Volume 40 | Issue 1 | 2021-2022 by Metrosphere

art – literature – culture

TO WHERE FROM

HERE

the 40th anniversary volume

issue one • 01/2022

hi readers, This year was rough, and often too slow, too fast, and just kind of weird. Maybe it’s because of the constant transitioning, the constant working, the constant pingponging from joy and excitement to sadness and exhaustion, which results in overwhelm and even more exhaustion. Maybe it’s just the constantness itself. We’re still facing the consequences of an unstable time, and this begs a question: where do we go from here?

VOLUME 40 - ISSUE 1

letter from the editor

I don’t have the answer (obviously), but I do believe art—cultivating it, making it, witnessing it, appreciating it—plays a significant role in facilitating that movement forward. Creativity when paired with chaos can result in order and meaning. Along with having to work with the unpredictable ebb and flow of submissions, the staff had to navigate the new structure of hybrid meetings, coordinate ten photo shoots, as well as face an unceasing flurry of other challenges and new situations. I’m still catching my breath, but we have this issue to show that we’ve made it through this eventful semester. Like my own knowledge of the future, I didn’t have a completely clear idea of what kind of submissions we would receive. In this issue, there were many who expressed similar pessimistic feelings that I had when looking forward. Some have pointed out the obscurity and mysteriousness of the unknown that is the future. Others looked forward to exploring that unknown. And some have even shared how the vastness reveals that there are unlimited possibilities, such as instigating positive change or embracing new beginnings. All perspectives—discouraged, hopeful, and everything in between—are valid. Who knows what the spring semester holds for us? The semester might be rough, too slow, too fast, and just kind of weird. It might be the complete opposite. Regardless, I encourage you to continue to create—to find the order amidst the chaos. (And if you’re facing a creative block like I was just the other day, take a deep breath. You got this. We got this.) Finally, thank you to our supporters who have reminded us that this is all for something—even if we are not always all that sure of what that something is.

Sincerely,

Julia Nguyen Editor-in-Chief

METROSPHERE STAFF

JULIA NGUYEN PHOEBE NGUYEN OLIVIA RUFFE NOELLE BETKOWSKI NATHAN DE MONNIN ALEXANDRA FABRIZIO MARIANA ORTEGA RIVERA • JONATHAN HIDALGO ALEX ERTEL • SARA MARTIN MEGAN ANTHONY • TIFFANI HERNANDEZ • MEGAN HICKINS CHARLES SCHWAEBE • CHÈNA WILLIAMS • ALEX ERTEL editor-in-chief

creative director

managing editor

art director

graphic designer

community engagement specialist photographers

BEHIND THE MAGAZINE

writers

MET MEDIA ADMINISTRATION

ALFONZO PORTER KATHLEEN JEWBY PETER BERGMAN MEHER NOORULAMIN associate director

creative director & metrosphere co-advisor

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metrosphere co-advisor

METROSPHERE

office manager

©2021. All Rights Reserved. No part of this publication may be used or reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of Met Media, except in the context of reviews. The opinions expressed within are not necessarily those of the University and/or members of the University.

STATION 1

STATION 2

samuel davick – alison rojas – erica rawson – kristen simpson – doran j. seff –

STATION 3

STATION 4

STATION 5

departures

– dr. andrew pantos – megan euler – steffen beal – the church of many – john-claude futrell – xavier gauthier

TO WHERE FROM HERE

amanda esguerra – dakota olson – court marchetti – dale pittman – dr. vincent piturro – dr. ka chun yu

VOLUME 40 - ISSUE 1

metrosphere

Come along with us as we journey forward and ask:

it, appreciating it—plays a significant role in facilitating that movement forward. Creativity when paired with chaos can result in order and meaning.

Art—cultivating it, making it, witnessing

8 IMAGES STATION ONE 40 [1] METROSPHERE

illustrations

NOELLE BETKOWSKI & PHOEBE NGUYEN

STATION ONE: CHECK-IN BOOTH

This is our first stop in our trip forward in time—IMAGES. Here, we will discover the work of painters, sculptors, and other creatives as well as their concepts of the future world and ideas of progression.

FEATURING: 10

alison rojas

erica rawson

TO WHERE FROM HERE

samuel davick

COLLAGE

metrosphere

METROSPHERE

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STATION ONE

IMAGES

CERAMICS

VASES for the

FUTURE ART SUBMISSION SAMUEL DAVICK IMAGES METROSPHERE

Modern astronomers have observed that at least ten billion galaxies comprise the known universe with an average of one hundred billion stars in each. It just so happens that we revolve around one. The expanse of the universe is so profoundly beyond us—yet somehow inherently us. Through my practice in ceramics, I am able to create mementos that encapsulate the wonder I feel from being infinitesimally small. I do not label these objects as vases for the future solely for their spatial forms and surfaces. We know that the ceramics we make today will outlive us by thousands of years and maybe even indefinitely. It is my hope that future discoverers of my objects will share in this wonder. 11

12 IMAGES STATION ONE

Vases for the Future

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red earthenware clay These hand built earthenware vases were shaped to resemble celestial bodies. They were decorated with splatters of colored majolica glaze as an homage to the innumerable stars that look down on us.

