Faculty Celebration of Major Works 2023

Center for Humanities & the Arts

FACULTY CELEBRATION of Major Works 2023

Center for Humanities & the Arts

FACULTY CELEBRATION OF MAJOR WORKS

2023

Contents Director’s Letter .................................... 6 Aun Hasan Ali ....................................... 7 Loriliai Biernacki .................................... 9 Julie Carr .............................................. 11 Anya Cloud and Tara Knight .................... 13 Brianne Cohen ...................................... 15 Brianne Cohen and Erin Espelie ............... 17 Bud Coleman ........................................ 19 Emmanuel David and Yumi Janairo Roth ... 21 Kim Dickey ........................................... 23 Elspeth Dusinberre ................................ 25 Kevin Hoth ........................................... 27 Daniel Jacobson .................................... 29 Thomas Pegelow Kaplan ......................... 31 Marina Kassianidou ................................ 33 Joseph Labrecque .................................. 35 Jeanne Liotta ........................................ 37 Beth Osnes ........................................... 39 Phaedra C. Pezzullo ................................ 41 Matthew Polis ........................................ 43 Takács Quartet ...................................... 45 Robert Shay .......................................... 47 Núria Silleras-Fernadez ........................... 49 Jeremy L. Smith .................................... 51 Kristie Soares ...................................... 53 Annika Socolofsky ................................ 55 Sarah Stanford-McIntyre ....................... 57 Ted Striphas ........................................ 59 Brian Talbot .......................................... 61 Anna Tsouhlarakis ................................. 63 Keith Waters ......................................... 65 4

ARTS AND HUMANITIES GIVE MEANING ABOUT THE CHA Established in 1997, the Center for Humanities & the Arts (CHA) attempts to do for the humanities and arts what CU’s research institutes are doing for the sciences: support faculty and graduate students in new research, create collaborations across departments, incubate new forms of graduate teaching and training, and reach out to the broader community.

VISION The Center for Humanities & the Arts (CHA) promotes arts and humanities by being a dynamic hub on campus for collaboration and innovation and by creating connections with the Boulder community and beyond.

MISSION The CHA fosters community, supports collaborations, and inspires creativity and research while promoting equity, inclusion, and academic excellence.

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February 2024 Proud. This is how I feel when I look at the accomplishments of our talented and brilliant arts and humanities faculty who have produced and published a major work in their area of specialty in the calendar year 2023. I hope you also feel a sense of pride and a piquing of your intellectual curiosity when you look through these pages. Each accomplishment represents the passions of the faculty who released these works to the world.

I also see the years if not decades of research that each faculty engaged in. Research is not a word that is most often associated with arts and humanities, but it underpins everything that artists and humanists do. Research is the cornerstone of humanities and arts scholarship and creativity. Each faculty who has produced a major work in 2023 conducted enormous research and expended incalculable labor to share their knowledge with the world. I applaud my colleagues in arts and humanities and am proud that their research is out in the world for all to see.

Sincerely,

Jennifer Ho Director, Center for Humanities & the Arts About the Director The daughter of a refugee father from China and an immigrant mother from Jamaica, Jennifer Ho is the director of the Center for Humanities & the Arts at the University of Colorado Boulder, where she also holds an appotintment as Professor of Ethnic Studies. She is the past president of the Association for Asian American Studies and the author of three scholarly monographs.

In addition to her academic work, Ho is active in community engagement around issues of race and intersectionality, leading workshops on anti-racism and how to talk about race in our current political climate.

You can follow her on Twitter @drjenho.

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Center for Humanities & the Arts • University of Colorado Boulder

A un H asan A li Assistant Professor Religious Studies College of Arts and Sciences

The School of Hillah and the Formation of Twelver Shi’i Islamic Tradition I.B. Tauris Against the background of long-standing narratives in which Twelver Shi’ism is viewed as fundamentally authoritarian, The School of Hillah and the Formation of Twelver Shi’i Islamic Tradition builds upon recent scholarship in the fields of Religious Studies, Anthropology, and History to argue that Twelver Shi’ism is better understood as a discursive tradition. At a conceptual level, this solves the basic problem of how to integrate the extraordinary diversity of Twelver Shi’ism across time and space into a single historical category without engaging in a normative assessment of its underlying essence. Furthermore, in light of this conception of tradition, the School of Hillah stands out as a seminal period in the archive of Twelver Shi’ism, though it has seldom been recognized as such in European-language scholarship.

Insofar as it gave birth to a conversation that would prove capable of encompassing the dynamism of Twelver Shi’ism, the School of Hillah should be considered the formative period of Twelver Shi’i tradition. Moreover, when the tradition is conceptualized in this manner, it is a bulwark against the very authoritarianism by which Twelver Shi’ism has been characterized for so long.

The School of Hillah and the Formation of Twelver Shi’i Islamic Tradition book cover

Project website

https://www.bloomsbury.com/us/school-ofhillah-and-the-formation-of-twelver-shii-islamictradition-9780755639090/

“The School of Hillah constitutes a masterful contribution to the field of Shi’i studies.”

- Andrew J. Newman

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A un H asan A li Aun Hasan Ali joined the Department of Religious Studies in 2015. He received his PhD from McGill University’s Institute of Islamic Studies. His research focuses on the intellectual history of Twelver Shi’ism, particularly law and legal theory. His first book, The School of Hillah and the Formation of Twelver Shi’i Islamic Tradition, builds upon recent scholarship in the fields of Religious Studies and Anthropology to argue that Twelver Shi’ism is better understood as a discursive tradition. At CU Boulder, Ali teaches Religious Dimensions of Human Experience, Islam, The Quran, Sufism, and Fundamentalisms. In addition to intellectual history, he maintains an interest in Urdu and Persian literature.

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Center for Humanities & the Arts • University of Colorado Boulder

L oriliai B iernacki Professor Religious Studies College of Arts and Sciences

The Matter of Wonder: Abhinavagupta’s Panentheism and the New Materialism Oxford University Press 2023

The Matter of Wonder: Abhinavagupta’s Panentheism and the New Materialism argues that the writing of the 11th-century Indian Hindu thinker Abhinavagupta offers a cogent philosophical model that gives us new ways of thinking about matter, particularly helpful for our struggling contemporary world trapped in a fraught, complicated relationship to nature and the material world around us, as we head blindly towards an unsustainable world.

What makes Abhinavagupta’s model so helpful for us today, and for a New Materialist approach to our world is Abhinavagupta’s Tantric capacity to embrace both the materiality of the world and the transcendence of matter, as a core reality within matter, proposing a philosophy that finds consciousness—a subjectivity at and as the very heart of matter. Abhinavagupta proposes an ontological subjectivity. The state or emotion of wonder is how to access this phenomenologically.

With this he offers a solution to a familiar conundrum, one we are still grappling with today—that is: how does consciousness, which is so unlike matter, how does it actually connect to the materiality of our world? In familar 21stcentury terms, how does mind connect to body?

This book brings this question to bear in comparative fashion on contemporary issues: our current concerns around what is sentient— animals? viruses? artificial intelligence?—set in relation to Abhinavagupta’s articulation of what gives rise to sentience through his use of

The Matter of Wonder book cover

the term vimarśa; our current conceptions of information as data—articulated in juxtaposition to Abhinavagupta’s theology of mantra, mystic sound; examining Abhinavagupta’s use of wonder (camatkāra) as a philosophical concept, and how his cosmological system (tattva) underwrites his understanding of a foundational subjectivity.

Project website

https://global.oup.com/academic/product/the-matterof-wonder-9780197643075?cc=us&lang=en&

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L oriliai B iernacki Loriliai Biernacki is Professor of Religious Studies at the University of Colorado at Boulder.

Her research interests include medieval Sanskrit texts, the subtle body, Indian philosophy, New Materialism, gender, and the interface between religion and science. She is currently working on neuroscientific models of body-mind connection, including Integrated Information Theory. Her first book, Renowned Goddess of Desire: Women, Sex and Speech in Tantra (Oxford, 2007) won the Kayden Award in 2008. She is co-editor of God’s Body: Panentheism across the World’s Religious Traditions (Oxford 2013). She recently published with Oxford University Press The Matter of Wonder: Abhinavagupta’s Panentheism and New Materialism (Oxford 2023), on the writings of the medieval Indian mystic and philosopher Abhinavagupta and their relevance for a contemporary science and New Materialism.

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Center for Humanities & the Arts • University of Colorado Boulder

J ulie C arr Professor English College of Arts and Sciences

Mud, Blood, and Ghosts: Populism, Eugenics, and Spiritualism in the American West University of Nebraska Press

Populism has become a global movement associated with nationalism and strong-man politicians, but its root causes remain elusive.

Mud, Blood, and Ghosts exposes one deep root in the soil of the American Great Plains. Julie Carr traces her own family’s history through archival documents to draw connections between U.S. agrarian populism, spiritualism, and eugenics, helping readers to understand populism’s tendency toward racism and exclusion.

Carr follows the story of her great-grandfather Omer Madison Kem, three-term Populist

representative from Nebraska, avid spiritualist, and committed eugenicist, to explore persistent themes in U.S. history: property, personhood, exclusion, and belonging. While recent books have taken seriously the experiences of poor whites in rural America, they haven’t traced the story to its origins. Carr connects Kem’s journey with that of America’s white establishment and its fury of nativism in the 1920s. Presenting crucial narratives of Indigenous resistance, interracial alliance and betrayal, radical feminism, lifelong hauntings, land policy, debt, shame, grief, and avarice from the Gilded Age through the Progressive Era, Carr asks whether we can embrace the Populists’ profound hopes for a just economy while rejecting the barriers they set up around who was considered fully human, fully worthy of this dreamed society.

Mud, Blood, & Ghosts book cover 11

J ulie C arr Project website

https://www.juliecarrpoet.com/mud-blood-and-ghosts

Podcast

https://www.youtube.com/watch?v=baAV5yRCqro

Video Interview

https://www.youtube.com/watch?v=0QKWu63Z8nk&ab_ channel=AprilInstitute

Julie Carr is the author of 12 books of poetry and prose, including Climate, co-written with Lisa Olstein (Essay Press 2022), Real Life: An Installation (Omindawn 2018), Objects from a Borrowed Confession (Ahsahta 2017), and Someone Shot my Book (University of Michigan Press 2018). Earlier books include 100 Notes on Violence (Ahsahta 2010), RAG (Omnidawn, 2014), and Think Tank (Solid Objects 2015). With Jeffrey Robinson she is the co-editor of Active Romanticism (University of Alabama Press 2015). Her co-translation of Leslie Kaplan’s Excess-The Factory was published by Commune Editions in 2018. Mud, Blood, and Ghosts: Populism, Eugenics, and Spiritualism in the American West was published by the University of Nebraska Press in 2023. The Underscore, a book of poems, is forthcoming from Omnidawn in 2024. www.juliecarrpoet.com

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Center for Humanities & the Arts • University of Colorado Boulder

A nya C loud and T ara K night with Karen Schaffman Assistant Professor Dance

Associate Professor Critical Media Practices

College of Arts and Sciences

College of Media, Communication and Information

Think Gravity Dance Tank: Celebrating & Reckoning with Contact Improvisation and Performance Eight new dance films released online

Think Gravity Dance Tank: Celebrating & Reckoning with Contact Improvisation and Performance was an intergenerational research gathering in Boulder, Colorado from March 21-26, 2022. In 2023, Anya Cloud, Tara Knight, and Karen Schaffman released eight films documenting this research lab, and additionally produced hours of audio interviews exploring histories of this form of dance. This project honors the 50th anniversary of contact improvisation (CI) during a pivotal moment in the context of COVID-19 and racial justice uprisings. Considering the gravity of these times, Think Gravity Dance Tank offered an embodied exchange to recognize the intersection of our

bodies, ancestries, and identities as a mode of mobilizing dance futurism in the realm of CI. We asked: what is in-between and underneath the reckoning and the celebrating?

