggressive version of Yachty.

Young Thug: Often overlooked by those who aren’t trap enthusiasts, Thugger’s sound is excitingly unpredictable and more diverse than many forgettable current artists. His self-titled album, "JEFFERY," recieved critial acclaim in 2016.

Lil Pump: The name Gazzy Garcia already had star quality, but he chose to dedicate his rap name to his love for guns. With the recent release of his album, “Harvard Dropout,” new hits like “ESSKEETIT” and “Designer” are expected to push him further into trap fame while staying consistent with the style of his past work.

Lil Xan: With a face full of tattoos, fresh off of Soundcloud and only 21 years old, Lil Xan’s

debut album “Total Xanarchy” was released earlier this month, reaching number 10 on the Billboard Top 200 list. Lil Xan is planning on going by his real name Diego Leanos for the rest of his music career.

Lil Skies: In mid-March, Kimetrius Foose released a collaboration with Rich the Kid, titled “Creepin,” as a follow up to his breakout debut album, “Life of a Dark Rose.” However, later that month, he had to cancel his “Life of a Dark Rose Tour” due to "unforeseen health issues."

Young Dolph: Adolph Thornton Jr., a 32-year-old rising artist, showed the world his

newfound boujee lifestyle by popping bottles and partying on a luxurious boat in the music video for “Kush on the Yacht.”

Young M.A: An abbreviation inspired by her last name, Katorah Marrero is one of the few female rappers under the “Young” umbrella. Young M.A's smooth flow is unapologetically vulgar and never forgets to give to her home town of Brooklyn.

Yung lean: Not many know Jonatan Håstad by his given name. The Swedish rapper is

widely known for his mixtape, “Unknown Death 2002,” and songs “Ginseng Strip 2002” and “Kyoto”. Yung Lean’s style of music is considered by most to be ‘sad rap’.


“How much of what exists around you are you really experiencing? Wake up!”

T

he power of art lies within its ability to communicate messages of importance in an aesthetic manner; however, oftentimes this message can become lost in translation. Most pieces that one encounters in a museum or gallery seem to rely on pre-existing knowledge of art history or religion, leaving the majority of viewers lost in the meaning of the work. It’s rare to encounter works as meaningful as they are comprehensible, yet Palo Alto native artist Nina Katchadourian has accomplished just that. Katchadourian’s work is a perfect balance between intellect and amusement, both of which she finds vital to the function of the artwork. “I despise the words ‘quirky’ and ‘whimsical,’ which I think deprive an artist of agency,” Katchadourian said. “I like the word ‘playful,’ and I also believe in the commitment to rigor alongside the commitment to play.” From last September to December, Katchadourian’s multimedia artworks were put on display at the Iris & B. Gerald Cantor Center in an exhibit entitled “Curiouser.” Katchadourian’s artistic style can best be described as spontaneous, practical and relatable. Unlike the aloof wall pieces and sculptures that traditionally populate museum halls, Katchadourian’s exhibits demonstrate

her creatively expressed admiration for common objects and symbols. The media she employs are varied and surprising, yet entirely intentional. “I often say that I ‘pick the right tool for the right job,’” Katchadourian said. “The idea guides the medium most appropriate for manifesting that idea.” Her work is nothing short of a tangible diary that narrates her creative outlook towards daily life. This versatile approach grants her the ability to create work that resonates with all kinds of viewers, no matter how artistically inclined. Katchadourian’s art career began with immense academic success at Brown University, and she continued on to receive her master’s degree at the University of California, San Diego. Though she is a Palo Alto native and Gunn High School graduate, Katchadourian is currently based out of Brooklyn, New York. Some of her most notable pieces are inspired by her Brooklyn surroundings: streetside advertisements for accent elimination classes prompted a social commentary piece on immigrants’ efforts to assimilate into American culture. Her pieces Mended Spiderwebs (1998) and Accent Elimination (2005) were both included in the “Curiouser” exhibit at the Cantor Center. In Mended Spiderwebs, she