CERAMICS

samuel davick

METROSPHERE

Alter Ego, mixed media

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STATION ONE

IMAGES 14

PORTRAITS

alison rojas

UNTITLED

ART SUBMISSION ALISON ROJAS IMAGES METROSPHERE

Inspiring other women to not be afraid to show their feelings and to use their art to convey those feelings is my goal with these artworks. It is not about the money or the recognition— it is about expressing my feelings. Art gives me a voice, it speaks for me when I feel like I cannot speak for myself. Both in music as in art, I show myself how I am inside and out, hoping other people would relate to it. I see myself as a well-rounded artist. I have worked with all kinds of media, but it all ties back to the roots, my beginning— black and white portraits of people who meant something to me. This time I decided to use myself as the subject. In each of the portraits, I tried to convey a similar feeling: sorrow. I want to show my state of mind with these artworks because it can be hard to discuss when one is feeling blue. 15

16 IMAGES STATION ONE 40 [1] METROSPHERE

The Sad Truth, acrylic paint on canvas

PORTRAITS

alison rojas

Self-Portrait, acrylic paint on canvas

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IMAGES 18

SUBMISSION

erica rawson

SUBMISSION ERICA RAWSON

I create sculptures and paintings in celebration of the process. As with life, art is not merely a means to an end but a journey with both achievements and shortcomings. We adapt and evolve as humans, experiencing trauma, beauty, sadness, and triumph over the course of our lives. Though our present forms are products of our past, our future selves are works in progress. We can expand upon our frames and work beyond the foundations that have gotten us here: add a layer, smooth an edge, or scrap it all and start again. 19

20 IMAGES STATION ONE

Time Series 40 [1]

polished steel and bronze The alignment of planets and stars shapes our lives and the concept of time. These pieces function to evoke a sense METROSPHERE

of clockwork as our present forms look to the future.

SUBMISSION

erica rawson

kristen simpson

dakota olson

doran j. seff

court marchetti

amanda esguerra

dale pittman

STATION TWO: CHECK-IN BOOTH

22 STATION TWO

WORDS

FEATURING:

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2 0 2 1 1 2 1 7 4 0 0 1

Here, we will see how ideas provoke the formation of WORDS. Words provoke the formation of phrases. Phrases provoke

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the formation of sentences. This order of creation results in a variety of forms of literature that contemplate and comment on the visions of tomorrow.

NOELLE BETKOWSKI & PHOEBE NGUYEN

illustrations

DOWN COMES THE WAR LITERARY SUBMISSION KRISTEN SIMPSON COLLAGE METROSPHERE

The itsy bitsy dove a branch in its beak

crawled up the olive bough its head bowed

Down came the war broken wings for a throne

to wash the dove out

WORDS

no room to share

Up went the walls bones for bars

to cage the dove in

STATION TWO

collagen to bind

Off go the bombs broken wings cannot fly

to break the dove a p a r t

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buried beak cannot speak

Out comes the sun too late, too late

to dry up all the war

METROSPHERE

the dark has come

and the war goes on and the war goes on.

kristen simpson

POETRY

HIVE MINDS

STATION TWO

WORDS

LITERARY SUBMISSION DORAN J. SEFF ILLUSTRATIONS METROSPHERE

My collective failures with women had provided me with compelling data to suggest that the problem with my head wasn’t the face on the front of it, but the bees living inside it. Dislodging the bees in my head was an elusive job to source. Nobody specialized in intracranial

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bee removal. Dozens of people hung up on me. Lonely and distraught, I saw a therapist. “I’m a psychiatrist. I don’t know anything about bees,” she said. “How do I get rid of them?”

METROSPHERE

“Call an exterminator.” “I mean, I can poison the bastards,” said the exterminator. “Excellent!” “But it would kill you.” “That’s suboptimal.” “Call a bee-keeper. Maybe they’ll know what to do.”