CI is an evolving dance form that emerged in the United States from the social, political, and avant-garde movements in the late 1950s and 1960s. Canonized as beginning in 1972, CI has generally been historicized through a lens of whiteness and heteronormativity that is smoothed over by universal concepts of the body. Think Gravity Dance Tank countered this narrative and brought unspoken histories to the forefront.

Think Gravity Dance Tank was conceived

Think Gravity Dance Tank documentation

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T ara K night and A nya C loud as a rhizomatic container. The lead artists were asked to co-curate by inviting a collaborating dance artist, someone engaged in the convergence of CI practice with choreography, performance, and dance activism, to be part of the week-long gathering. Undergraduate dance artists were invited as visionaries for the potential future of the form. The local community was invited to performances and selected open workshops. The week included practice, dialogue, workshops, and performances.

We welcome you to dive into these culminating archives from the week-long gathering.

Project Website Think Gravity Dance Tank documentation

https://www.thinkgravitydancetank.com/

Tara Knight is a filmmaker, animator, and media designer for live performance. Her broad range of media practices includes animated shorts, dance collaborations, world-premiere projection designs, visual reality, and media installations. Knight’s most recent animated film, Unsettled (2018), screened at the Ottawa International Animation Festival, the Annecy International Animation Festival, Animafest Zagreb, the Black Maria Film Festival, and beyond. Her Mikumentary series of films have screened in institutions ranging from pop culture to fine arts, including: New York Comic Con and animation festivals in Britain, Hong Kong, Mexico, and at the Mori Art Museum in Tokyo.

Current projects include Sound Planetarium, a multidisciplinary project to create an interactive, data-driven virtual reality experience set to premiere at the American Astronomy Society in 2024.

Anya Cloud is a dancer, maker, teacher, activist, and collaborator. They believe in dancing with the body they have, and as the person they are, in order to cultivate radical aliveness. Originally from Alaska, they work nationally and internationally within the contexts of Contact Improvisation, improvisation, experimental contemporary dance, and social somatics/Feldenkrais. Through queer, feminist, and anti-racist perspectives Cloud’s research centers on activating new/old ecologies of moving, making, being, and relating in intersectional ways.

Karen Schaffman earned a BA in Dance and Literature at UMASS Amherst, and an equivalent degree in Experimental Dance at the European Dance Development Center (The Netherlands).

She completed a PhD in Critical Dance Studies at UC Riverside. In 2016, she completed a 4-year certification in the Feldenkrais Method at the Feldenkrais Institute in San Diego. She discovered dance on a community playground and then trained formally in jazz, modern dance and ballet.

Schaffman’s focus for the last several decades has been on somatics, perceptual improvisation, contact improvisation, performance and cultural theory. She is currently the Program Director in Dance at California State University, San Marcos.

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Center for Humanities & the Arts • University of Colorado Boulder

B rianne C ohen Assistant Professor Art and Art History College of Arts and Sciences

Don’t Look Away: Art, Nonviolence, and Preventive Publics in Contemporary Europe Duke University Press

In Don’t Look Away Brianne Cohen considers the role of contemporary art in developing a public commitment to end structural violence in Europe.

Cohen focuses on art activism of the early twentyfirst century that confronts the slow violence perpetuated against precarious peoples.

Exploring the work of German filmmaker Harun Farocki, Swiss artist Thomas Hirschhorn, and the art collective Henry VIII’s Wives, Cohen argues that their recursive art practices offer a more sustained counter to the violence undergirding the public sphere than do artworks premised on immediate rupture. Their art reflects on a variety of flashpoints of violence and vulnerability in Europe, from the legacy of the Holocaust to Islamophobia and rising anti-immigrant sentiment.

Because this violence has often cultivated fearbased publics, Cohen contends that art must foster ethical and civil relations between strangers across physical and virtual borders. In contrast to art-critical practices that privilege direct action in contemporary art activism, Cohen advocates for the imaginative, messier, often more elusive potential of art to change mindsets and foster a nonviolent social imaginary.

Art, NoNvioleNce, ANd PreveNtive Publics iN coNtemPorAry euroPe

briANNe coheN

don’t look away Don’t Look Away book cover

Project Website

https://www.dukeupress.edu/dont-look-away

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B rianne C ohen Brianne Cohen’s research and teaching focus on contemporary art, visual culture, and the formation of critical publics in Southeast Asia and Europe. Her books include Don’t Look Away: Art, Nonviolence, and Preventive Publics in Contemporary Europe (Duke, 2023) and the coedited volumes, The Photofilmic: Entangled Images in Contemporary Art and Visual Culture (Cornell, 2016) and Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects (Amherst, 2023). The latter arises from her work as co-PI for the Mellon Sawyer Seminar, “Deep Horizons: Making Visible an Unseen Spectrum of Ecological Casualties & Prospects” (2020-22), which brought together diverse, interdisciplinary researchers and makers for conversations about environmental futures, as they relate to art and visual culture, ecology, indigeneity, and climate justice. She serves currently as field editor for contemporary art for caa.reviews and has published in journals such as Art Journal, Representations, Afterimage, Journal of European Studies, Third Text, and Image [&] Narrative.

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Center for Humanities & the Arts • University of Colorado Boulder

B rianne C ohen and E rin E spelie Assistant Professor Art and Art History College of Arts and Sciences

Associate Professor Cinema Studies & Moving Image Arts College of Arts and Sciences

Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects Amherst College Press

The specifics of ecological destruction often take a cruel turn, affecting those who can least resist its impacts and who are least responsible for it. Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects gathers contributions from multiple disciplines to investigate intersectional questions of how the changing planet affects specific peoples, communities, wildlife species, and ecosystems in varying and inequitable ways.

A multisensory, artistic-archival supplement to the University of Colorado Boulder’s 2020-2022 Mellon Sawyer Environmental Futures Project, the volume enriches current conversations by bridging the environmental humanities and affect theory with insights from Native and Indigenous philosophies. It highlights artistic practices that make legible the long-term durational effects of ecological catastrophe, inviting readers and viewers to consider the emotional resonance of poems, nonfiction texts, sound-texts, photographs, and other artworks that grapple with the less visible loss and prospects of environmental transformation.

This multimodal, multisensorial volume pushes the boundaries of scholarship with an experimental, born-digital format that offers a set of responses to collective traumas such as climate change, environmental destruction, and settler colonialism.

The artists and authors honor the specificity of real historical and material injustices while also reflecting the eclectic nature of assorted feelings in response to them, working through them in

Deep Horizons book cover

creative and border-crossing ways.

Co-edited by Brianne Cohen, Erin Espelie, and Bonnie Etherington, it includes contributions from Robert Bailey, Nina Elder, Erin Espelie, Hock E Aye Vi Edgar Heap of Birds, Maya Livio, Erika Osborne, Craig Santos Perez, Kim Tallbear, Julianne Warren, and Kyle Powys White.

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B rianne C ohen & E rin E spelie Project Website

https://www.fulcrum.org/concern/monographs/db78tf916

Brianne Cohen’s research and teaching focus on contemporary art, visual culture, and the formation of critical publics in Southeast Asia and Europe. Her books include Don’t Look Away: Art, Nonviolence, and Preventive Publics in Contemporary Europe (Duke, 2023) and the co-edited volumes, The Photofilmic: Entangled Images in Contemporary Art and Visual Culture (Cornell, 2016) and Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects (Amherst, 2023).

The latter arises from her work as co-PI for the Mellon Sawyer Seminar, “Deep Horizons: Making Visible an Unseen Spectrum of Ecological Casualties & Prospects” (2020-22), which brought together diverse, interdisciplinary researchers and makers for conversations about environmental futures, as they relate to art and visual culture, ecology, indigeneity, and climate justice. She serves currently as field editor for contemporary art for caa.reviews and has published in journals such as Art Journal, Representations, Afterimage, Journal of European Studies, Third Text, and Image [&] Narrative.

Erin Espelie is a filmmaker, writer, and editor. She’s an Associate Professor in Cinema Studies & the Moving Image Arts and co-director of NEST (Nature, Environment, Science, & Technology) Studio for the Arts at the University of Colorado Boulder.

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Center for Humanities & the Arts • University of Colorado Boulder

B ud C oleman Professor Theatre & Dance College of Arts and Sciences

Working, the musical Roe Green Theatre University of Colorado Boulder November 3-12

Working was first introduced to the world in 1978 as a Broadway musical review. It is a documentary musical. Documentary theatre is theatre that uses preexisting documentary material (such as newspapers, government reports, interviews, journals and correspondences) as source material for stories about real events and people, frequently without altering the text in performance. The Broadway premier of Working only ran for 24 performances; people were not ready for it ... yet. Working was too close to home;

unemployment was fluctuating between 6 and 8 percent the whole decade, the Vietnam War had just come to a close (1975) and the Cold War was still ever present. Historians would later call this decade “the worst decade of most industrialized countries, the worst economic performance since the Great Depression.

Economic growth rates were considerably lower than previous decades.” Entertainment was for escapism and Working wanted audiences to face the realities of their time.

Working may have not stayed long for its original Broadway run but it flourished in regional theatres. This revolutionary musical then reinvented itself again by expanding on

Working, the musical performance documentation

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B ud C oleman the work (pun intended) with the localized version of Working being licensed in 2019.

This version keeps the musical timeless by adding new interviews to the already existing script; the Boulder production included eight interviews from workers in Colorado. The localized version also features additional songs from Lin-Manuel Miranda. Working is still as relevant as ever, dare I say more so; post-pandemic unemployment peaked at 14.7 percent, inflation is at an all time high (remember when Girl Scout cookies were $3.50) and many haven’t returned to the workforce, opting for entrepreneurship and/or gig work instead.

“This book, being about work, is, by its very nature, about violence—the spirit as well as to the body.” In rereading Terkel’s Working (1974), I was struck by this first sentence of his introduction. During his life, Terkel was called “the Walt Whitman of the radio waves” for the wide range of guests he interviewed on his radio program. As he talked to hundreds more for his book, Terkel not only found plenty of Americans who were “singing” about their work, he found plenty who were moaning, screaming, or just too bone-tired to say much. Unsurprisingly, lower-income workers are more likely to experience poor safety conditions at work, discrimination and harassment (gender, race, age, gender expression and sexual orientation), inadequate health plans (if any are provided) and no paid time off.

Human labor creates almost every object we interact with during our day: the bed we sleep in, the fruit we eat for breakfast (okay, the donut), the transportation we ride, the fuel that propels that conveyance, the clothes we wear, the water that comes out of the faucet ... none of these things exist without people’s labor. With this production, we wanted to honor all of the folks – whatever their involvement – who contributed to the renovation of the Roe Green Theatre. During the final number, “Something to Point To,” the names of all the people who worked on the Roe Green Theatre’s renovation were projected on a screen.