an artist

TEXT, ART AND DESIGN BY CHIARA BIONDI, AMANDA HMELAR AND HAZEL SHAH PHOTOS CURTOUSY OF THE ARTIST, CATHERINE CLARK GALLERY AND THE BLANTON MUSEUM OF ART


displays photographs of naturally occuring spiderwebs fitted with red thread, which serve to repair imperfections and missing gaps in the spiders silk. However, Katchadourian reveals that each corrective piece of thread was removed by the spider, who restored the web to its natural broken state. These rejected threads are framed next to their respective photographs. This piece is included in her set of works entitled Uninvited Collaborations with Nature, which follow the theme of human arrogance and its interaction with the natural realm. The piece Accent Elimination features six television screens playing repeated videos of Katchadourian and her family members imitating each other’s accents; her father, who is a Turkish-Born American, attempts to mimic an American accent while Katchadourian, who does not have a foreign accent, attempts to mimic her parents’ accents. The piece is accessible to many Americans today, and Katchadourian’s ability to convey cultural nuances arouses the viewer’s empathy for the complexity of ethnic identity. Her artistic skill sparks a tone not only of social responsibility and intricacy, but also of humor and its relevance to daily life in modern society. One of her most popular pieces, The Genealogy of the Supermarket

(2005), is a family tree comprised of wellknown advertising characters used on food packages and other grocery store item labels. Little Debbie, the Quaker Oats Man, Chef Boyardee, Mr. Clean and the Green Giant are a few of the characters who are tied together as relatives into a single genealogy. The laughter that this piece inevitably elicits is indicative of the irony of assigning a fictional chef to a factory-produced pasta sauce, let alone an entire family tree. “Humor is a tactic for drawing people in and making them feel at home,” Katchadourian said. “Then, once you have someone’s attention, it’s possible to open up other conversations.” According to this exhibition’s original curator, the Blanton Museum of Art, Katchadourian’s work is seldom created within a studio, but rather in the surrounding environment of her regular activities. Her ability to derive substance and delight from the mundane differentiates Katchadourian from other artists and inspires viewers to inspect their own day-to-day realities to see what insight they might discover. “How much of what exists around you are you really experiencing?” Katchadourian said. “Wake up! That’s what I need from art, and that’s what I hope to give people in my own way too.”

at play

artist nina katchadourian redefines the essence of art as she broaches creativity in everyday life.

ARTS • 39


MENLO ATHERTON

G L A S S COMPANY (650) 322-1116 243 El Camino Real, Menlo Park, CA 94025

If you want to advertise with C Magazine contact: kaileec82@gmail.com


The Very Last Vans Warped Tour TEXT AND DESIGN BY GABE COHEN • PHOTO BY RYAN GWYN

A

lright, guys. Get out your eyeliner and Fall Out Boy wristbands because the Warped Tour is coming to town. Yes, the holy Mecca of emo music, The Vans Warped Tour, is making its 24th trip around the country spreading screams and angst to hundreds of thousands of punkers and goth kids. But this year’s edition brings some bad news: this will be the last Vans Warped Tour ever. For undisclosed reasons, Kevin Lyman, the creator of the Warped Tour, announced on the tour’s blog that this year’s tour will be its final run. Although the ending of the Warped Tour could be another indication of rock music’s seemingly

imminent demise, I’m instead going to focus on how the Warped Tour became an integral part of rock music in the 2000’s. The Warped Tour began in 1995 as a small tour of punk bands with the ska punk legends Sublime as its main attraction. No Doubt, the ska band fronted by Gwen Stefani, also played on the first tour, but were an unknown act at the time. The tour began as a punk tour, but as the new millenium came in, so did a new wave of rock music. Emo music found its roots in pop punk bands like Blink 182 and Green Day, and later evolved into bands like Jimmy Eat World, My Chemical Romance and Paramore. Warped Tour

became a traveling community of punk and emo bands that performed during the day and partied through the night. Many bands found their musical identity on the Tour, and gained popularity through playing their music year after year for attendees. This last Warped Tour has pulled together a diverse group of artists that span the entire musical identity that the tour has developed over the years. Some of its most notorious past performers, such as pop punk band Sum 41 and skate punk band PENNYWISE, are also playing the tour on select dates. The very last Vans Warped Tour will be making its way to Shoreline Amphitheater in Mountain View on June 26th.