PROSE

doran j. seff

“Where are the bees?” Asked the disappointed bee-keeper. “They’re in my head.” “Well, they’ve got to come out if I’m going to take them.” “I can’t get them out.” “I hear you, man. They’ve gotten in my head before too. See a therapist, it helps.” Deflated, I resigned myself to a prolonged co-habitation with the bees in my head. Bees are inconsiderate roommates. They waxed up my ears and kept me up at night. Living with them was an incredible social hinderance. When people got close to me, they were unsettled by the buzzing. I had to accept the bees for who they were and attempted to do the same for myself. The isolation and shame I felt for having bees was overwhelming. I needed to get back out there. It took a lot of determination, but I finally met the perfect girl. Miranda also had bees in her head. She came over to watch ‘The Secret Life of Bees’ and fell asleep on my chest. I loved the sound of her bees rattling around inside. Her bees put my bees at ease. I fell asleep listening to her buzz.

who are we to plug our ears WORDS

to stop them with wireless wax: white droplets – severance – spilling from our heads. a cybernetic sealant STATION TWO

against the industrial deluge, we seek sensory submersion. who are we to heed Ulysses to not listen 40 [1]

for the Sirens’ psalms: rhythms of feather beats and apple drops. fussing lovers; bedlam the sea: the daughters of the earth still singing. shall we tune back in?

METROSPHERE

in debris, clamor of

POETRY

amanda esguerra

the islands we sail past are each other 29

LITERARY SUBMISSION AMANDA ESGUERRA

The cry of birds echoed into the sweeping caverns of the valley. Ravens with large beady eyes staring down at her, as she stood over the edge of the crumbling rock. They circled, their eyes following her as they gathered above, at first just dots, blips on the surface of the sun, they swarmed together, blocking off the light. Soon the sun was just a black mass of fluttering wings, and cawing beaks. She crouched down, slamming her eyes shut, hands clamped over ears, mouth opened in a silent scream.

WORDS

The fluttering wings above drove her till her feet dangled off the cliff. Standing on the precipice, looking down at the valley now swathed in shadow, it was everywhere, the shadow. She stepped over the precipice,

STATION TWO

Falling into darkness, Until she was the shadow, and the shadow was,

SHADOW’S EDGE LITERARY SUBMISSION DAKOTA OLSON COLLAGE METROSPHERE

METROSPHERE

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Everything.

POETRY

dakota olson

ANGER • DO

NOT ENTER

ANGER • DO N

• DANGER • D

OT ENTER • DA

O NOT ENTE

R • DANGER

• DO • DANGER • DO R E T N E T O N NGER • DO

Statement #200021322:

PARANORMAL DIVISION

LIT

ERA COU RY SU BM RT IS MA RCH SION ETT I

NGER

• DO N

OT EN TE

R • DAN

GER • D

O NOT

R • DO NOT ENTER • NOT ENTER • DANGE

ENTER

• DANG

ER • DO

TE DANGER • DO NOT EN

PROSE

court machetti

ENTE GER • DO NOT N A D • R E T N E OT O NOT ENTE R •• DANGER • DO N O NOT ENTER DANGER • DO NOT ENT ER • DANGER • DO NOT EN TE

The following statement was given by Mr. Aja Davies at 1:43 a.m., September 15, 2020. The statement has been thoroughly investigated by staff in the PN division of the Alabaster Library, although a clear conclusion has not been reached. Statement begins: The first thing you need to understand is… I didn’t think any of this was real. It’s my first year living somewhere other than my parents’ sleepy cottage in the Virginian countryside, and my roommates and we—I got carried away. Danielle had the Ouija board, James had the booze, and I was… bored. None of us would have used it if we knew what would come. We went to bed shortly after, and besides a roaring hangover, nothing happened. The next week, James was dead.  It was on the subway platform that I saw him. Danielle had taken an earlier train from James’ funeral, and I had wanted to be alone. So I lingered in a late-night coffee shop by the cemetery, wanting to be close, but not willing to subject myself to the pitying glances and angry looks from James’ friends and family. So after the barista ushered me out with several friendly waves and a not so subtle “it’s-past-closing” glare, I walked down to the platform. The lights were flickering, but that’s not what bothered me. What bothered me was the silence. No scurrying © IMAGES: Unsplash & Pexels

rats, no singing then puking drunks, nothing you’d expect to see at nearing midnight on a Friday. At first glance, no one was on the platform. Then I saw James. James who I just left six feet under.

