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ABOUT SCAN SCAN is a quarterly student magazine of the Atlanta location of the Savannah College of Art and Design. All editorial content is determined by student editors. Opinions expressed in SCAN are not necessarily those of the college.



Adobe rolls out its new cloud service.



Sometimes finding love can lead to finding yourself.



Editor, Erin White, explores wormholes and secularism.



Logan Wagoner’s whimisical take on media and personal development.



Meet the Atlanta women keeping the burlesque lifestyle alive.



Faisal Mohammed explores natural beauty.



SCAN features Caleb Diaddigo and Jessaca Spears.



Best cities to put down roots after graduation.

From The Tease, pg. 16 Jo Arellanes. © 2014 SCAN Magazine. All rights reserved. No part of this magazine may be reproduced in any form without written permission from the publisher.






Writer: The Creative Cloud

Illustrator: Staff Portraits and The Creative Cloud


Illustrator: Becoming Africa, Again


Photographer/Writer: The Tease

Graphic Designer

Photographer: Roots

JONATHAN O’CONNOR Graphic Designer


Infographic: Upwards and Onwards Graphic Designer


Illustrator: Born of Stars

Roots, pg. 22, by Faisal Mohammed.


Interested in being published in the Connector or SCAN? Email Erin White at






Written by Matt Cornwall Illustrated by Diana Flores


dobe Creative Suite is constantly evolving. Every few years, newer, more costly versions are released. Adobe’s Creative Cloud now offers a more affordable, high-tech option. CC uses a monthly online subscription plan instead of CS’s one-time download and registration fee. This new distribution method is called Service as a Software (SaaS). The question is, what does this mean for current users? While at SCAD, students have free access to both CS6 and CC. Students should not take this for granted because the professional Master Collection for CS6 can cost more than $3,000. Upon graduation, students will lose access to their SCAD-provided products and are expected to purchase them out of pocket. Some companies may give artists full access to the Creative Suite through employment, however, if this isn’t the case, then CC is a reasonable way to go. On an annual plan, students can subscribe to CC for $50 per month. After two years, the price will start to even out with purchasing CS6. Adobe users such as Derek Schoffstall, creator of an online petition against CC, find SaaS a threatening concept, stating “All of Adobe’s consumers will not be able to make such a large payment every month on the CC subscription model.

In the short term, the subscription model looks to be okay, but over time the only entity that is benefiting from this is Adobe” but by that time, the upgrades to CC will have made it worth the monthly cost. However, CC includes a $70 month-to-month plan for those who don’t want to commit to an annual plan. There’s also a $20-monthly, single application option for “... the professional those who only want to use one or two programs.

Master Collection for

Bloggers, Matthew Guay, CS6 can cost more than explains the customer’s concerns about SaaS, $3,000 ...” “They won’t be able to use the Adobe apps they’ve invested in if they quit subscribing. We’re used to being able to keep old, trusty software around, even running it on older computers to be able to use it when necessary.” Adobe realizes this and still offers CS6 for online purchase. Adobe reassures that no information will be lost or sold and “you’ll still have access to all of the files in the Creative Cloud folder on your computer and via the Creative Cloud website.” Canceling or downgrading memberships still allows the customer to retain use of files stored either locally or on the 20GB cloud. Afterwards, accounts revert back to a free membership and allow users 2 GB of data. If the preexisting data exceeds the limit, users have 90 days to relocate it or risk losing their files permanently. Therefore, the safest thing to do is always save to a hard drive.



Adobe’s cloud is hosted on Amazon Web Services which is used by thousands of businesses worldwide and provides users with top-notch security. While the cloud allows sharing files with others, certain files like .mp3, .mp4, .dfont, .exe, .ttf, .otf and .ttc aren’t permitted for copyright and security issues.

“Users still retain the option to save work to their own computer ...”