ARTS • 41


I

n the Bay Area, the Pace Gallery has become synonymous with the image of dreamlike, multicolored lights scattering down walls like rain. However, this past exhibit is only one of many to be displayed at the various Pace Gallery locations around the world. The first Pace Gallery was opened by an art collector named Arne Glimcher. Located in Boston, the company’s mission was to dedicate the space to modern and contemporary American art. Today, the company is primarily based out of New York, containing three individual galleries. Ownership of the galleries has been passed onto Glimcher’s son, Marc Glimcher, who continues to uphold his father’s legacy.

Beijing B

eijing, known for its technological advancements, fosters many of the most innovative artists in the world. One of these artists is Xiao Yu, an important conceptual artist in China. Conceptualism is a method in which inventive ideology is emphasized over traditional aesthetic, technical and material concerns. In his solo exhibit, “Translocation”, Yu touches upon issues regarding the human condition within contemporary society. The exhibit furthers the creative shift from intellectual thinking to a more aesthetic experience that Yu has been progressing since 2010. Often, Yu creates his art using bamboo as a sculpting material due to the

42 • ARTS

With over 10 international locations, Pace Gallery introduces a new wave of artists to the art scene.

Since the standard for “contemporary” is being redefined every day, the Pace Gallery selects artists who are leading modern movements. “We’re always trying to bring in people who are super engaged in today’s forward thinking mindset,” Calder Anderson, a guide and receptionist at Palo Alto’s Pace Gallery, said. Generally, the international locations of Pace Galleries are chosen based on the avant-garde innovations that are shifting the art scene today, encompassing iconic cities such as Beijing and New York.

plant being thought of as a powerful and spiritual symbol in the Eastern world. Eventually, Yu aims to liberate items, such as bamboo, from the fixed cultural implications so that they are viewed in a more contemporary way. The exhibit begins with a hanging bamboo installation that features long pieces of bamboo that are twisted together and suspended from the air. Yu’s second piece in this exhibit features a similar design of bronze bamboo, which eliminates the literal meaning of the plant and instead focuses more on the experience of viewing the art. Yu creates an environment that presents an aesthetic joy with his contemporary artwork, effectively defining the conceptualism movement.

TEXT BY MAHATI SUBRAMANIAM AND CLAIRE LI • DESIGN BY CLAIRE LI, TYLER VARNER, AND MAHATI SUBRAMANIAM

PHOTO COURTESY OF PACE GALLERY


New York

B

arbara Hepworth, a modernist sculptor, is one of the many artists who occupies center stage in the New York Pace Gallery. Her exhibit “A Matter of Form” is composed of over 25 of her most well known sculptures and paintings. The exhibit embodies her search for abstraction within the body. She uses a variety of mediums such as marble, bronze, aluminum and mahogany. Found among her sculptures are a variety of thematic messages, such as, the relationship between mother and child, man and nature and an individual versus a group. Hepworth creates her pieces using a rigorous technique known as direct carving which allows her to explore spiritualistic connections

with the materials. This method is one that takes many hours of commitment and practice to form the precise lines and perfect cut outs. Direct carving is the process of carving straight onto the material an artist plans on using. This is an uncommon technique, as artists usually form more heedful cast molds to form several different components separately, eventually melding them together into one cohesive piece. Her major works on display are Lyric Form, Elegy III and the three pieces within her Family of Man series: Ancestor I, Ancestor II, and Bridegroom. These particular pieces truly depict the vitality of form, (physical and human), that is prominent throughout Hepworth’s work. Hepworth, unlike other sculptors, pursues a mystical, spirit-conjuring approach to art, attempting to forge a bond with her work.