Project Website

https://cupresents.org/performance/2889/cu-theatre/workinga-musical/

Bud Coleman is the Roe Green Endowed Chair in Theatre, the Associate Dean of Faculty Success in the College of Arts & Sciences, and former chair of the Department of Theatre and Dance. A former dancer with Les Ballets Trockadero de Monte Carlo, Fort Worth Ballet, and Ballet Austin, Bud has directed and choreographed many musicals and operas. In 2008, he directed and choreographed Stephen Sondheim’s musical Company in Vladivostok, Russia, was selected to be a 2009-10 Fulbright Lecturer in Japan, and staged the Thai premiere of Fiddler on the Roof in Bangkok in 2017. Publications include Women in American Musical Theatre and Backstage Pass: A Survey of American Musical Theatre (with Pamyla Stiehl), and numerous articles.

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Center for Humanities & the Arts • University of Colorado Boulder

E mmanuel D avid and Y umi J anairo R oth Associate Professor Women & Gender Studies

Professor Art and Art History

College of Arts and Sciences

College of Arts and Sciences

We Are Coming “Cowboy” Museum of Contemporary Art, Denver “We Are Coming” Eagle Theater at Vidiots and the Autry Museum of American West, Los Angeles, CA

Over two years ago, Roth and David began their collaboration, We Are Coming, after finding traces of unnamed Filipino performers in Buffalo Bill’s Wild West. The artists are now installing the names of Filipino performers on theatre marquees in communities large and small, invoking the

movements of the Buffalo Bill’s Wild West traveling show.

The project uses the same language—“I Am Coming”—that William “Buffalo Bill” Cody used on posters announcing his show’s arrival. However, Roth and David transform this language into “We Are Coming” and

“We Are Coming” at Eagle Theater at Vidiots, Los Angeles, CA

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E mmanuel D avid and Y umi J anairo R oth feature the names of the Filipino Rough Riders who joined Cody’s show during the PhilippineAmerican War between 1899-1900.

Project Website

https://www.youtube.com/watch?v=7Dhxc0q9w1w

David and Roth helping to install letters on the marquee. Photograph by Raul Rau.

Yumi Janairo Roth is a Professor of Sculpture and Post-Studio Practice in the Department of Art and Art History and an artist whose practice includes projects built around social engagement and site-specific installation. Roth has exhibited and participated in artist-in-residencies nationally and internationally including GCAC, Santa Ana, CA; LMCC, NY; Lawndale Art Center, Houston; Walker Art Center, Minneapolis, MN; Vargas Museum and Ayala Museum, Metro Manila, Philippines; Frankfurter Kunstverein, Germany; Galerie Klatovy-Klenová, Czech Republic.

Emmanuel David is an interdisciplinary scholar whose work highlights the intersections of gender, sexuality, and globalization, especially in the racialized contexts of US-Philippine relations.

He was trained as a sociologist and ethnographer, and his research has focused on global call centers, beauty pageants, and contemporary art, dance, and performance. He is an Associate Professor in the Department of Women and Gender Studies.

Since 2021 Roth and David have been developing a project that unearths the forgotten stories of Filipinos in Wild West shows including their collaborative installation “We Are Coming.”

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Center for Humanities & the Arts • University of Colorado Boulder

K im D ickey Professor Art and Art History College of Arts and Sciences

Sixth Sense “Auguries” Solo Exhibition Denver, CO October 26 - December 30, 2023 Robischon Gallery

The main gallery wall features an elaborately constructed six-by-nine foot wall sculpture. “Sixth Sense” is based on the series of six tapestries in the Cluny Museum in Paris each demonstrating one of the five senses with an additional tapestry on desire. I ‘restitched’ these six images into my own collage of an idealized landscape where

I’ve removed all the human figures. What is left, and now foregrounded, are the flora and fauna, the action that is taking place in the background, the hidden and unobserved, the backdrop to our lives for which these tapestries served. I hoped to create an empty stage while highlighting the action in this red field and blue island, as both a beautiful backdrop of millefleur (a thousand flowers) and an alarming, fiery landscape strewn with cut flowers held in suspension.

The structure is aluminum clad with majolica-glazed terracotta quatrefoil which evoke both leaf and flower, and like pixels,

“Sixth Sense” at the artist’s Auguries solo exhibition at Robishcon Gallery in Denver

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K im D ickey comprises a whole image while existing as individual still-life paintings. “Sixth Sense” is painted to a projection (a layered subject of the work, too) of the final image in raw glaze, removed, fired, and remounted permanently. The six aluminum panels are assembled into one form with the over nine-thousand ceramic elements placed individually and took three years to complete.

“Sixth-Sense” artwork detail

Kim Dickey, Associate Chair of Art and Art History, holds a BFA from Rhode Island School of Design and MFA from New York State College of Ceramics at Alfred University. Dickey’s work is in the permanent collections of the Metropolitan Museum of Art, New York, NY, Crystal Bridges Museum of American Art, Bentonville, Arkansas; the ASU Ceramics Research Center, Tempe, AZ; the Everson Museum, Syracuse, NY; Museum of Contemporary Art, Honolulu, HI; Museum of Contemporary Art, Denver, CO; Museum of Fine Arts, Houston, TX; and Memorial Sloan Kettering Cancer Center, New York, along with many private and corporate collections. Her numerous exhibitions include a mid-career retrospective at the Museum of Contemporary Art, Denver, CO; the Metropolitan Museum of Art, New York, NY; MASS MoCA, North Adams, MA; the Museum of Arts and Design, NY; and the Denver Botanic Gardens, among others. She has also participated in invitationals in Australia, Germany, Japan, Korea, Sweden, Taiwan, the United Kingdom, and the United States. She has had solo shows in New York, Los Angeles, Kansas City, and Denver and shown with galleries such as Garth Clark, Jack Tilton, Pierogi, White Columns, and Sherry Leedy.

Dickey is represented by Robischon Gallery in Denver, CO. www.kimdickeystudio.com 24

Center for Humanities & the Arts • University of Colorado Boulder

E lspeth D usinberre

College of Arts and Sciences

The Gordion Excavations, 1950-1973: Final Reports Volume II. The Lesser Phrygian Tumuli Part II: The Cremations This publication of Gordion’s tumuli makes available the elite cremation burials of the later Middle and early Late Phrygian (Achaemenid) periods, including the two Körte tumuli, and provides a complete assemblage of the cremation tumuli at Gordion. They afford remarkable insights into life, death, and an elaborate system of value at Gordion during this most turbulent century.

The material was excavated by Professor Rodney Young’s team between 1950 and 1973 and is fully presented here for the first time. Ongoing research in the decades following Young’s excavations has led to a more refined understanding of Gordion’s archaeological contexts and chronology, and, consequently, we are now able to view the Lydian ceramic corpus within a more secure stratigraphic framework than would have been the case if the material had been published shortly after the excavations.

University Ellen ofL.Pennsylvania of Kohler was Executive Editor ofMuseum Gordion Publications fromArchaeology 1977–1987 and the Archivist and for the Gordion Project Archives at the Penn Museum from 1987–2005.

Anthropology Press Elspeth R. M. Dusinberre is Professor of Distinction in the Department of Classics at the University of Colorado Boulder.

This book (co-authored with Ellen L. Kohler†) offers the excavation report for 12 cremation burials situated under tumuli (burial mounds) from the Phrygian site of Gordion in central Anatolia, excavated by the University Museum of the University of Pennsylvania between 1950 and 1973. These tombs, dating from the later seventh century to the third quarter of the 6th century BCE, afford remarkable new insights into life, death, and an elaborate system of value at Gordion during a most turbulent century.

The book details processes for interment through construction of tumulus and cremation procedure, along with analysis of associated finds. Discussion includes consideration of all contemporary inhumation and cremation tumulus burials at Gordion in the Phrygian period, highlighting their continuities and significant differences as well as sociocultural developments at Gordion.

Appendices publish two Hellenistic inhumation burials and discuss specific artifacts excavated from the cremation burials. The tumuli afford insights into questions related to gender, religion, adult/child identity, trade, social status, ethnicity, transcultural affiliations, ceramic developments, jewelry manufacture, high-status artifact display (including ivory), feasting behaviors, animal sacrifice, hero cult, and widespread “killing” of artifacts associated with the cremation burials.

Publication costs were subvented by grants from CU’s Kayden Research Award, the Loeb Classical Library Foundation, and the Archaeological Institute of America.

Front Cover Image: TumA 1, Gold bracelet with lion’s head terminals (photo by Gebhard Bieg).

Back Cover Image: Tumulus E under excavation, 1951. G-386.

Cover design: Ardeth P. Anderson

Penn Museum Philadelphia www.penn.museum ISBN 978-1-949057-15-7

The Gordion Excavations, 1950–1973: Final Reports Volume II (Part II: Cremations), Text

his volume contains the excavation report for 12 cremation burials from the Phrygian site of Gordion in central Anatolia. These tombs, dating from the later 7th century to the third quarter of the 6th century BCE, were excavated by the Penn Museum between 1950 and 1969, and by the Germans Alfred and Gustav Körte in 1900. The processes for interment through construction of tumulus and cremation procedure are detailed, followed by an analysis of associated finds.

Two tumuli of the Hellenistic period, both covering stone chambers with inhumation burials, are included in an appendix. Further appendices discuss specific materials excavated from the cremations. A discussion of the contemporary inhumation and cremation tumulus burials at Gordion in the Phrygian period, highlighting their continuities and significant differences, forms part of the conclusion, as does discussion of sociocultural developments at Gordion between ca. 650–525 BCE as illuminated by the mortuary remains. The tumuli afford insights into questions related to gender, religion, adult/child identity, trade, social status, ethnicity, transcultural affiliations, ceramic developments, jewelry manufacture, high-status artifact display (including ivory), feasting behaviors, animal sacrifice, hero cult, and widespread “killing” of artifacts associated with the cremation burials.

Kohler & Dusinberre

Professor T Classics

THE GORDION EXCAVATIONS, 1950-1973: FINAL REPORTS VOLUME II The Lesser Phrygian Tumuli Part II: The Cremations, Text

Ellen L. Kohler and Elspeth R. M. Dusinberre

The Gordion Excavations book cover

Project website

https://site.pennpress.org/aaa-2021/9781949057157/ the-gordion-excavations-1950-1973/

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E lspeth D usinberre Elspeth Dusinberre (Ph.D. Michigan 1997), Professor of Distinction, is interested in cultural interactions in Anatolia, particularly in the ways in which the Achaemenid Persian Empire (ca.

550-330 BCE) affected local social structures and in the give-and-take between Achaemenid and other cultures. Her first book, Aspects of Empire in Achaemenid Sardis (Cambridge 2003), examines such issues from the vantage of the Lydian capital. Her second book is a diachronic excavation monograph, Gordion Seals and Sealings: Individuals and Society (Philadelphia 2005).

Dusinberre’s third book, Empire, Authority, and Autonomy in Achaemenid Anatolia (Cambridge 2013), considers all of Anatolia under Persian rule and proposes a new model for understanding imperialism; it was recognized by the James R. Wiseman Award from the Archaeological Institute of America in 2015. Her numerous articles have appeared in various venues, including the American Journal of Archaeology, Ars Orientalis, the Annals of the American Schools of Oriental Research, and Anatolian Studies. She is currently studying the seal impressions on the Aramaic tablets of the Persepolis Fortification Archive (dating ca. 500 BCE), and the cremation burials from Gordion, in addition to other projects at Gordion and Sardis. She has worked at Sardis, Gordion, and Kerkenes Dağ in Turkey, as well as at sites elsewhere in the eastern Mediterranean.