Service and transfer files are protected by 256-bit AES Secure Sockets Layer (SSL) encryption similar to financial institutions and governments. Adobe says “Creative Cloud leverages firewall protection, intrusion detection systems, SSL encryption, and proprietary protocols” all for the sake of it’s user’s security. Though this tool is called Creative Cloud, not all files need to be saved on the actual data cloud. Users still retain the option to save work to their own computer–alleviating any concerns about having enough data at their disposal. Adobe clears up any confusion whether or not constant internet connection is required to use the applications of CC. Adobe says “Your Creative Cloud


desktop applications are installed directly on your computer, so you won’t need an ongoing Internet connection to use them on a daily basis.” The only time the internet is necessary is during program installation and registration. After that, the programs will attempt to validate its license every 30 days. Back in December of 2012, Behance joined with Adobe. Behance is a popular online platform used by artists to showcase work. CC subscribers have free access to Behance ProSite which allows the creation of a customizable personal portfolio with its own url which can even be uploaded directly from an Adobe application. Normally, this service costs an artist $99-132 a year. Adobe’s new SaaS distribution for the Creative Suite is a minor change for existing users though the slight changes might not be too obvious at first. Users should keep in mind that change is inevitable, especially with technology. Odds aremost will find themselves jumping on this bandwagon,too, because newer model laptops are ditching the equipment necessary to even run a disc.

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Becoming Africa, Again Written by Nikki Igbo Illustrated by Morgen Billingslea


uring 10th grade physical education, I slouched out of my jeans and into my red and white gym shorts while trying to minimize any exposure of my late bloom of a body. About five lockers down, those Filipino girls were always at it. The nonstop Tagalog. What in the hell were they discussing? Why couldn’t they say it in English? Why was I so jealous? They were called FOBs or “fresh off the boaters,” even by other Filipinos, “Americanized” Filipinos. I could never bring myself to use the expression because, to me, these girls had a unique identity, a tie to their culture and heritage that I didn’t have. I had no idea which boat my folks had been on, what African nation they’d come from, what language they’d originally spoke. These Filipinas knew who they were. Having completed my P.E. ensemble, I slammed my locker door to interrupt their cryptic dialog. Four years later, I was at the Old Navy at Metairie’s Lakeside Mall in Louisiana ringing up another long line of Saturday sales when he came strolling up to my register. I knew who he was. The guy in my world history class who had insisted on walking me back to the dorm that day when I’d been trying to enjoy my A Tribe Called Quest tape by my damn self. The guy who’d wanted confirmation on how good his new Fila looked on his feet. The guy who wouldn’t leave me alone until I actually told him my name, where I was from, what my major was. That guy was now saying to me, “I just got a job working here. Won’t I look so great in these jeans with my employee t-shirt?” I smiled.


“Where are you from again?” I asked while scanning, folding and bagging his carpenter denim. “I’m from Nigeria!” He grinned. I noticed his soul patch and the way he stood a little taller as he said this. “Oh! That’s what’s wrong with you.” I didn’t realize how insensitive this sounded until it was already out of my mouth. But then I laughed and he laughed, and I wanted to know more about him, how’d he come to live in America, and what life was like in Nigeria. I had no idea I’d marry him a decade later. I married Tochukwu (which is pronounced “Tow-chew-kwoo” and means “Praise God”) Igbo for many reasons. He wrote the most amazing love letters and was the only young man I knew who watched CSPAN as if it were a soap opera. He skateboarded, read books like they were going out of style, loved unusual shades of Converse All Stars, adored his family, wasn’t afraid to try sushi, had an addiction to East Coast hip-hop, and had actually golfed with Samuel L. Jackson. He was unlike any other black man I’d ever met. He loved me as if he’d done so over the course of several lifetimes. And he spoke the language of his ancestors — whom he could trace back thousands of years. He knew who he was and, through him, I felt as if I could finally see myself.

“He knew who he was and, through him, I felt as if I could finally see myself.”