PHOTO COURTESY OF PACE GALLERY

PALO ALTO

A

series of moving masterpieces from artist Michal Rovner bedeck the pastel gray walls of the Pace Gallery, located on University Avenue. At a glance, Rovner’s collection, “Evolution”, is a puzzling jumble of script and color. Upon closer inspection, however, each individual piece contains thousands of moving, humanoid figures swaying in a continuous, hypnotic motion. Rovner is an Israeli artist, whose work is based off her skills of film-making, sculpting, drawing and her use of sound. When creating her work, she films models and uses digital softwares to manipulate the figures, eventually fusing them together to form repetitive patterns. Rovner has become exceedingly famous in the art world due to her use of non-narrative film, a new concept of moving art which does not tell the story of a specific event. In the past, she has had her work displayed in prestigious museums such as the Louvre, The Whitney Museum of Art and the Israeli Pavilion at the Venice Biennale. “Evolution”, portrays the advancement of humans over time, and predicts how humanity will develop into the future. Stepping into the gallery, people are greeted by two heavenly figures projected onto a large stone imported from Israel. “She’s thinking about the first known marks made and the first time someone was making something creative,” said Anderson.

This piece sets the stage and provides context for the rest of the project. Walking into the second room, a large digital display of a moving wolf, overlaying many humanlike creatures dominates the space. With this work, Rovner aims to introduce the themes of urgency and alertness, present in today’s society. “You have this watchful animal, turning and watching you, and you have the people with something on their mind that indicates this movement and energy,” Anderson said. A key observation is that the humans a r e

positioned to resemble text, to show how the invention of dialect was crucial to evolution. In the final room, Rovner uses a vibrant pink in her pieces along with a dramatic increase in the quantity of humanoid figures. As the gallery progresses, the order of the images dissolves and chaos begins to appear within the image. Perhaps this was meant to portray the future of humanity; how the population will continue to increase and with it will bring the promise of more advanced and exciting technology. One of Rovner’s noteworthy features is the actual process that she follows to create her art, especially the use of people who she has filmed. “What’s interesting about these is that she’s using actual humans as the character, so- it’s sort of mind-melting.”

PHOTO BY CLAIRE LI

CULTURE • 43


Dirty Dancing

u

I

u

u

u

remember attending my first dance competition, walking into the dressing room and being hit by an overwhelming aroma of hairspray mixed with sweat. What I didn’t expect to see was a room full of girls, my age and younger, wearing close to no clothing. Little did I know, many of the dance numbers being practiced would later entail these girls not only walking around in skimpy costumes, but skillfully twerking in their performance. I was in shock; these were things that did not belong at my innocent ballet studio. Dance competitions are an exposition of thoroughly practiced performances, with everyone participating in hopes of taking home an award. I have been competitively dancing on and off since I was eight years old, and throughout my experience in this world, I have been exposed to the vicious world of dance. Competitions have allowed me to grow immensely as a dancer but have also exposed me to the brutal oversexualization of women in the dance world and society in general. The overly competitive environment is a result of the cutthroat nature of the brutal dance business, full of judgement and constant comparison. Many dancers who attend competitions seek these opportunities to promote successful careers, however, realistically, these competitions won’t contribute to one’s future in dance. The more serious competitions, such as “Youth America Grand Prix,” offer opportunities to young dancers, such as being signed to a professional company, but this is one