NOT E

NTER DANGE • DANG R • DO NOT ENTER • GE N DA • R TE EN T O N ER • DO ER • DANGER • DO NOT E NTER • DANG ER • DO NOT E

• DO NO T ENTE

R • DAN

ANGER

GER • D

ER • ANGER • DO NOT ENTER • DANG

DANGER • DO

O NOT E

NTER •

DANGE R

• DO

DO NOT ENTER • DANGER • DO

But I knew this wasn’t the sweet boy I knew who let me borrow his cologne-scented sweatshirts. This wasn’t the boy who wooed me with a stupid, soppy song on his ukulele after our first fight. This was different. His shadow was too long. Long enough to notice the unnaturalness, but not enough to be able to explain why until he got closer. His fingers were long, too, each digit increasing in length with a slight rise from index to pinky. It was as if a small child had drawn those curling hands, unencumbered by the limits of human anatomy. This thing was not human, of that I knew right away. It wore humanity as a costume, skintight, and I couldn’t imagine ripping it off —I was too afraid of what lurked underneath. It’s not just the hands that were… off. The smile, bold and shining white from the pale flesh, was crooked—not in the charming way a boy from the country’s might be. No, this one looked like a bad copy-paste job. Even the way it moved was wrong, oh god, it slithered around the subway station, its body flowing into each step it took. Its steps were wrong too, not just the shuddering appearance of them, but the clack of its dress shoes—the sound reminded me of the uncontrollable click of a pen opening and closing at random when you’re trying to take a test in a crowded classroom; cli-clack, cli-cli-clack. It prowled toward me, that dreadful cli-clack, cli-clack coming closer and I couldn’t move. I was stuck, my shoes squished into the floor like they were trapped with some supernatural fly paper, and I couldn’t free myself, and it came closer and closer and— Not James spoke and oh, fucking hell, it’s voice was evil; it was as if ten people of all different nationalities were chanting the words in horrendous echoing harmony.

NOT ENTER

ANGER • DO N

OT E

• DANGER • D O ON • DANGER • D R O E T T E N N E T T E O R N • DANGER • D ER • DO NTER • DANG

court machetti

PROSE

O NOT E NOT ENTE NTER • DO NOT ENTER • DANGER • DO ER AN NG DA GE O NOT ENTER •• D R • DO N OT ENT ER • DA NGER • DO NOT ENTE “I’ve missed you, sweet potato.” That was James’ pet name for me. I’d never shared it with anyone, and he never used it outside of kissing me goodbye in the morning. He always whispered it into the kiss he gave me before picking up his bag and heading out the door. It said it again, this time each word staccato and hollow. Then its face morphed, from that bizarre, crooked smile to a rictus of flaming rage. I felt a tug on the side of my suit and my eyes opened. I couldn’t remember when I had closed them, but I looked and saw Danielle. She was not there before. I know she wasn’t, and I certainly didn’t hear her enter the platform, but I could’ve kissed her in that moment. She was still wearing her funeral dress with her hair straightened; the first time I’d seen her wear it that way. Before I could ask her what the hell she was doing, she grabbed me, hard. You can see the bruises if you like. My shoes unstuck with a loud slurping sound, and as we ran up the subway stairs, I could hear Not James chasing after us, the cli-clack replaced with a growl like a rabid dog’s. We ran and ran, not passing by anyone or even seeing an open shop, until Danielle jerked me hard into the doorway of this library. I don’t know how she knew you were here, or that you’d be open, or that we’d be safe, but I am grateful. It’s safe here, for some reason it can’t get in. I don’t want to leave. I’m safe. I keep checking my fingers to make sure they’re the

same length. When I can do so discreetly, I check Danielle’s.

O NOT ENTER

ER • DANGER

• DO NOT EN

• DO NOT ENT

DO NOT ENT

• DA

ER NTER • DANG E T O N O D • R NGE TER • DANGE

R • DO NOT E

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WORDS

21.5218° N, 77.7812° W 17.7134° S, 178.0650° E

METROSPHERE

LITERARY SUBMISSION DALE PITTMAN

wings on awakening COLLAGE METROSPHERE

9.8968° N, 55.5828° W

PROSE

dale pittman

I’ve lived in this town my whole life, and most of the time that’s fine by me. But in late fall when the sky fills with birds migrating south for the winter, traveling thousands of miles, I get homesick for places I’ve never been. Places like I’ve seen on postcards in movies, sent to those left behind, always with the scene of tropical urbanity adorning the window in front, and always the reassurance that, though full of wonder for The Explorer, the destination was incomplete without the sense of belonging that the reader would provide. “Wish you were here,” never quite able to overlay the sentiments written between the handful of off-kilter lines. I’ve never longed for the Sun or the excitement of a moon-soaked tropical night, so much as I’ve longed for the sadness that such contented-ness allows. It is the Providence of the privileged to be melancholy, and I have never been in the position to glide over the lives of others, worried only to lose the wind beneath me and be earthbound. I’ve had my hands in the earth more than my toes, and I know that the feel of the sea on them would be like the feeling of finding home in a place that you had always thought already was. Like returning, and belonging, and not just being. Like dreaming of swimming and waking

19.8968° N, 155.5828° W

to find you can fly.

NOELLE BETKOWSKI & PHOEBE NGUYEN

METROSPHERE

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STATION THREE

PEOPLE

illustrations

FEATURING:

HUMAN DETECTED

dr. vincent pitturo & dr. ka chun yu & dr. andrew pantos

megan euler & steffen beal

the church of many

john-claude futrell

This is our resting stop, where we will encounter all sorts of personalities from museum curators and artists to performers and students alike. These are PEOPLE, who have something pertinent to say about the future as well as give us insight into the direction of their field and our society.