Life with him has been a daily education; good, pleasant, even sweet, but definitely not easy. My new last name, Igbo (pronounced “Eeeh-bow” from the gut and with gravitas) is both the name of our tribe and the name of our language. Thus our name is Igbo, we are Igbo and we speak Igbo. Igbo all day, every day for everything. Igbo kwenu! Being Igbo is serious stuff. This tribe to which I now belong has a longstanding tradition of educational achievement. Thus, an Igbo doesn’t stop at a bachelor’s degree. An Igbo collects graduate and post-graduate degrees the way hoarders collect issues of the Atlanta Journal Constitution. An Igbo does not act as an island unto himself. Everything an Igbo does reflects upon his name, his family, his tribe. Thus an Igbo makes life decisions based on the good of the people instead of the good of the individual. Igbos roll deep by definition. There is no such thing as “me,” “mine,” or “I.” There is only “we,” “our” and “us.” We don’t join fraternities. We are a fraternity. The Igbo language itself is difficult to learn because it relies heavily on tone and context. For example, ka means “sorry” and “thank you.” Are you not feeling

well today, My Dear? Ka. Oh, did you go and buy me an orange mocha frappachino? You’re so sweet! Ka. Another example is egbe, which can mean “eagle” or “gun.” Or eze which can mean “teeth,” “chief” or even someone’s name. There are Igbo/English dictionaries available on Amazon, but Igbo is an African tongue with an oral tradition. It must be spoken and heard to be understood and appreciated. There is a rhythm to it. A vibe. It’s beautiful. I wish I would have known it back in my envious 10th grade physical education days. Oh, those poor Filipinas who tolerated my wrath. On my wedding day, the women of Ehugbo (Tochukwu’s village, pronounced “Eh-who-bow”) gave me a new name, Ijeoma (pronounced “Ee-jay-omma”), which means “beautiful journey” or “we have gained something beautiful.” It’s not a replacement or rejection of my name, but rather an addition to it. This new name was a gesture of acceptance, a recognition. They told me that they saw me and they loved what they saw so much that they wanted to commemorate my union to Tochukwu with a rite. It’s like when a Catholic is confirmed and receives a name. That Catholic doesn’t stop being who they are, but something has been added, gained. Initially, I had a hard time wrapping my head around this notion. Though I’d always wanted to be reconnected with the Continent— to be more than just a descendant of a stolen and exploited people — I couldn’t help but feel as if I were betraying my American heritage. I felt as if I were a dichotomy unto myself. I was proud of my African-American heritage. I owned the persistent will that had created the Harlem Renaissance, Black Wall Street and the Civil Rights Movement despite being treated as less than human. I was proud of all of the inventors, pioneers, entertainers, writers, thinkers and political leaders that had come before me, bled for me, hurt for me, died for me. By adopting the Igbo identity, was I rejecting my black identity? Was I losing something in my attempt to become African again? My husband and I constantly discuss this odd sensation. In finding each other, we have found ourselves as two sides of the same coin. He’s an immigrant to America who couldn’t quite understand the American black experience as I am now an immigrant to Nigeria who had little knowledge of the Igbo experience. Yes, we have uncanny interests and quirks that have nothing to do with our ethnicity. (Our shared adoration of zombie movies is other-wordly.) But we also have a desire, a need to rise exponentially. We rely heavily on family bonds. We believe that there is some force in this universe greater than ourselves and we trust in it. We’re both trying to get our parents to stop eating fatty foods. Turns out that we share a common language of which we’re both getting better at speaking every day.



STARS Written by Erin White Illustrated by Liz Smith

It’s possible that we are on the other side of a black hole. A black hole that gave birth to this universe. Mother Hole, if you’re nasty. In a model proposed by Nikodem Poplawski, Ph.D a theoretical physicist at The University of New Haven, that is exactly how a universe is formed. Poplawski hypothesize that once the density of a black hole becomes so great that torsion mechanics kicks-in and squeezes matter hard enough to force it to emerge through the opposite end. This is known as a “white hole.” Science doesn’t discriminate between different color holes.​ Think about stepping on a ketchup packet. Or squeezing a tube of closed toothpaste. Great pressure will eventually force matter out of its container. The matter flows out of a white hole and forms a new universe. It’s the same matter from the universe in which it came. And the universe before that and the one before that. It’s universe “Inception.”