u

of the few competitions that may further a career in dance. Since the majority of these competitions are purely for fun and practice, it makes me question why people are willing to dress or dance in inappropriate and revealing ways in order to win. These dance competitions have been popularized by the reality TV show, “Dance Moms,” which exaggerates the maternal drama of competitive dancers. In addition to women living vicariously through their young daughters, mothers on the show not only allow, but even encourage overly-sexualized costumes and shockingly raunchy dance moves. The drama within the show consists of the dancers and mothers competing for the teacher’s attention and approval. If a dancer wins, they are continually praised, but if they lose, they are belittled and receive no recognition for their meticulous work. The dancers on the show are encouraged to do anything it takes, even if it includes dancing scandalously, to receive this desired approval. There is a disconnect in the dance community regarding the true meaning of dance competitions. While it is rewarding to win titles and receive first place trophies, dance competitions offer so much more; allowing dancers to perform and receive expert feedback in a setting other than their usual studios. All of this is lost in the clothless race to first place. A viral video, that was published a few years back on YouTube, depicts seven-yearolds performing a group dance to Beyoncé’s “Single Ladies” at a competition. At first

“The attention that dancers receive for being overly sexualized t 44 • ARTS


Dance competitions were first created to serve as a platform for dancers to better themselves and their craft. Over the years, the dance community has lost sight of this, and have transformed into an excuse for young girls to dance and dress provocatively.

glance, the video may appear to be an innocent and entertaining display of talent, but in reality, it features first graders dressed in bras and garters, dancing in a fashion that could easily be mistaken for a striptease. The parents of these children received significant backlash and were interviewed on multiple talk shows, defending their actions by stating that “it was all part of competition culture,” and “their children are only ‘acting’ and ‘pretending’ for entertainment.” I believe that there is a fine line between actually being sexual and simply “acting” sexual. The kids featured in the video have their entire adulthood to express their sexuality, but at this young age it should be considered inappropriate. A seven-year-old should not need to feel sexy, but instead focus on learning how to tie their shoes and write in cursive. At my dance studio, Ayako School of Ballet, we focus on ballet and contemporary dance, different from other studios in the area since they primarily focus on jazz. I would argue that jazz is a style of dance that has been increasingly sexualized over the years. The style first originated in the 20th century, constructed with class and some sass. Contrastingly, jazz of today has drifted from classy and gone straight to trashy. This is due to choreography growing more inappropriate and consequently becoming caught in a cycle of abundant recognition at competitions. I don’t agree with the validation of this new style of jazz, because I believe such sexual behavior and actions should not be

encouraged. The attention that dancers receive for being overly sexualized teaches young and developing girls that this is the norm. Dance competitions are not completely to blame, but the choreographers and studio owners who allow their dancers to dance in provocative ways should also be held responsible. I fully believe in female empowerment and allowing women to act and dress how they please. But as I previously stated, girls of this young age should not be exploring their sexualities, and consequently get objectified. We live in a world where women’s bodies are constantly being sexualized and we need to prevent this overexposure of young women in the larger world as well. The dance community needs to begin making a conscious effort to end this new, accepted culture. Dance competitions are no longer about perfecting and improving the artistry of dance among individuals, and instead have turned into competitions of those who can behave and dress the most provocative. Many dance competitions have made efforts to fight this new culture by awarding certain performances and dance studios for keeping their dances age-appropriate and classy. This is something that must become a widespread practice in order to make a real change. Dance competitions have allowed me to grow tremendously as a dancer, and this is what they should be doing for all dancers. The community as a whole should refocus their efforts to allow all participants to continue to thrive and perfect the artistry of dance.

TEXT BY MADDIE YEN • DESIGN BY CHARLOTTE AMSBAUGH AND MADDIE YEN • ILLUSTRATIONS BY RACHEL GU

u

u

u

d teaches young and developing girls that this is the norm.” ARTS • 45


So You’ve Been Publicly Shamed Jon Ronson

C

an a single inflammatory tweet or Instagram post ruin your life? According to the horrifyingly plausible anecdotes in “So You’ve Been Publicly Shamed,” absolutely. In this pop-psych read, author Jon Ronson dissects the emotion of shame and its omnipresent influence on society from 17th century Paris to the digital age. Ronson’s connections to shame seem to know no bounds – he debunks the Stanford Prison Experiment in one chapter, tackles gray-area sexism within the tech industry in another and addresses a retired Formula One racing chief ’s anti-semitic sex scandal in the next. At first glance, many of these incidents appear unidimensional, describing moral dilemmas with obvious answers and perpetrators who receive their just punishment. But Ronson’s writing reveals the terrifying power of public opinion and how wellintentioned righteousness can subliminally encourage conformity.