STATION THREE: CHECK-IN BOOTH

40 PEOPLE

the science of

ARRIV ARRIVAL AL with Dr. Vincent Piturro, Dr. Ka Chun Yu, and Dr. Andrew Pantos

STATION THREE

EVENT COVERAGE TIFFANI HERNANDEZ IMAGES METROSPHERE

The Metropolitan State University of Denver Sci-Fi Film Series returned this year. In partnership with the Denver Museum of Nature and Science (DMNS) and Denver Film, the series assessed several science-fiction films through a scientific lens. The program was led by the university’s own Film and Media Studies professor, Dr. Vincent Piturro, and featured several DMNS scientists along the way from zoologists to astrophysicists,

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and everything in between. The first film to bring us back to the theater was Denis Villeneuve’s 2016 alien invasion drama Arrival. On September 30, friends, family, film lovers, students, and professors came out in support of the event and and Principles of Ten Films. The event featured experts Dr. Ka Chun Yu, the Assistant Curator of Space Science at DMNS, and Dr. Andrew Pantos, a professor and researcher in sociolinguistic studies for MSU Denver. Each brought their unique opinions and expertise to the discussion to assess, once and for all: how scientifically accurate is Villeneuve’s film?

METROSPHERE

the release of Piturro’s book, The Science of Sci-Fi Cinema: Essays on the Art

EVENT COVERAGE

tiffani hernandez

Yu began with a presentation on the science regarding humanity’s attempts at contacting alien life, such as the Arecibo Message (pictured right)—the most powerful broadcast ever deliberately sent to space. According to NASA’s SETI Institute, “The message consists of 1679 bits, arranged into 73 lines of 23 characters per line (these are both prime numbers, and may help the aliens decode the message). The ‘ones’ and ‘zeroes’ were transmitted by frequency shifting at the rate of 10 bits per second.”  He also spoke of NASA’s efforts in the Pioneer 10 and 11 spacecrafts that were launched in 1972, headed toward two different destinations: the star Aldebaran in the Taurus constellation, and the Aquila constellation. The spacecrafts will respectively take two million and four million years to reach their targets. Pantos encouraged the audience to notice how the main character, a linguist, is portrayed, the methods used to decode the alien language, and what skill set she brought to the film. Piturro added that a sci-fi film must fit two criteria: what it means to be human, and how humans respond to the “other” presented. “At the heart of sci-fi,” Piturro extended, “is the connection to society and humanity.” And with this, the film began.

The message consists of 1679 bits, arranged into 73 lines of 23 characters per line (these are both prime numbers, and may help the aliens decode the message). The “ones” and “zeroes” were transmitted by frequency shifting at the 41

rate of 10 bits per second. Arecibo Observatory Broadcasted Message

Each brought their unique opinions and expertise to the discussion to assess, once and for all: how scientifically accurate is Villeneuve’s film? Arrival tells the story of a linguistics professor, Dr.

system of using pictures and words to refer to what

Louise Banks (Amy Adams), tasked with leading

you are trying to give meaning to, “you don’t know

a team of scientists and military experts when

when you’re showing something to somebody what

extraterrestrial life touches down in twelve locations

it is they’re focusing on.” Regarding the characters

around Earth. As tensions rise across the globe,

introducing themselves by name to the aliens,

Banks and her team must find a way to communicate

Pantos added, “the one thing you would never do as

with these alien beings before the world falls to fear

a linguist is to try to use your name as an extension.”

and chaos.

Pantos was overall the most critical of the three experts, “I’m just saying that the methods that were

The film finds a great balance in connecting the

used were not realistically portrayed, I guess that’s

most basic human emotions with mind-bending

the bottom line…”

METROSPHERE

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STATION THREE

PEOPLE

theories on our perception of time. Like other sci-fi films, it accuses the media of fear mongering and

Yu aligned more with the film’s supporting role, the

the military of being too trigger happy. But it steers

astrophysicist Ian (Jeremy Renner). Much like Ian,

away from traditional first-contact films. Our hero

Yu was strong in his conviction that the only way we

is an incredibly intelligent, determined, and patient

are going to be able to communicate with alien life is

linguistics professor who lives a relatively isolated

through math and physics. If they are smart enough

life. The film’s lack of bombastic set pieces make way

to travel from millions of light-years away, they must

for an incredibly beautiful story of language and

be able to figure out a simple binary code, right?  He

cooperation amongst intelligent lifeforms—both

also mentioned that “there’s a level of hubris to us

human and alien.

thinking that we feel that we are so self-important that these aliens would come to make contact with us.”