Professor Dusinberre teaches primarily Greek and Near Eastern archaeology at CU Boulder. She is a President’s Teaching Scholar and has been awarded twelve University of Colorado teaching awards.

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Center for Humanities & the Arts • University of Colorado Boulder

K evin H oth Lecturer Critical Media Practices College of Media, Communication and Information

Plane of Action Boulder Museum of Contemporary Art September 29, 2022 - February 19, 2023

“Plane of Action” explores how Kevin Hoth and George P. Perez glitch, deconstruct, and rebuild machine and hand-altered photographs. These artists distort the legibility of imagery sourced from personal collections, archives, and social media by weaving, collaging, cutting, and even burning their materials. These interventions cause the original pictures to lose most of their clarity and undergo an aesthetic reconstruction. The artworks resemble degraded, digital distortions or freeze-frames on momentary glitches, illustrating how the artists balance the slow, methodical processes of weaving and collaging with the aesthetics of new media and fast technology.

Hoth aims to expand the definition and possibilities of the photographic medium.

In his Freshly Shredded Flowers series, he deconstructs Polaroids by running pairs of instant film compositions through a paper shredder and then repairing or “healing” the images by collaging them to form a new photo object. Hoth thoughtfully engages the macro- and microscopic vantage points of his work by exhibiting the intimately scaled, serrated originals alongside large-scale prints that magnify the destruction within each image.

“Plane of Action” features “The Light and The Dark,” Hoth’s new site-specific work that stems from his continued exploration of cutting and burning instant film. With each incision, he creates a cobalt blue mark against the white of the unexposed film frame. Hoth refers to these

“Plane of Action” exhibition documentation

marks as “alternate timelines” or “branches” that grow, bloom, and extend beyond the single frame and into its neighboring counterpart.

“The Light and The Dark” resembles a rhizomatic, natural system, such as roots or a set of wings, and references a source of life and interconnectivity. The artist says, “I see this as an invitation or a reminder for us to connect on a more regular basis with what we see as a source of creative energy, whatever that means for the viewer.”

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K evin H oth Project Website

https://www.bmoca.org/past-exhibitions-2022/plane-of-action

Kevin Hoth is an artist and educator based in Boulder, Colorado. Kevin teaches media production courses as a lecturer in the Department of Critical Media Practices. He received his Masters of Fine Art at the University of Washington, Seattle with a focus in Photography and Digital Video. He fragments and recombines photographic vantage points and momentary captures. In his landscape work, he uses a mirror to move beyond the traditional singular vantage point to merge spaces incamera. In his instant film assemblage work, he physically disrupts the developing image, using destruction to evoke loss and process grief while creating entry points where ruptured timelines may come together. This work also explores image disruption as a transgressive, healing, and synthesizing process. In his most recent work, he uses digital retouching tools naively to critique how algorithms distort our sense of self and place in the world. His work has been shown nationally and internationally at many institutions including The Houston Center for Photography, The Boulder Museum of Contemporary Art, The Institute of Photographic Studies of Catalonia, Colorado Photographic Arts Center, The Center for Creative Photography, and The Rhode Island Center for Photography. His work is represented by Walker Fine Art in Denver, Colorado. www.kevinhoth.com

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Center for Humanities & the Arts • University of Colorado Boulder

D aniel J acobson Professor Philosophy College of Arts and Sciences

Rational Sentimentalism Oxford University Press

Rational Sentimentalism Justin D’Arms & Daniel Jacobson

Rational Sentimentalism develops a novel theory of the sentimental values. These values, which include the funny, the disgusting, and the shameful, are profoundly important because they set standards for emotional responses that are part of our shared human nature. Yet moral philosophers have neglected them relative to their prominent role in human mental life.

The theory is sentimentalist because it holds that these values are emotion-dependent, contrary to some prominent accounts of the funny and the disgusting. Its rational aspect arises from its insistence that the shameful (for example) is not whatever elicits shame but what makes shame fitting. Shameful traits provide reasons to be ashamed that do not depend on whether one is disposed to be ashamed of them. Furthermore, these reasons to be ashamed transmit to reasons to act as shame dictates: to conceal.

Sentimentalism requires a compatible theory of emotion and emotional fittingness. This book explicates a motivational theory of emotion that explains the peculiarities of emotional motivation as other theories cannot. It argues that a class of emotions are psychological kinds with a similar goal across cultures despite differences in their elicitors. It then develops an account of fittingness that helps to differentiate reasons of fit, which bear on the sentimental values, from other considerations for or against having an emotion.

Rational Sentimentalism book cover

and with morality, but nevertheless provide practical reasons that apply to humans - if not to all rational agents.

Project Website

https://global.oup.com/academic/product/rationalsentimentalism-9780199256402?q=D%27Arms&lang= en&cc=us#

Significant and controversial conclusions emerge from this theory of rational sentimentalism.

Sentimental values conflict with one another, 29

D aniel J acobson Daniel Jacobson, Bruce D. Benson Professor of Philosophy, works on a range of topics in ethics, moral psychology, aesthetics, and the moral and political philosophy of J. S. Mill. He has published extensively on issues concerning sentimentalism, the philosophy of emotion, and freedom of speech. Jacobson has held fellowships from the National Endowment for the Humanities, American Council of Learned Societies, and the Princeton University Center for Human Values. He founded the Freedom and Flourishing Project, which is dedicated to exploring and developing the classical liberal tradition, defending freedom of speech, and increasing political diversity in academia.

He is currently working on a book manuscript that attempts to solve the central problem in Mill scholarship: how to reconcile Mill’s commitments to liberty and utility.

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Center for Humanities & the Arts • University of Colorado Boulder

T homas P egelow K aplan Professor History & Jewish Studies College of Arts and Sciences

Polizei und Holocaust: Eine Generation nach Christopher Brownings Ordinary Men Brill Publishers 2023

How did “ordinary men” become mass murderers? The debate about the perpetrators of the Holocaust was fundamentally reshaped

by Christopher Browning’s “Ordinary Men“.

Controversies over collaboration, space, and gender dynamics are hardly topics exclusively debated in Germany, but more intensely debated across the European continent, Israel and the US than ever before.

Browning’s impulse was not only focused on historical research, but also on debates about responsibility in the present. The analysis of democratic collapse can be the starting point for processes of recognition of such vulnerabilities today.

Resisting Persecution: Jews and Their Petitions during the Holocaust Revised Paperback edition Since antiquity, European Jewish diaspora communities have used formal appeals to secular and religious authorities to secure favors or protection. Such petitioning took on particular significance in modern dictatorships, often as the only tool left for voicing political opposition.

During the Holocaust, tens of thousands of European Jews turned to individual and collective petitions in the face of state-sponsored violence.

Polizei und Holocaust book cover

This volume offers the first extensive analysis of petitions authored by Jews in nations ruled by the Nazis and their allies. It demonstrates their underappreciated value as a historical source and reveals the many attempts of European Jews to resist intensifying persecution and actively struggle for survival.

“In exploring how persecuted Jews petitioned Nazi officials—and, in some cases, Jewish leaders—for justice, rights, and mercy, editors Wolf Gruner and Thomas Pegelow Kaplan have initiated a thought-provoking and entirely new approach to Holocaust Studies” (Marion Kaplan, New York University).

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T homas P egelow K aplan Project website

https://brill.com/display/title/60015

https://www.berghahnbooks.com/title/KaplanResisting

Resisting Persecution book cover

Thomas Pegelow Kaplan is the Louis P. Singer Endowed Chair in Jewish History, Professor of History, and Interim Director of the Program in Jewish Studies at the University of Colorado Boulder. He is the author of The Language of Nazi Genocide (2009) and The German-Jewish Press and Journalism Beyond Borders, 1933-1943 (2023, in Hebrew) as well as the co-editor of Beyond ‘Ordinary Men’: Christopher R. Browning and Holocaust Historiography (2019), Resisting Persecution: Jews and Their Petitions during the Holocaust (2020), and Police and Holocaust (2023, in German).

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Center for Humanities & the Arts • University of Colorado Boulder

M arina K assianidou Assistant Professor Art and Art History College of Arts and Sciences

We are no longer beings but sensations DXIX Projects K102A Office, Visual Arts Building Department of Art and Art History Colorado State University, Fort Collins, Colorado April 6 - September 30, 2023

“We are no longer beings but sensations” is a solo exhibition project by artist Marina Kassianidou. This project is a site-responsive installation of works that fit within and are framed by existing elements in the space of the K102A Office. The works primarily include paintings and collages on patterned fabrics, engineered wood, and wood-patterned vinyl. These mass-produced surfaces are commonly found in domestic spaces,

forming part of the constructed interior landscapes in which we exist.

Due to the artist’s process of working and her sometimes small and subtle gestures, confusion arises between the printed images, the collaged marks, the natural marks, and the painted marks. The works sometimes emerge as paintings, sometimes as collages, and sometimes as readymade fabrics or as pieces of wood. They, thus, challenge the viewers’ eyes, asking them to pay attention to seemingly straightforward materials. Marina’s interventions turn these materials into objects of study and visual excavation, bringing them to the foreground while uncovering their

“We are no longer beings but sensations” at DXIX Projects

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M arina K assianidou complexity and contradictions. She aims for a gradual shift in perception, an increase in awareness and sensitization that partially turns these materials and the space itself into a field of sensations.

Marina’s interventions provoke a resignification of their surrounding built environment. Her interventions perform as arrows that point at this specific site (the office environment) enhancing aesthetic agencies latent in its everyday functional appearance. As a result of this process, the everyday office work environment becomes the subject of careful aesthetic consideration and observation. Ordinary details from walls, windows, carpet, shelf, table, chairs, outlets, sideboards, surfaces, textures, colors, now become remarkable formal events surfacing from the realm of the uneventful, barely visible mundane, and presenting themselves to the viewer as a baroque ensemble of visual experiences. Marina’s work seems to be aligned with those poetics of “the endotic.”

The endotic is an artistic or literary practice that focuses on the ordinary as opposed to the extraordinary. However, in an interesting plot twist, the ordinary or minor in Marina’s work is rich and exuberant.

The exhibition is accompanied by a small online and physical publication with a text by Maria Petrides.