- chiara biondi

c mag’s summer book club The Hate U Give Angie Thomas

T

upac’s rap album, “Thug Life, Vol. 1,” became a musical sensation in 1994. The title of the album has transcended the 90’s rap scene to become a mantra for life in the subsequent decades. “Thug Life” has manifested itself into pop culture, appearing in memes, hashtags and modern slang. However, the current interpretation of the saying “Thug Life” strays from Tupac’s original message: rooting for the underdog trying to rise up against societal barriers. In the novel “The Hate U Give,” author Angie Thomas explores the motto of “Thug Life” and its integral role in black culture. Thomas follows sixteen-year-old Starr Carter, an African-American teen struggling to navigate two worlds – the poor black neighborhood where she lives and the posh suburban prep school she attends. The delicate balance Starr constructs between these two experiences is destroyed after she witnesses the fatal police shooting of her childhood best friend. Thomas elegantly explores a community encountering grief and turmoil, as well as Starr’s journey to recognize both the discrimination that surrounds her and how she can utilize her voice to encourage change. This book is an incredible portrait of culture, community and womanhood. It is a must read for those who not only desire to be engaged with the ongoing struggle of the African-American community, but also be immersed in an authentic portrait of a contemporary American teen.

- ally scheve


I Am Not Your Perfect Mexican Daughter Erika Sánchez

P

erfect Mexican daughters prioritize their families. They would never consider moving out of their parent’s house after high school. Julia is not your perfect Mexican daughter; that’s Olga’s role. Following her older sister Olga’s tragic death, Julia is left alone to mend the broken pieces of her shattered family. As a daughter of undocumented Mexican immigrants living in a roach-infested apartment in Chicago, Julia is penniless and eternally indignant about her life in poverty. Her sarcasm and intellectual curiosity leads Julia to stray from her parents expectations and manifest her own reality. Erika L. Sanchez’s book, “I am Not Your Perfect Mexican Daughter,” explores a real and raw world - one that uncovers the struggle between upholding your families’ traditional ideals while maintaining personal desires and values. Through love, mystery and adventure , this novel will immerse you in a different way of life, shedding light upon an unconventional perspective.

- hannah darby

TEXT, ART AND DESIGN BY CHIARA BIONDI, HANNAH DARBY, AMANDA HMELAR AND ALLY SCHEVE

a few accessible yet enriching reads for your relaxing summer days

In The Shadow Of Statues Mitch Landrieu

A

s a rudimentary concept, divisions in the American South have been fundamentally unaddressed throughout history. Examining the conflict as a matter of history or a matter of racism has been a relatively silenced topic among politicians, as indicated by the excruciatingly slow progression towards equality. “In The Shadow of Statues” is a commentary by the mayor of New Orleans, Mitch Landrieu, on the issue of Confederate statues and their sentimental representation of black and white Americans in the South. Landrieu speaks dearly on the genesis of current New Orleans, remarking that although the city caters to a variety of cultures, there is yet to be historical representation for slaves that once helped the city prosper. Despite Landrieu being white, his novel does not preach of his own altruism or reprimand hate he has witnessed, instead he Wspeaks with a fondness for the diversity of the South he grew up with in hopes that others understand how important it is to acknowledge slavery’s lasting impact.

- amanda hmelar

ARTS • 47



Millions discover their favorite reads on issuu every month.

Give your content the digital home it deserves. Get it to any device in seconds.