At the end of the screening, the experts gave their thoughts about the film. Pantos started off the

Short on time, Piturro’s closing thoughts focused on

discussion by asking the audience how they felt about

the film’s cinematic aspects. For cinematography,

the portrayal of the linguist and her qualifications.

he pointed to the use of warm colors and a shallow

The audience mentioned that, early in the film,

focus to create the almost dream-like state Louise

her qualifications were measured by knowing the

is in during what appear to be flashback sequences.

translation for a Sanskrit word. Pantos stressed how

Scenes in the present feature darker, cooler colors

this does not qualify one linguist over another. “One

and are shot with a wide-angle lens, creating a

thing that kind of drives linguists crazy is this notion

depth of field to communicate an intense sense of

that linguists can translate, and understand, and

realism. On the editing, Piturro further explained

speak all human language—living and dead,” Pantos

the metaphor the film creates for the concept of time

explained, “so that kind of reinforced the stereotype

in our own lives: “We know the beginning point of

that linguists are in fact translators and/or they’re

our lives, our birth. We know our end point as well;

polylingual.” He also mentioned the highly flawed

we know we’re going to die. So, we know these two

EVENT COVERAGE

tiffani hernandez

points, but we don’t know everything in between. Everything in between, that is our choices. That is what this film is about.” It always seems like those that are experts in scientific fields give a pass to wonky movie science because, well, it’s all fiction anyway. But I was genuinely surprised by the number of problems Pantos presented. While the science of learning the alien’s language is incredibly flawed, I still enjoyed this film from a film lover’s perspective. As Piturro points out in The Science of Sci-Fi Cinema, the film assumes “an intelligent audience” and combines “in-depth thematic discussion with cinematic prowess,” at once feeling “the history of science fiction cinema while pointing forward toward a new future for the genre.” And at the end of the day, what more could we ask for?

Dr. Ka Chun Yu

Dr. Andrew Pantos

Dr. Vincent Piturro

44 METROSPHERE

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with megan euler & steffen beal

INTERVIEW MEGAN ANTHONY IMAGES METROSPHERE

Amidst the whirlwind of the COVID-19 pandemic, and the inevitable confusion of what was to come next, many departments at Metropolitan State University of Denver faced obstacles in the form of the new protocols that were set in place to ensure the safety of our students, faculty, and staff. And while drastic changes were being made school-wide, certain areas of study and extracurricular activities had to be more creative in order to keep things as “normal” as possible. The Department of Theatre and Dance was no exception. One setback that this department faced was a loss of enrollment. Not only did this affect the learning environment but the ability of the Theatre department to put on performances. Despite their loss in enrollment—which in turn means fewer people to audition and participate in school productions—and restrictions on in-person rehearsals and performances, the MSU Denver Theatre department was still able to produce three online performances: A Midsummer Night’s Dream by William Shakespeare adapted by faculty member Jeff Parker, Lewis Carroll: Six Impossible Things Before Breakfast written and directed by Emeritus faculty member Dr. Marily “Cookie” Hetzel, and Identity: An Origin Story which was written by students and directed by faculty member Carrie Colton. While the rest of us were sitting on Microsoft Teams lectures or having a class discussion over a Zoom call, the Theatre department was figuring out how this platform could serve another purpose. The first two productions of the 2020 school year were done entirely over Zoom. From auditions to rehearsals, and even the final production, each step had to be configured over the internet. The final performance of the year was a little different though. I was able to interview Megan Euler, Production Manager at MSU Denver, and learn about the changes that occurred in the Theatre department during this past year. She explained that the final performance of the year “had in-person auditions and rehearsals; everyone wore masks. This performance was recorded over a two-week period with the performance being edited together.” 45

I was also intrigued to hear how these changes affected theatre students in particular, so I continued this conversation with a student and member of the community, Steffen Beal. He explained to me how the transition to an online format affected the cast’s mindset, stating that “theatre performers had to change the way we have been trained to perform. Everything was shrunk down to a tiny square through a camera, and this took some getting used to.” He went on to say that these changes “had a huge impact on our social lives and even mental health at times because we were not able to discuss, practice, and receive feedback from our peers face to face.” Although the first thought that comes to mind is how the actual productions are affected by the switch to an online format, there is another key aspect to this microcosm that is being missed. Megan Euler discussed how “it was difficult for both patrons and performers

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to feel comfortable with our COVID restrictions […] During COVID we had diminished patron support but hope now that we are back to live performances our patron base will come back to us.” The absence of in-person support resulted in a loss that was much more than a decrease in cast and audience-related interactions; since the theatre is a place where culture can change and grow, the MSU Denver and