Project Website

https://issuu.com/dxixprojects/docs/we_are_no_longer_ beings_booklet_embedded

Marina Kassianidou was born in Limassol, Cyprus and currently lives and works between Limassol and Boulder, Colorado, USA. She has a B.A. in Studio Art from Stanford University, an M.A. in Fine Art from Central Saint Martins College of Art and Design, and a Ph.D. in Fine Art from Chelsea College of Arts, London, UK. Her work has been exhibited internationally at spaces such as the House of Cyprus (Athens, Greece), Nicosia Municipal Arts Center NiMAC (Nicosia, Cyprus), Thkio Ppalies (Nicosia, Cyprus), The Center for Drawing (London, UK), Tenderpixel Gallery (London, UK), North Branch Projects (Chicago, Illinois), Yes Ma’am Projects (Denver, Colorado), Lane Meyer Projects (Denver, Colorado), and Rule Gallery (Marfa, Texas). She has been awarded fellowships at the Ragdale Foundation, Residencia Internacional de Arte Can Serrat, Ox-Bow School of Art, and The Studios at MASS MoCA, among others. She is a recipient of the 2016 Joan Mitchell Foundation Painters and Sculptors Grant. www.marinakassianidou.com 34

Center for Humanities & the Arts • University of Colorado Boulder

J oseph L abrecque Assistant Teaching Professor Advertising, Public Relations & Media Design College of Media, Communication and Information

A Guide to UX Design and Development: Developer’s Journey Through the UX Process Apress

Gain a thorough understanding of the two pillars of any User Experience project: the mission and the process. The mission is to keep the user in mind at each step or milestone as the developer progresses through the project. The process is how that mission is accomplished through collaboration and the use of research, design and development technologies. This book walks you through a developer’s journey through the UX process, from start to finish.

A Guide to UX Design and Development concentrates on the intersection of what is called “DesignOps” and “DevOps.” That intersection is where collaboration between all members of the team, including stakeholders and clients, occurs and neither DesignOps nor DevOps can go beyond being considered just buzzwords if they instead silo design and development. To highlight the UX Mission and illustrate the responsibility developers also hold for the user experience, authors Tom Green and Joseph Labrecque take you through a hypothetical project involving the development of a parking app for a municipal parking authority.

As the book progresses, they concentrate on the developer’s journey through the whole project from discovery to product release. In this journey, you will see how developers can make an impact and contribute to the user experience.

This will include such topics as why there is a need for both a user journey map and a technical journey map. The authors explain why prototyping

A Guide to UX Design and Development book cover

is not as complicated as it is made out to be because it is simply an early low-cost and disposable minimal viable product that gives the developer a deep understanding of the project’s intent in support of the UX Mission.

You will also explore the creation and use of design systems and why the developer’s role is just as important as the people who create the design system. The role and responsibility of the developer in user testing is discussed in the context of a variety of testing and assessment methods conducted to achieve the UX mission.

Finally, you’ll gain an understanding of how design and development deliverables are negotiated, prepared and sent out for research at each step of the process, and how the developer is involved.

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J oseph L abrecque Project Website

https://www.amazon.com/Guide-UX-Design-DevelopmentDevelopers-ebook/dp/B0C6FZHJBF?ref_=ast_author_ dp&dib=eyJ2IjoiMSJ9.FE1YgT8s_v

Mastering Adobe Animate 2023: A comprehensive guide to designing modern, animated, and interactive content using Animate, 3rd Ed - work published in 2023 by Joseph Labrecque.

Joseph Labrecque is a creative developer, designer, and educator with nearly two decades of experience creating expressive web, desktop, and mobile solutions. He joined the University of Colorado Boulder College of Media, Communication and Information as faculty with the Department of Advertising, Public Relations and Media Design in Autumn 2019. His teaching focuses on creative software, digital workflows, user interaction, and design principles and concepts.

Before joining the faculty at CU Boulder, he was associated with the University of Denver as adjunct faculty and as a senior interactive software engineer, user interface developer, and digital media designer.

Labrecque has authored a number of books and video course publications on design and development technologies, tools, and concepts through publishers which include LinkedIn Learning, Apress, Peachpit, Packt, and Adobe. He has spoken at large design and technology conferences such as Adobe MAX and for a variety of smaller creative communities. He is also the founder of Fractured Vision Media, LLC; a digital media production studio and distribution vehicle for a variety of creative works.

Joseph is an Adobe Education Leader, Adobe Community Expert and member of Adobe Partners

by Design. He holds a bachelor’s degree in communication from Worcester State University and a master’s degree in digital media studies from the University of Denver.

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Center for Humanities & the Arts • University of Colorado Boulder

J eanne L iotta Professor Cinema Studies & Moving Image Arts College of Arts and Sciences

The Path of Totality Tour ICA/Institue of Contemporary Arts, London England The Horse Hospital, London England University of Aberystwth, Wales LaborBerlin, Berlin, Germany Museo Nitsch, Napoli, Italy ATOI ArtSpace, Bilbao, Pais Vasco Laboratorio Audio Visual (LAV), Madrid Spain ACME Estudios, Madrid Spain Analogica Festival, Bolzano Italy Braquage Officiel at Espace en Cours, Paris France Theatre Municipial Berthelot, Montreuil Paris France

A European touring exhibition of Liotta’s latest expanded cinema performance: 13 venues/ 10 cities/ 6 countries in over two and a half months of her sabbatical. Including uniquely curated film and video screenings, as well as masterclasses and workshops at select venues. “Path of Totality” is the title of the artist’s live projector performance made for handmade 16mm film loop, 16mm projector, invented lenses, objects both concrete and transparent and shadowplay. Essentially a

The artist performing in Madrid, Spain 37

J eanne L iotta series of light and dark gestures that activate peripheral vision, the work was inspired by the experience of a total solar eclipse. “Path of Totality” is named for the described path of the Moon’s shadow on the Earth’s surface during a total solar eclipse. In August 2017, “The Great American Eclipse”, the width of this path was only about 70 miles wide, a narrow ribbon of moon shadow travelling over 1000 mph across numerous States. To render the feel of those specific and ineffable light conditions, the artist replaces the solar with the projection system in her own “restaging” of the event, bringing the cosmic into the confines of an exhibition space.

The Path of Totality performance documentation

“…The sky snapped over the sun like a lens cover. The hatch in the brain slammed. Abruptly it was dark night, on the land and in the sky. In the night sky was a tiny ring of light. The hole where the sun belongs is very small. A thin ring of light marked its place. There was no sound. The eyes dried, the arteries drained, the lungs hushed. There was no world.”

Annie Dillard, Total Eclipse from Teaching a Stone to Talk, 1982

Jeanne Liotta (NYC/Boulder) makes films and video, moving image installations, projector performances and other lens based mediums operating at a lively intersection of art, science, & natural philosophy. She has been making work for over 3 decades, including collaborations with Bradley Eros and with the collaborative audiovisual group Optipus. Her signature 16mm film of the night skies, “Observando El Cielo,” won many awards including the prestigious Tiger Award at the Rotterdam International Film Festival, and was voted among the top ten films of the decade

by The Film Society of Lincoln Center. Her works have been seen at The Whitney Biennial, The New York Film Festival, SFMOMA, CCCB, Centre George Pompidou, The Wexner Center for the Arts, The Menil Collection Houston, The Museum of Contemporary Art Denver and other venues around the world, and are in the collections of The Museum of Modern Art NY, The Vienna Film Museum, Harvard and Duke Universities. Her films are distributed by Lightcone, Paris and her work is represented by Microscope Gallery, NYC where she has had two solo exhibitions, “Break the Sky” (2018) and “The World is a Picture of the World” (2021). www.jeanneliotta.net

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Center for Humanities & the Arts • University of Colorado Boulder

B eth O snes Professor Theatre & Dance College of Arts and Sciences

The Butterfly Affect Granary Theater at the University College of Cork, Ireland April 5, 2023 University of Saint Andrews, Scotland April 11, 2023 Boulder Open Space Mountain Parks Art Hike July 9, 2023 Vancouver, BC Canada October 17, 2023 Butterfly Pavilion on January 27, 2024

“The Butterfly Affect” is a guided experience to travel through a butterfly’s metamorphosis from egg, caterpillar, chrysalis, to butterfly. It is an invitation for homo sapiens to go inside and contemplate growth within themselves—to emerge transformed and ready to co-create an equitable, survivable, and thrive-able world for life and the eco-systems upon which life depends. Three participants enter the experience at a time and proceed from the first stage inside an egg, to the second emerging as a caterpillar, the third stage hanging within a chrysalis, and final emerging as a butterfly. Participants are guided through the stages, each as one of three different butterfly species, Monarch, Blue Morpho, or Wester Tiger Swallowtail. Participants are costumed for each stage and guided through a moving embodiment and thoughtful reflection of the transformation by their host plant guides. Delving into the science of a butterfly’s metamorphosis and embodying each stage can allow the opportunity to focus on something within the self that is yearning to transform. It can expand perspectives, insights, ideas, and feelings. It is an invitation for homo sapiens who seek to transition from their current state to a radically different one that is equitable,

“The Butterfly Affect” documentation

survivable, and thrive-able. While participants go through, their host leaf takes photos of each stage of their journey using the participant’s own phone. Afterwards, each participant is invited to post an insight felt through their experience and a photo of themselves on the Co-Becoming Gallery on “The Butterfly Affect” website.

“The butterfly effect theory” posits that a butterfly’s wing beating on one side of the world can cause a tornado on the other side of the world. Small changes can result in large and distant consequences. “Effect” (noun) is the change that has already happened.

“Affect” (verb) is the action that causes change now. If climate is the aggregated effect of weather patterns over time, many of us united in action can change the climate. We can reverse global warming. The beatings of your wings and heart through “The Butterfly Affect” can travel around the world to create change within a person and the world.

Contemplation of a butterfly’s metamorphosis contains useful truths, codes, and inspiration 39

B eth O snes us lighter, beautiful, and capable of new flight.

This performance experience is designed to impress upon participants that they have within them all that they need to be the change they yearn for right now. For homo sapiens who seek to transition from the current status quo to a radically different one, humbly tracing the steps of a butterfly’s transformation can guide this cobecoming. Material explorations can be a way to think through the body as a process of interspecies exchange. This is not an attempt to mimic or impersonate these various butterfly species, but rather an assertion of our unity as part of the same natural world in need of transformation for continued survival. It is an opening to the wisdom and guidance of species beyond our own.

This performance experience is designed to be a contemplative and immersive invitation to reflect, dream, and imagine.

Osnes views this performance experience as moving beyond one-way, passive reception of climate communication to joyful immersion.

Beth Osnes in “The Butterfly Affect”

for emergence that carries meaning for this moment in multi-species evolutionary history. An egg, a caterpillar, chrysalis, and a butterfly are all created of the same matter yet are capable of remarkable change from one iteration to the next. This transformation suggests that change needn’t be scary or include deprivation, but, rather, could leave

Project Website

https://insidethegreenhouse.org/butterfly-affect

Beth Osnes, PhD, is a Professor of Theatre and Environmental Studies at the University of Colorado and is active in applied performance and creative climate communication in order to coauthor an equitable, survivable, and thrive-able future for life and the ecosystems upon which life depends. Her recent collaboration, “Side by Side,” is an art-science approach to youth engagement for climate communication in relationship with local birds, featuring award-winning films of largescale bird puppets of numerous Colorado species (major funding through the National Science Foundation 2023-2027). Her creative work “The Butterfly Affect,” a performance experience to travel through a butterfly’s metamorphosis to receive guidance for change from the natural world.

She works on climate comedy through teaching and scholarship. Her books include Theatre for Women’s Participation in Sustainable Development and Performance for Resilience: Engaging Youth on Energy and Climate through Music, Movement, and Theatre. She is co-director of Inside the Greenhouse and co-founder of SPEAK. www.bethosnes.com 40

Center for Humanities & the Arts • University of Colorado Boulder

P haedra C. P ezzullo Associate Professor Communication College of Media, Communication and Information

Beyond Straw Men: Plastic Pollution, Impure Politics, and Networked Culture of Care University of California Press

Addressing plastics can feel overwhelming.