The white hole/black hole phenomenon I just described is what is known as a singularity. Singularities are really freaky. They are events that take place within the areas of black holes where the laws of space and time have been radically distorted to a single continuum. This area is known as the event horizon. If you were to observe someone falling past the event horizon, they would appear to be falling, slowly, for an infinite amount of time. Meanwhile, that figure would percieve the fall in real “time.” The Big Bang Theory, itself, is considered to be the result of a singularity and Poplawski’s white hole theory attributes our universe’s birth to the unstable, time-bending areas of space. Here, space-junk is crushed into three infinite states: infinite density, infinite gravitational pull, and infinite spacetime curvature, bending time as we know it. Some theorize that this extreme time curvature is so removed from how we understand time that, in this capacity, matter has always existed as time has always been. Sounds cool. Poplawski’s theory can be can be tested once we can discover if our universe has a preferred rotational pattern. This pattern will indicate a rotation set by Mother Hole. The fantastic thing about science is that it’s not happy settling. It’s constantly attempting to accurately understand the unexplained and the poorly explained. It encourages further thought, exploration and questioning beyond the current theories. It doesn’t get to one, nonsensical explanation and says, “No, that’s right. It’s in this super old book. Case closed, forever. But, just like other types of singularities and God making light before making a Sun, wormholes and multiverses still beg the question, “The chicken or the egg?”. Which is a really stupid metaphor

because, evolution. The egg came from a proto-chicken, duh. I don’t know if God does or doesn’t exist and I wouldn’t dare claim to. Why do I think God doesn’t exist? Simply because there’s no evidence suggesting his existence. If there is one ‘true’ religion, why is it not so intrinsically true that it is universally perceived as being significantly more likely than the others? A truth so undeniable and obvious that he time/ place of ones birth would become a nonfactor. Since there is no such religion, treating them equally is all we can do. Each one has the same likelihood of being ‘true’, or the closest to describing ‘reality’. The Gods of ancient Greece are just as plausible as any Abrahamic God. This postulates religion as either all true or all false. They can’t all be true because of direct contradiction found in religious texts. By process of elimination

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O they all seem equally unlikely and false. Homo sapiens, in their current state of evolution, has been here for around 100,000 - 200,000 years spending the majority of it dying from diarrhea, teeth problems, and all sorts of painful junk. At one point, the species nearly became extinct, joining the 99 percent of all species that have been wiped clean of the earth. If this was designed by God, what does it say of his abilities to have nearly all his creations fail so violently? If on purpose, we’re dealing with a God that is very cruel or completely incompetent. Not to mention wasteful. There’s a possible infinite amount of universe that houses galaxiesongalaxies containing exploding, imploding, swallowing, colliding planets, stars, black holes, nebulae, and quasars all for what?

exceptional evidence. There are too many unanswered questions and easily disproved information. Faith demands that you accept these terms and agree to them anyway. To blindly believe something based on very poor evidence. This is something I simply cannot do. There’s no reason to. Not only am I, but I’m also aware that I am. I’m a conscious, functioning body interacting with other conscious bodies as we go through the motions of, not just existing, but, if you’re smart, living, too. Through these interactions we yield different perspectives that expose us to the many facets of what being humans consist of. What motivates us, what scares us, what we love, and so on.

“Is God showing off for himself, just ‘cuz? For what reason?”

Is God showing off for himself, just ‘cuz? For what reason? No reason that the bible ever explains. Curious thing to leave out, right? This plot hole is enough reason to suspect the legitimacy of any religious text that seems to overlook this aspect of our existence.The dinosaurs’ snubs, too. Rude. Please, don’t misunderstand me – I’m not angry or bitter with God. I’m angry with myself for the time I lost worrying over the illusion. The fear I felt just for thinking about questioning the faith I was taught. The controlling part of the religion formula works very well. I respect the attempt religion has tried to make. It was our first attempt as a species to explain the what’s and why’s of our existence. It’s the most amateur attempt at philosophy, astronomy, and medicine. It’s incredibly fascinating, however, at this point in our endeavors into physics and biology, we no longer need it. T​ he problem is that the exceptional claims of religion are not met with