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surrounding community lost out on this very vital conversation. That is not to say that everything about the pandemic was a downfall. In an effort to keep the heart and soul of the theatre alive, even in a time when it seemed nearly impossible, many smaller performances popped up on a more communal level. This allowed performances of all types to continue in a safe manner which in turn created an alternative space for members of the theatre community to continue to contribute 40 [1]

to the world of arts and culture. For others, this time away from live performances, in the traditional sense, meant taking the time to reflect on the importance of the theatre and how the performing arts impacted their own lives and the lives of METROSPHERE

others. For Beal, this meant understanding how the change in setting opened his eyes to the importance of the theatre. He said that “there is a lot to take away from being away from the in-person theatre. I think the aspect of community within the theatre has come together even more so than before. There is a sense that none of us want to

megan anthony

INTERVIEW

I think this time allowed the theatre world to

take a step back and reevaluate

what’s important and what needs to be changed. 47

take theatre and performing in-person for granted. We can feel the excitement and anticipation that we believe the audiences will have.” Euler explained how there were other hidden benefits that arose during this time of reinvention. She discussed how “COVID has forced the industry to take a long hard look at how it functions. There are many changes the National Theatre Industry is working on. They include stronger equity, diversity and inclusion guidelines and policies, fixing pay inequities, and work time inequities.” Similar to many other fields, occupational standards and expectations have changed due to the rise in social activism during the pandemic. It has become clear that all people deserve financially stable and safe jobs.

PEOPLE

Beal shared the same sentiment. When asked how the industry has changed or improved, he said, “I think this time allowed the theatre world to take a step back and reevaluate what’s important and what needs to be changed. I would specifically like to mention that inclusion and the need for diversity with the theatre have been noticed and the importance of that has been reignited.” When it comes to accessibility and inclusion for

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audience members, He stated how “elitism and inaccessibility have also been noticed, especially when it comes to ticket prices and the demographic of those who can afford to go.”

INTERVIEW

megan anthony

There is a sense that none of us want to take theatre and performing in-person for granted. We can feel

the excitement and anticipation that we believe the audiences will have.

Now that Colorado has started to open back up, a time for reflection and recovery is necessary in order to re-establish the performing arts industry. In regard to future performances, Megan stated that “we are focused on providing safe experiences and opportunities for our students and patrons. Now that we are back to in-person learning, the recovery back to live performances needs to be cautious. We have decided to start with a smaller production. Lower enrollment means there are fewer students to participate on stage and backstage. We need to ensure we make informed choices on the scale of productions we produce.” Moving forward was on everyone’s mind. Beal was kind enough to share about how the Theatre department is approaching the transition back to in-person performances: “The mindset for this year’s productions has shifted in the sense that we as a small community want to make a difference in the theatre industry.” He explained how this mentality means being conscious about show selections. The performer ended our conversation by discussing how the show, Servant of Two Masters directed by Carrie Colton, was deliberate in the sense that it “is a light-hearted and absurd comedy that will make the community and audiences feel excited and good to be back in the theatre.” 49

“Life is our religion and translation our

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PEOPLE

chapel. We are The Church of Many .”

METROSPHERE

INTERVIEW & IMAGES MEGAN HICKINS

THE CHURCH of MANY and RUPTURED TIME

INTERVIEW

megan hickins

There are 30,000 fabric strips made from 50 yards of fabric, over 1500 CD pieces, 1400 emails, and more than 864 feet of wood—all of this which only makes up a small portion of the Ruptured Time exhibit at Meow Wolf’s Convergence Station. This exhibit also includes 450 individually addressed LED lights, 288 feet of acoustic foam, 240 feet of aluminum dryer duct, 114 steel pipes and fittings, as well as 125 pounds of glass. But the artists didn’t stop there. They added a fire-rated sculpting epoxy, 75 yards of pink fabric, more than 45 home movies, and over 100 old photographs. All of this mingled together is the result of what has officially become Ruptured Time, an exhibit created by The Church of Many, an all-female interdisciplinary art collective featuring Andrea Thurber, Anna Goss, Maddi Waneka, Emily Merlin, and Elsa Carenbauer. All five artists, who have either graduated or will soon graduate from Metropolitan State University of Denver, were able to come together and join many other creatives to be a part of the making of an elaborate exhibit here in Denver. I reached out to the artists to explore the inspiration for their collective. According to The Church of Many, their goal as artists is to “address sociopolitical and transcendental subject matter with levity and mysticism.” They continued to explain that their purpose, through art and other experiential work, is to make on-lookers think. The artists desire to “cultivate an awareness of the human condition, question faith, and prioritize compassion in the face of our digital age and all of its absurdities and injustices.” While ideals of the collective appear to be complex and vast, they can be summed up by the last few sentences of their mantra: “Life is our religion and translation our chapel. We are The Church of Many.” Based on Andrea Thurber’s senior thesis project, which explored her grandmother’s experience with dementia, Ruptured Time rests in

They continue to explain that their

through art and other experiential work, is to make onpurpose,

lookers think.