Guilt, shame, anger, hurt, fear, dismissiveness, and despair abound. Beyond Straw Men moves beyond “hot take” or straw man fallacies by illustrating how affective counterpublics mobilized around plastics reveal broader stories about environmental justice and social change.

Inspired by on- and offline organizing in the Global South and the Global South of the North, Phaedra C. Pezzullo engages public controversies and policies through analysis of hashtag activism, campaign materials, and podcast interviews with headline-making advocates in Bangladesh, Kenya, the United States, and Vietnam. She argues that plastics have become an articulator of crisis and an entry point into the contested environmental politics of carbon-heavy masculinity, carceral policies, planetary fatalism, eco-ableism, greenwashing, marine life endangerment, pollution colonialism, and waste imperialism. Attuned to plastic attachments, Beyond Straw Men illustrates how everyday people resist unsustainable patterns of the plastics-industrial complex through imperfect but impactful networked cultures of care. The book is based, in part, on her podcast: Communicating Care.

Beyond Straw Men book cover

Project Website

https://www.ucpress.edu/book/9780520393646/beyondstraw-men

“A revelatory and revolutionary meditation on one of the most significant power struggles of our time.” - Dr. David N. Pellow

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P haedra C. P ezzullo Phaedra C. Pezzullo is an Associate Professor in the Department of Communication with affiliations in Environmental Studies, Ethnic Studies, and Media Studies. She is founding co-editor (with Salma Monani) of an award-winning University of California Press book series, Environmental Communication, Power, and Culture, and Editor of the journal Environmental Communication. She is founding Co-Director of C3BC (the Center for Creative Climate Communication & Behavior Change) and the Just Transition Collaborative. Her first monograph, Toxic Tourism: Rhetorics of Travel, Pollution and Environmental Justice (University of Alabama Press, 2007), won four awards; she also has coedited Green Communication and China (MSU Press, 2020), coedited Environmental Justice and Environmentalism (MIT Press, 2007) and edited Cultural Studies and the Environment, Revisited (Routledge, 2010). Pezzullo lectures globally, including at the Grand amphithéâtre de la Sorbonne, Université de Paris-Sorbonne, and Fudan University in Shanghai. Committed to public engagement, she has partnered and consulted with many, including the American Bar Association, the Sierra Club, and government planning departments. Pezzullo has dual citizenship in the US and Italia. https://phaedracpezzullo.com

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Center for Humanities & the Arts • University of Colorado Boulder

M atthew P olis Lecturer Critical Media Practices College of Media, Communication and Information

A Filmmaker’s Guide to Sound Design Routledge | Focal Press

This illuminating book offers a unique view into the art of sound design and the post production audio process. It was written for filmmakers and designed to bridge the creative gap between directors, producers and the artists, and technicians who are responsible for creating the full soundtrack.

It offers a cogent, clear, and practical overview of sound design principles and practices, from exploring the language and vocabulary of sound to teaching readers how to work with sound professionals and later to overseeing the edit, mix, and finishing processes. In this book, Polis focuses on creative and practical ways to utilize sound in order to achieve the filmmaker’s vision and elevate their films.

Balancing practical, experienced-based insight, numerous examples, and unique concepts like storyboarding for sound, A Filmmaker’s Guide to Sound Design arms students, filmmakers, and educators with the knowledge to creatively and confidently navigate their film through the post audio process.

A Filmmaker’s Guide to Sound Design book cover

Project Website

https://www.amazon.com/Filmmakers-Guide-SoundDesign-Storytelling/dp/036724991X/

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M atthew P olis Matthew Polis is a sound designer, studio owner, and educator. His combined story-driven approach to sound design and technical mastery in the mix room have earned him respect amongst his peers in the world of film, TV, and commercial production with hundreds of credits to his name.

While in New York, Matthew spent 6 years as an adjunct professor at his alma mater, NYU Tisch School of the Arts. During this time, he created post audio curricula for directors and producers. It is from this material and lectures that the concept for this book was born. Matthew is currently an Adjunct Professor at CU within the College of Media, Communication and Information.

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Center for Humanities & the Arts • University of Colorado Boulder

T akács Q uartet Artist in Residence Ralph E. and Barbara L. Christoffersen Faculty Fellow College of Music

Coleridge-Taylor Fantasiestücke and Dvořák String Quartet Opus 106 Hyperion Records

The Takács Quartet’s 2023 CD release for Hyperion Records features two works written in the same year of 1895: the extraordinary but infrequently recorded Fantasiestücke by Samuel Coleridge-Taylor and Antonín Dvořák’s String Quartet in G Major, Opus 106. Concluding the disc is Dvořák’s Andante Appassionato, a short stand-alone movement full of golden melodies singing songs of longing and desire.

Gramophone Magazine describes this latest 2023 release: “The Takács Quartet are truly impressive here – every micro-phrase, every note is considered. Their sound draws you in from the first moment. This is of course to do with their rich and subtle playing, but also the fantastic recorded balance. To simultaneously hear the separate parts and the collective captured so beautifully is a treat indeed! The Takács are all-in here – their sound is not just orchestral, it’s psychological.” BBC Music Magazine remarks “This album finds the quartet in excellent shape, with their clarity of idea and warmth of sound as strong as ever.”

Takács Quartet album cover

Project Website

https://www.hyperion-records.co.uk/dc.asp?dc=D_ CDA68413

https://www.hyperion-records.co.uk/a.asp?a=A1355

This CD is one of several innovative projects.

This season the ensemble is involved in the commission and performances of a new work “Flow” by the Nokuthula Endo Ngwenyama.

Plans for future seasons include new works written for Takács by Gabriela Lena Frank and Clarice Assad.

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T akács Q uartet

Takács Quartet members Richard O’Neill (viola), András Fejér (cello), Harumi Rhodes (violin), and Edward Dusinberre (violin)

Recent winners of the Gramophone Classical Music Awards 2021, Chamber category, the worldrenowned Takács Quartet is now entering its forty-ninth season. Edward Dusinberre, Harumi Rhodes (violins), Richard O’Neill (viola) and András Fejér (cello) are excited about the 2023-2024 season that features varied projects including a new work written for them. Nokuthula Ngwenyama composed “Flow” as celebration of the natural world. The work was commissioned by nine concert presenters throughout the USA. September sees the release of a new recording of works by Samuel Coleridge-Taylor and Dvořák for Hyperion Records, while later in the season the quartet will release works by Schubert including his final quartet in G major.

As Associate Artists at London’s Wigmore Hall the Takács will perform four concerts featuring works by Hough, Price, Janacek, Schubert and Beethoven. During the season the ensemble will play at other prestigious European venues including Berlin, Geneva, Linz, Innsbruck, Cambridge and St. Andrews. The group’s North American engagements include concerts in New York, Boston, Philadelphia, Baltimore, Washington DC, Vancouver, Ann Arbor, Phoenix, Berkeley, Los Angeles, Portland, Cleveland, Santa Fe and Stanford.

Based in Boulder at the University of Colorado, the members of the Takács Quartet are Christoffersen Fellows. For the 23-24 season the quartet enter into a partnership with El Sistema Colorado, working closely with its music education program in Denver. During the summer months the Takács join the faculty at the Music Academy of the West, running an intensive quartet seminar. https://www.takacsquartet.com/ 46

Center for Humanities & the Arts • University of Colorado Boulder

R obert S hay Professor Musicology College of Music

Henry Purcell: Dido and Aeneas (a new critical edition) Bärenreiter (Kassel, Germany)

Composer Henry Purcell and librettist Nahum Tate created Dido and Aeneas — an operatic retelling of Book IV of Virgil’s Aeneid — in the 1680s. A single copy of an early printed libretto survives; this must have been provided at a performance of Dido in the late 1680s at Josias and Frances Priest’s school for “Young Gentlewomen” in Chelsea. In 1700 (more than four years after Purcell’s death), Dido made its professional debut at the Lincoln’s Inn Fields Theatre, where it was integrated into a production of Shakespeare’s Measure for Measure (as documented in a printed wordbook), and there were further revivals in 1704 (as advertised in the London Daily Courant).

No extant manuscript scores or parts correspond to Dido’s early performance history; only three individual songs can be found in sources dating from 1698 to c.1705. The next mention of Dido comes seven decades later, in a 1774 concert program printed for the Academy of Ancient Music, a special title page emphasizing Dido’s featured status. Someone connected with the Academy must have located an early score, which evidently went missing again. Curiously, the Academy revered Purcell’s music yet had no qualms about altering it, effecting to bring it in line with contemporary musical tastes.

Several late eighteenth-century manuscripts preserve the Academy’s adaptation of Dido.

Fortunately, though, three scribes preserved the full measure of the work preserved in the early score, retaining music cut by the Academy. Their

Purcell: Dido and Aeneas publication cover

scores, known today as the Tenbury, Nanki, and Tatton Park manuscripts, provide the foundation for the musical text of the opera.

In the annals of editing Dido, Tenbury has been given pride of place due to its replication of earlier notational conventions, but a reassessment reveals scribal confusion — its copyist may have been an apprentice tasked with the job. Nanki has been seen as the outlier, partially in line with the altered Academy version, but it must be the forerunner of that version, its copyist responsible for updating the musical language. Only in the case of Tatton Park do we know the copyist’s identity, Philip Hayes, then one of England’s most prominent musicians and its greatest Purcell expert. The new edition of Dido is the first to make Hayes’s score the copy-text.

Notably, Hayes took great care to display Dido’s distinctive continuity, for example 47

R obert S hay deploying single and double bars judiciously to show where the music flows on and where a short pause might be acceptable. This guided the organization of the movements in the new edition. He allowed minor melodic and rhythmic variants to stand rather than equalizing them (unlike the Nanki scribe and later editors), understanding that this was characteristic of Purcell’s music, and when he did step in as editor he seems to have taken, as musicologist Rebecca Herissone has put it, a “non-interventionist approach” aiming “to preserve the text intact.”

A goal of the new edition is to provide a reading of Dido that allows Purcell’s intentions — as understood by his advocate Hayes — to shine through. Those familiar with earlier editions will find several melodic and rhythmic variants new, for example, the close of Aeneas’s Act II recitative, at the words “but with more ease could die,” where a straight rhythm now follows asyncopated one, Purcell possibly giving us a sense here of Aeneas’s move from anguish to acceptance. In the first of the sorceress and witches’ scenes, the strings’ interjections appear in 6/8 time, as indicated by Hayes. Earlier editors have consistently provided triplets, but the incisive duple character of 6/8 better represents the

intention here: the sorceress tells us that Dido and Aeneas are “in chase,” and the strings are mimicking hunting horns. These and other such changes seek to remove an accumulated layer, allowing performers and scholars to take a fresh view of Purcell’s masterpiece.

Bärenreiter is one of the most prestigious music publishers in the world, responsible for the collected critical editions of Bach, Mozart, and many other great composers. Their decision to publish several of Purcell’s operas is an exciting development, and Robert Shay could not be more pleased to be serving as the editor for this series.