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We gain a collective interpretation of how other people wade through life. We wonder if they’re having the same experiences as us. How do other people deal with our random existence? That’s what film tries to explain. And it’s why you watch reality TV. It’s why I write — to undress and expose the essences of what makes up the human experience. To make sense of the true nature of existence by capturing what’s ubiquitous among our species. The elements that allow us to from a community. The things that make us uniquely human. Participating in these elements is what life is. Being here, with each other, is the event itself. There is no meaning or reason — it’s purely experience based on a cosmic lottery. It’s an unnecessary, random, happy accident, and that, in itself, is freaking awesome.on a cosmic lottery. It’s an unnecessary, random, happy accident, and that, in itself, is freaking awesome.

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Illustrated by Logan Wagoner

“The world we live in is filling up with screens. They have created a forest where we sit rooted in front of them with our backs to the window.�

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Written and photographed by Jo Arellanes

If you’re offended by burlesque, then you don’t know how to have a good time. Commonly referred to as “The Art of the Strip-Tease,” burlesque is about concealing, rather than revealing. Women take the stage and perform tantalizing routines, celebrating their sexuality for everyone brave enough to watch. “The difference between a burlesque show and your average strip number is the objective, intention and level of showmanship. The difference is in the tease. There is no mystery in a strip club. You know exactly what is going to happen. You know exactly what their goal is,” says Lola Lesoleil. With moves like “shimmy,” “bump and grind,” “shh,” “showgirl,” “venus,” “tease,” “flirt,” “gaze,” “exposé” and “quiver,” people should prepare for a different kind of theatrical show.

Burlesque began as a show intended to mock the then contemporary theatre productions of Victorian Britain, France and

Left: Tallooah Love Right: Lola Lesoleil

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Italy. Once it migrated to America, burlesque took on a new life by becoming part of the Vaudeville scene. The Golden Age of Burlesque was during the 1930s - 40s when the Great Depression theater productions became too expensive for the average person to watch. By the late ‘70s, it all but disappeared due nudity becoming so commonplace in live performances and film. The mid ‘90s saw a revival, coinciding with the thirdwave of feminism, and everything we see today is known as Neo-Burlesque. Atlanta houses a vast array of burlesque performers and a handful of troupes who are just as diverse as what you would find in any of the major burlesque cities, like Portland, New York, or Seattle. Atlanta’s Minette Magnifique was voted Best Burlesque Troupe by Creative Loafing for 2013. Madam Willy, one of the troupe’s founders, has been in the community for over five years. The Parisian-inspired troupe features performers who are as visually striking as their skills sets. From hula-hoop numbers to full samba routines, Minette Magnifique mesmerizes their audience in classic French style. Tallooah Love has been a performer and producer of burlesque shows for the past 12 years. Her costumes are some of the most elaborate outfits you will see in the city. Known as “the Queen of the Subtle-Tease,” her routines drip with an old-school starlet style. Love is also a teacher at the Atlanta School of Burlesque and thrives on showing people the potential they have within themselves. She will be producing the Glamour Geek Revue at Dragon Con for third time this year. Lola Lesoleil is a reigning Queen of Burlesque, having won two crowns in 2013 alone. She started out as a student studying under Tallooah Love, and quickly became an award-winning performer within her first 18 |

Photographs clockwise from left: Kitty Love, Madame Willy, Tallooah Love, Lola Lesoleil

year of debuting. She frequently performs with the Syrens of the South and teaches at the Atlanta School of Burlesque, as well. She creates numerous unique costumes from scratch. Many of her routines are science-fiction or retro-themed, with “Star Wars,” “Doctor Who,” and “Star Trek” shows in her repertoire. Kitty Love, who spent over twenty years in the adult entertainment industry as a professional stripper, has a very different mission in mind with her burlesque troupe, Cheeky Belles. Her mission? To show the average married women that everyone is a sexual being and once you understand that side of yourself you can lead a happier life. Her shows are geared to be a tamer introduction to the world of burlesque. Other cities, outside of Atlanta, receive burlesque differently. Though Atlanta has a new thriving art scene, it is still very hard to find an audience to support multiple performances in a week, like you would find in Seattle. Also, there isn’t a specific art center, like you would find in New York City, to be a home for burlesque. The troupes are only allowed into a select few venues and fight for an audience. As any artist is well aware of, it is hard it create a career out of something you love.