Project website

https://www.baerenreiter.com/en/shop/product/details/ BA8744/

Robert Shay is Professor of Musicology at the University of Colorado Boulder, where he previously served as Dean of the College of Music from 2014 to 2020. He is co-author (with Robert Thompson) of Purcell Manuscripts: The Principal Musical Sources (Cambridge University Press), a recipient of the Music Library Association’s Vincent H. Duckles Award, given annually to “the best book-length bibliography or other research tool in music.” Shay’s articles and reviews have appeared in Early Music, Journal of Seventeenth-Century Music, Music & Letters, and Notes, and he has contributed chapters to Purcell Studies and King Arthur in Music. His critical edition of Purcell’s Dido and Aeneas was published by Bärenreiter in April 2023, and he has now embarked on a second editorial project for the same publisher, Purcell’s King Arthur. Shay previously served as Professor and Director of the School of Music at the University of Missouri; Vice President for Academic Affairs and Dean of the Conservatory at the Longy School of Music, in Cambridge, Massachusetts; and on the faculty of Lyon College, in Batesville, Arkansas. He holds a PhD in musicology from the University of North Carolina at Chapel Hill.

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Center for Humanities & the Arts • University of Colorado Boulder

N úria S illeras -F ernandez Associate Professor Spanish and Portuguese College of Arts and Sciences

The Politics of Emotion: Love, Grief, and Madness in Medieval and Early Modern Iberia Cornell University Press

The Politics of Emotion explores the intersection of powerful emotional states—love, melancholy, grief, and madness—with gender and political power on the Iberian Peninsula from the Middle Ages to the early modern period. Using an array of sources—literary texts, medical treatises, and archival documents—Núria Silleras-Fernandez focuses on three royal women: Isabel of Portugal (1428–1496), queen-consort of Castile; Isabel of Aragon (1470–1498), queen-consort of Portugal; and Juana of Castile (1479–1555), queen of Castile and its empire. Each of these women was perceived by their contemporaries as having gone “mad” as a result of excessive grief, and all three were related to Isabel the Catholic (1451–1504), queen of Castile and a woman lauded in her time as a paragon of reason.

Through the lives and experiences of these royal women and the observations, judgments, and machinations of their families, entourages, and circles of writers, chronicles, courtiers, moralists, and physicians in their orbits, SillerasFernandez addresses critical questions about how royal women in Iberia were expected to behave, the affective standards to which they were held, and how perceptions about their emotional states influenced the way they were able to exercise power. More broadly, The Politics of Emotion details how the court cultures in medieval and early modern Castile and Portugal contributed to the development of new notions of emotional excess and mental illness.

The Politics of Emotion book cover

Silleras-Fernandez third scholarly monograph, The Politics of Emotion: Love, Grief, and Madness in Medieval and Early Modern Iberia is the winner of the 2023 Kayden Book Award.

Project Website

https://www.cornellpress.cornell.edu/ book/9781501773860/the-politics-ofemotion/#bookTabs=1

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N úria S illeras -F ernandez Núria Silleras-Fernandez is an Associate Professor at the Department of Spanish and Portuguese.

Her research focuses on cultural and intellectual history, gender, and literature in Medieval and Early Modern Iberia and the Mediterranean. She is the author of three scholarly monographs, Power, Piety, and Patronage in Late Medieval Queenship: Maria de Luna (Palgrave: 2008) and Chariots of Ladies: Francesc Eiximenis and the Court Culture of Medieval and Early Modern Iberia (Cornell UP: 2015), and The Politics of Emotion: Love, Grief, and Madness in Medieval and Early Modern Iberia (Cornell UP: January 2024).

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Center for Humanities & the Arts • University of Colorado Boulder

J eremy L. S mith Professor Musicology College of Music

Tallis and Byrd’s Cantiones sacrae (1575): A Sacred Argument Boydell & Brewer

Thomas Tallis’s and William Byrd’s Cantiones, quae ab argumento sacrae vocantur (songs, which by their argument are called sacred) of 1575 is one of the first sets of sacred music printed in England.

It is widely recognized as a landmark achievement in English music history.

Dedicated to Queen Elizabeth I to mark the seventeenth year of her reign, each composer contributed seventeen motets to the collection, which proved to be greatly influential among the era’s composers. But what did Tallis and Byrd mean to convey by their use of the word “argument” in their title?

The current view is that they treated their project as an opportunity to pull together a grand compendium of musical accomplishment that drew on the past, but looked to the future, and that the texts functioned as mere vehicles for musical display. In contrast, this book claims that these very texts were chosen by the composers to develop a theme, or argument, on the topic of sacred judgment. In offering a new interpretation of the song collection Smith employs a carefully constructed musical, literary, theological, and political argumentation. The book will encourage new ways of approaching and interpreting Tudor and Elizabethan sacred music.

Tallis and Byrd’s Cantiones sacrae book cover

Project Website

https://boydellandbrewer.com/9781837650453/tallisand-byrds-icantiones-sacraei-1575/

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J eremy L. S mith Jeremy L. Smith teaches Renaissance and Rock music at the University of Colorado Boulder.

His books include an edited volume for the Byrd Edition, a festschrift for William Prizer, a music appreciation text, and three books on Elizabethan music history. He has also published articles on Byrd, madrigals, Mary Queen of Scots, Carole King, and progressive rock. He is currently working with Alexandra Siso on a book on the Oriana madrigal tradition.

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Center for Humanities & the Arts • University of Colorado Boulder

K ristie S oares Assistant Professor Women & Gender Studies College of Arts and Sciences

Playful Protest: The Political Work of Joy in Latinx Media University of Illinois Press 2023

Playful Protest argues that joy is a politicized form of pleasure that goes beyond gratification to challenge norms of gender, sexuality, race, and class. Kristie Soares focuses on the diasporic popular culture of Puerto Rico and Cuba to examine how music, public activist demonstrations, social media, sitcoms, and other areas of culture resist the dominant stories told about Latinx joy.

As she shows, Latinx creators compose versions of joy central to social and political struggle and at odds with colonialist and imperialist narratives that equate joy with political docility and a lack of intelligence. Soares builds her analysis around chapters that delve into gozando in salsa music, precise joy among the New Young Lords Party, choteo in the comedy ¿Qué Pasa U.S.A.?, azúcar in the life and death of Celia Cruz, dale as Pitbull’s signature affect, and Alexandria OcasioCortez’s use of silliness to take political violence seriously.

Playful Protest book cover

Project website

https://www.press.uillinois.edu/books/?id=p087424

Playful Protest examines how Latinx creators resist the idea that joy only exists outside politics and activist struggle.

Center for Humanities & the Arts • University of Colorado Boulder

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K ristie S oares Kristie Soares is an Assistant Professor of Women & Gender Studies and Co-Director of LGBTQ Studies at the University of Colorado Boulder. They are also a performance artist. Both their research and their performance work explore queerness in Caribbean and Latinx communities.

Their research focuses on 19th-21st century Latinx media and literature, with a specialization in queer Caribbean cultural production. Their book– Playful Protest: The Political Work of Joy in Latinx Media (University of Illinois Press, 2023) – defines joy as a politicized form of pleasure, one that not only produces gratification but also unsettles social norms of gender, sexuality, race, and class. The book examines Puerto Rican and Cuban diasporic media from 1960-present. It contends that when cultural producers insert joy into media texts—ranging from music, to public activist demonstrations, to sitcoms—they resist the dominant stories told about Latinx joy over centuries of colonialism and imperialism.

They are also currently working on an oral history project that explores the role of Latinx disc jockeys in the development of disco and dance music in 1970s New York. This is part of a larger book project entitled “Macho Man: Performances of Latinidad in the Disco Era.” Their work has been published in Signs, Feminist Studies, Meridians, Frontiers, Letras Femeninas, Revista de Estudios Hispánicos, Remezcla, LatinxSpaces, Latino Rebels, and The Los Angeles Review of Books.

Like their research, their teaching draws heavily on queer and performance methodologies.

They encourage students to “try out” intellectual concepts using their bodies, through decolonial pedagogies such as Spoken Word Poetry and Theatre of the Oppressed. They also facilitate performance poetry workshops for schools and community organizations. www.kristiesoares.com

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Center for Humanities & the Arts • University of Colorado Boulder

A nnika S ocolofsky Assistant Professor Composition College of Music

Don’t say a word New Amsterdam Records, New York, NY June 23, 2023

Album release performance at Sound Atlas Festival in Calgary, AB, Canada on June 25, 2023 with Annika Socolofsky (voice) and Latitude 49 Lullabies have long been a safe space for women to express themselves. But at the same time, these relatively ancient texts often indoctrinate young minds with outdated, sexist, and homophobic ‘moral’ codes. As I delve ever deeper into my adulthood, I have found many of these lessons have harmed me so deeply that I have no choice but to rebel, to rage against the very words that once soothed me.

In this raging rebellion against once-soothing words, I wrote Don’t say a word, eight new lullabies for my adult-self, cradle songs that assert love long muffled: self-love, queer love, love for my temper and tongue, and love for those who have lighted my way.

This unapologetic profession of love and vulnerability is something I have felt denied all my life. And it’s time to reclaim it. These are love songs for the self. These are my feminist ragerlullabies for the new queer era.

Don’t say a word was commissioned in-part by the Knoxville Symphony Orchestra, Carnegie Mellon Contemporary Ensemble, Shepherdess Duo, and Girlnoise and premiered by Latitude 49 and Annika at Princeton University’s Princeton Sound Kitchen in October 2019.

Album Cover for I Tell You Me Album artwork by Tara Knight

I Tell You Me Carrier Records, New York, NY September 8, 2023

Album release performance at Rayback Collective in Boulder, CO on September 18, 2023 with Annika Socolofsky (voice) and ~Nois My original 3-song cycle riffs on the old nursery rhyme “sugar, spice, and everything nice, that’s what little girls are made of,” questioning gender roles and rejoicing in the beauty of queer self-expression and empowerment. The album turns this old nursery rhyme on its head, asking “what are little girls made of?” and channels feminist rage and defiance at the double standards placed on women and queers in our society.

In the spirit of individual expression, the song cycle is followed by remixes of each song in the cycle, each created by a different queer artist: Phong Tran, Darian Donovan Thomas, and No Plexus and celebrating their unique voices through their own performances, composing, and production.

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A nnika S ocolofsky attractive, I could get a boyfriend. If I just acted like a woman, I wouldn’t cause so many problems.

If I would just change every fiber of my being, I’d finally fit in.

For my entire life, I’ve been told who I ought to be. But they never asked me who I was.

I Tell You Me was commissioned by ~Nois Saxophone Quartet and premiered by ~Nois and Annika at the 2021 Ear Taxi Festival in Chicago, Illinois.

Project website Album Cover for Don’t say a word Album artwork by Xuan

For my entire life, I have been told I do my gender wrong. For my entire life, I have been told that if I tamed my curly hair, I would be prettier. If I dressed like a girl, I wouldn’t be thrown out of the girls’ bathroom. If I wore different clothes, I would look more feminine.

If my muscles weren’t so strong, I’d be less masculine. If I was less driven, I’d be more likable. If I presented as more feminine, I would be more attractive. If I was more

https://annikasocolofsky.bandcamp.com/album/dont-say-aword

https://annikasocolofsky.bandcamp.com/album/i-tell-you-me

Annika Socolofsky is a composer and avant folk vocalist who explores corners and colors of the voice frequently deemed to be “untrained” and not “classical.” Described as “unbearably moving” (Gramophone) and “just the right balance between edgy precision and freewheeling exuberance” (The Guardian), her music erupts from the embodied power of the human voice and is communicated through mediums ranging from orchestral andoperatic works to unaccompanied folk ballads and unapologetically joyous Dolly Parton covers.

Annika is a recipient of the 2021 Gaudeamus Award, the 2019 Cortona Prize, grants from Harvard University’s Fromm Foundation and the Barlow Endowment, as well as an ASCAP Morton Gould Young Composers Award and a BMI Student Composer award. Her research focuses on the music of Dolly Parton to create a pedagogical approach to composition that is inclusive of many vocal timbres, inflections, and techniques, evading the age-old false dichotomy of straight tone vs. bel canto vocal style. Annika plays a Norwegian hardanger d’amore 5x5 fiddle made by Salve Håkedal. www.aksocolofsky.com

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Center for Humanities & the Arts • University of Colorado Boulder

S arah S tanford -M c I ntyre Assistant Professor Herbst Program for Engineering, Ethics & Society College of Engineering & Applied Sciences

American Energy Cinema West Virginia University Press

American Energy Cinema explores how Hollywood movies have portrayed energy from the early film era to the present. Looking at classics like Giant, Silkwood, There Will Be Blood, and Matewan, and at quirkier fare like A Is for Atom and Convoy, it argues that films have both reflected existing beliefs and conjured new visions for Americans about the role of energy in their lives and their history.

The essays in this collection show how film provides a unique and informative lens to understand perceptions of energy production, consumption, and infrastructure networks. By placing films that prominently feature energy within historical context and analyzing them as historical objects, the contributing authors demonstrate how energy systems of all kinds are both integral to the daily life of Americans and inextricable from larger societal changes and global politics.

American Energy Cinema book cover

Project Website

https://wvupressonline.com/american-energy-cinema

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S arah S tanford -M c I ntyre Sarah Stanford-McIntyre, PhD, is an historian of technology, labor, and the environment who studies how technology shapes communities, builds social worlds, and changes environments. Her book project, Natural Risk: An Environmental History of West Texas Oil and the Rise of Sunbelt Texas (Columbia University Press), examines how oil workers in the West Texas Permian Basin responded to industry hazards. She uses this analysis to track an environmental history of Texas economic development and industrial deregulation.

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Center for Humanities & the Arts • University of Colorado Boulder

T ed S triphas Associate Professor Media Studies College of Media, Communication and Information

Algorithmic Culture Before the Internet Columbia University Press 2023

Today, algorithms exercise outsize influence on cultural decision-making, shaping and even reshaping the concept of culture. How were automated, computational processes empowered to perform this work? What forces prompted the emergence of algorithmic culture?

Algorithmic Culture Before the Internet is a history of how culture and computation came to be entangled. From Cambridge, England, to Cambridge, Massachusetts, by way of medieval Baghdad, this book pinpoints the critical junctures at which algorithmic culture began to coalesce in language long before it materialized in the technological wizardry of Silicon Valley. Revising and extending the methodology of “keywords,” Ted Striphas examines changing concepts and definitions of culture, including the development of the field of cultural studies, and stresses the importance of language in the history of technology.

Offering historical and interdisciplinary perspective on the relationship of culture and computation, this book provides urgently needed context for the algorithmic injustices that beset the world today.

Algorithmic Culture Before the Internet book cover

Project Website

https://cup.columbia.edu/book/algorithmic-culturebefore-the-internet/9780231206693

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T ed S triphas Ted Striphas’ research examines the history, culture, and politics of technology, focusing on the relationship between emergent technologies and patterns of social and linguistic change. Notable publications include The Late Age of Print: Everyday Book Culture from Consumerism to Control (Columbia University Press, 2009) and The Cultural Politics of COVID-19 (Routledge, 2022, coedited with John Nguyen Erni). He is also co-editor of the field-defining journal, Cultural Studies.

Striphas is the department Chair of Media Studies in the College of Media, Communication and Information at the University of Colorado Boulder.

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Center for Humanities & the Arts • University of Colorado Boulder

B rian T albot Assistant Professor Philosophy College of Arts and Sciences

The End of Epistemology As We Know It Oxford University Press

Epistemology is the study of epistemic norms standards for evaluating belief and thought - and is one of the central philosophical disciplines.

Epistemic norms should matter. In The End of Epistemology As We Know It, I explore a range of ways in which epistemic norms could matter, and I show how epistemic norms as standardly understood fall short for each way. I argue that we can and should replace existing norms with norms that matter more. These replacement norms will be quite different from the norms standardly accepted both in philosophy and in everyday life. And so this book calls for a fundamental reworking of theory and methodology in epistemology.

In the book, I consider the role epistemic norms can and should play in evaluating and guiding thought, in producing and explaining good action, and in social and political coordination. The epistemic norms as standardly understood both inside and outside philosophy are poorly suited for these roles, as they are not properly oriented towards what genuinely matters to us in these domains. I explain how epistemic norms that genuinely matter will require new and surprising notions of epistemic success, reason, and justification. In fact, we may have to completely revise our understanding of what we typically aim at in thinking about the world.

The book opens the door for new projects in epistemology. It reveals the need for new accounts of epistemic goodness and rationality, and illuminates how to pursue these in ways that are genuinely attuned to what is worthwhile.

The End of Epistemology As We Know It book cover

Project Website

https://global.oup.com/academic/product/ the-end-of-epistemology-as-we-know-it9780197743638?cc=us&lang=en&

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B rian T albot Brian Talbot joined the CU philosophy department in 2018. He has previously taught at Washington University in St. Louis and California State University Los Angeles. Brian’s work is on epistemology, ethics, and the philosophy of law. Brian’s non-philosophical interests include drumming, composing electronic music, video games, and cooking.

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Center for Humanities & the Arts • University of Colorado Boulder

A nna T souhlarakis Assistant Professor Art and Art History College of Arts and Sciences

Portrait of an Indigenous Womxn [Removed] National Portrait Gallery Washington, DC

The Missing and Murdered Indigenous Women’s movement advocates for the end of violence against Native women and brings attention to the high rate of missing and murdered Native women. Across the continent, missing posters inundate Native communities and flood social media. This epidemic has largely gone unnoticed nationally and is even overlooked by state and local governments. Many of the stories of these women are still incomplete, full of unanswered questions of their fate with little or no follow up from authorities. These women led lives that were meaningful and were community members and family members.

While the women whose stories I am sharing through “A Portrait of an Indigenous Womxn [Removed]” are not directly related to me, they are part of the larger Native community. As a Native woman, I feel the responsibility and honor to help give their story, their oral histories, a louder voice. This project is not about my kinship to them, though I do feel it, it is built on the kinship between Native families and the kinship and connection these women had with the people and communities who loved them and want their stories in the world.

“A Portrait of an Indigenous Womxn [Removed]” included a beaded and framed missing poster of an Indigenous woman that is part of the current exhibition “Kinship” at the National Portrait Gallery. It also includes two performances that were done in May and November of 2023 where the artist carried more

Portrait of an Indigenous Womxn [Removed] performance documentation

framed missing posters of Native women throughout the museum galleries and placed them in meaningful locations. The project culminated in a Study Day between the National Portrait Gallery and the National Museum of the American Indian on November 6th that brought academic, curators, and artists together from across the country to discuss the connections between art and the Missing and Murdered Indigenous Women’s movement.

Indigenous Absurdities Museum of Contemporary Art Denver

Anna Tsouhlarakis: Indigenous Absurdities is an exhibition of new work by Boulderbased artist and 2021 Creative Capital Grantee Anna Tsouhlarakis. Centering Indigenous knowledge systems and ways of teaching as starting points, Tsouhlarakis’ work reframes the discourse around the construction of Native American identity. Through video, performance, sculpture, photography, and installation, Tsouhlarakis challenges and expands the boundaries of aesthetic and 63

A nna T souhlarakis Tsouhlarakis investigates the layering of truths and histories within comical stories and jokes, and how the anecdotes reflect Indigenous identity.

“Indian humor” is a colloquial name for Native American jokes dealing with specific tribes, families, and, occasionally, specific people.

Sourcing research from friends, family, and a broad network of Native communities across the US, Tsouhlarakis collects Indigenous jokes and stories and deconstructs them only to reassemble them as abstract drawings, video, and sculptures that highlight newfound complexities and understanding of Native American identity and expression. Indigenous Absurdities features newly commissioned works that are the culmination of Tsouhlarakis’ 2021 Creative Capital Award. The prestigious $50,000 annual award supports the creation of groundbreaking, innovative projects to a select group of artists.

Project Website SHE MUST BE A MATRIARCH, 2023. Featured in Indigenous Absurdities.

conceptual expectations for Native artmaking to reclaim and rewrite their definitions.

Whether situated in history or the present day, jokes are rooted in truth. Amusing, illogical, and sometimes ridiculous, they reframe our understanding of the world around us. In Indigenous Absurdities, Anna

https://npg.si.edu/about-us/press-release/portrait-indigenous-womxnremoved-performance-anna-tsouhlarakis

https://creative-capital.org/projects/indigenous-absurdities/

Anna Tsouhlarakis received her BA from Dartmouth College with degrees in Native American Studies and Studio Art, and her MFA from Yale University in Sculpture. Tsouhlarakis has participated in various art residencies including Skowhegan School of Painting and Sculpture, Yaddo, and was the Andrew W. Mellon Artist-in-Residence at Colorado College for the 2019-2020 academic year.

Tsouhlarakis’s work has been part of national and international exhibitions at venues such as Crystal Bridges Museum of American Art; the Museum of Contemporary Native Arts; the Scottsdale Museum of Contemporary Art; the National Museum of the American Indian; the National Portrait Gallery; and a recent solo exhibition at MCA Denver. She is a Creative Capital Award recipient for 2021. Other awards include fellowships from the Harpo Foundation, the Eiteljorg Museum, the DC Commission on the Arts and Humanities, the Native Arts and Cultures Foundation, and most recently, the Louis Comfort Tiffany Award. Tsouhlarakis is an Assistant Professor in the Art and Art History Department at the University of Colorado Boulder. She is Greek, Creek, and an enrolled member of the Navajo Nation. www.naveeks.com 64

Center for Humanities & the Arts • University of Colorado Boulder

K eith W aters Professor Music Theory College of Music

Night Songs Doll Records

This duo CD is a jazz collaboration between pianist Keith Waters and guitarist Scott Sawyer, featuring eight original compositions and two additional works. Both have performed internationally with major jazz artists. Waters and Sawyer have performed together for fifty years, beginning as young teenagers in high school. The

CD, recorded in February 2023, was funded by a grant from the Center for Humanities & the Arts at the University of Colorado Boulder, as well as another grant from Pathways to Jazz. It was released in November 2023.

Project Website

http://www.keithwaters.net/nightsongs/

Night Songs CD cover 65

K eith W aters Keith Waters has written award-winning books on jazz for Oxford University Press, as well as numerous articles. As a jazz pianist, he has performed throughout the United States, Europe, Russia, and South America and has appeared with many nationally-known jazz artists. www.keithwaters.net

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Center for Humanities & the Arts • University of Colorado Boulder

Center for Humanities & the Arts University of Colorado Boulder 280 UCB Macky Auditorium 201 Boulder, CO 80309 Director Jennifer Ho Program Manager Mariana Pereira Vieira Events & Communication Coordinator Diamond Darling 2023 Student Assistants Nyssa Baca, Dylan Carpenter, and Megan King

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don’t look away