Burlesque is about women loving their bodies and expressing it publically. The way Atlanta perceives art, as well as how a southern audience accepts art, plays a large role in how the burlesques scene is perceived and will be able to grow. The women, and men in the burlesque community want the art form to not only survive but also thrive. They are working tirelessly to have it take root and become more than what it is. Yet, it takes time. With all the different styles, performances and performers creating different experiences, burlesque can be for everyone. “With burlesque there is more production va. It is about the journey you are going on from the moment you sit down in your seat and the emcee takes the time to introduce a performer. They enter the stage clothed, more than likely, and then you watch the journey it takes from going clothed, magic happens, no clothes!” describes Lola Lesoleil. It is an everyman’s performance. It is a peek into the dark smoky corner of life where you look at a mystery straight on and become dazzled by what you find. Between these women and other notable troupes, such


as Dames Aflame, Blast Off Burlesque, etc. you can see a burlesque show almost every week of the year. However, the community is still seemingly new to Atlanta. Many people are too shy to think about going to a burlesque show because they believe it is just like stripping. But that is a common misconception due to the lack of knowledge and the media’s inaccurate portrayal of the artform. “It is about the magic that happens, that is where the difference is between burlesque and stripping. Its about the connection with the audience and what you want to accomplish when you enter the stage,” says Lola Lesoleil. Maybe your curiosity has been piqued. Maybe you want to take a look in the corner and see what kind of excitement is back there. One quick search for “Atlanta Burlesque” will land you on the door steps to new experiences and lovely performances. For some, it could be a single night of slightly taboo fun. For others, it might become a lifestyle like it has for so many others. Burlesque can become the shoes you wear, the way you walk, and how you see life a little differently. All because you saw a little story performed where someone walks on stage, magic happens, and they leave the stage with less clothing.

Left: Madame Willy Right: Kitty Love 20 |




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Photographed by Faisal Mohammed


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Models: Karen Alise (short hair), Marvis Offor (long hair)



Third-year, Motion Media I love stories. Everyone loves stories. Stories speak volumes to the hearts of people. As a motion designer, my passion lies in storytelling. My desire is to use this passion for motion design and leverage it to tell stories that speak to people and challenge them to think. The power of visual communication inspires me to push myself and continue to learn. I strive to continue to hone my craft as I explore new mediums, learn new skills, and develop a greater understanding of the industry. As a storyteller, I draw my deepest inspiration from what I believe to be the greatest story ever told. It is the story of a God who breathes life and purpose. Jesus gives my life purpose everyday, as He invites me to play a role in His grand story. Because of this, I want to tell stories that reflect the joy I have found in Him.

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All images from demo reel.



Third-year, Motion Media Seeing projects come to life is what drives me to create. Having the freedom to be creative and use my hands to put together is great. Being apart of an entire production, from pre-production to postproduction, is really thrilling. Knowing that we’re putting together a project that will touch someone’s life or enlighten them is exciting. In this industry, teamwork is imperative; two heads are better than one. I love connecting and networking with other talented artists to combine different skill-sets to to produce a bigger project. As an athlete, I wanted to continue my love for sports and combine it with my career, which has brought me to working at League Pass as a Broadcast Operations Assistant. One of my goals for the future is to be a mentor to other young artists.

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Left and right, from demo reel.


UPWARDS & ONWARDS Infographics by Arielle Antonio



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SCAN Winter 2014  

SCAD Atlanta's quarterly student magazine.

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