Meow Wolf’s Convergence Station. When first entering the exhibit, you are overtaken by textures and vivid pink lighting. Shag rugs of black and white hang on the walls along with televisions sharing home movies and old photographs. The video feeds reveal smiling faces of the young and old mixed with television static. In the center of the exhibit, one would find a cushy place to sit and watch the lights change to different shades of pink. All the while, the onlooker is surrounded by intertwined fabric creating a brain-esque look that twists all along the ceiling of the exhibit room. While sitting and watching the smiling faces appear and disappear, a cozy feeling of familiarity comes along. However, the faces that onlookers see aren’t completely recognizable. After knowing that dementia is a major theme in this exhibit, the feeling of forgetfulness becomes more present. It’s almost like the feeling of a word brushing the edge of your memory. It’s an almost remembrance of faces displayed along the sugary pink walls of Ruptured Time.

PEOPLE

With a mixture of different mediums, Andrea Thurber and Anna Goss explained that Ruptured Time acts as a way to represent and explore memories. Thurber continued by describing that the exhibit demonstrates “the simultaneous creation and loss of memory by combining a brain with a vintage living room.” The brain represents memories as well as illustrates the physiological location where STATION THREE

dementia effects the most, and the living room aspect creates a homely environment. As these two facets come together, Thurber’s experience with her grandmother, along with the artist’s knowledge of the regression of memories, manifests through the exhibit. While The Church of Many explained that Ruptured Time largely focuses on the past and the fading of memories, Thurber pointed out

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that there are elements of the future as well. “The future is just the past that hasn’t occurred yet, and I like the idea that one phase can’t really exist without the other.” Goss added that “the futuristic is a natural byproduct of exploring time, space, and memory.”

METROSPHERE

Ruptured Time was a large undertaking for The Church of Many. A year was dedicated solely toward the planning and conceptualization of the installation. However, after reflecting on their experiences collaborating on the project, the artists acknowledged that this is only the beginning of their creative careers. As Thurber stated, “I am very excited to see what the future holds.”

INTERVIEW

megan hickins

. . . the simultaneous creation and

loss of memory by combining a

brain with a vintage living room.

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INTERVIEW OLIVIA RUFFE

IMAGES METROSPHERE

When you think about the future, what comes to mind? Flying cars, rising sea levels, Jeff Bezos venturing to space in a cowboy hat... Or, perhaps you think Neo, Spock, Luke Skywalker, and all such images of pop-culture. Yet these ideas of the future from science fiction, fantasy, and reality are not always the homogenous vision of tomorrow for all. And for most, such visions can be far removed from our own cultures, histories, and identities. Afrofuturism is one such field and genre that has been offering an alternative vision of distant tomorrows. 55

To understand this idea better, I sat down with MSU Denver alumnus John-Claude Futrell—an award-winning spoken word poet, published writer, recording artist, and educator—to discuss Afrofuturism as a whole and how it applies to our society: past, present, and future. Coined by author Mark Dery in his essay “Black to the Future,” Afrofuturism is a broad term that extends to art, philosophy, technology, mythology, music, fashion, science, and much more as to explore counter-futures to Western ideals and envision new futures for

PEOPLE

African persons. However, Afrofuturism extends beyond Dery’s initial definition and has had deeper historical roots in the United States. For Futrell, Afrofuturism is “rooted in the idea of what our future looks like beyond colonialism and beyond imperialism. What does it look like for the descendants of the transatlantic slave trade in a future where we get to write our own destiny, write through whatever that might be?” In STATION THREE

terms of the genres and fields that Afrofuturism entails, this is likewise boundless. “Sci-fi is definitely in one of those categories,” Futrell said, “but outside of science fiction is also science. There is a huge world of actual science associated with Afrofuturism, as well, and there have been many essayists, and editorialists, and authors that explore what that looks like with people of African descent in the realms of science,

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public health, art, history—all kinds of things rooted within that.” The field of Afrofuturism as a whole has been around for many centuries unnoticed to the eyes of popular culture, yet always present in the undercurrents of society now rising faster and harder into our consciousness from Ryan Coogler’s Black Panther to Zack Snyder’s The METROSPHERE

Watchman. “This particular field of work had been done for centuries,” Futrell added. “You know, you can say that Phillis Wheatley was an Afrofuturist. You can look back at Frederick Douglass and call his work the work of Afrofuturism.” The root of Afrofuturism as a field

INTERVIEW

olivia ruffe

of cultural production, after all, is focused on how persons of African descent can see themselves in the future, or as Futrell puts, “how we see ourselves in the world without those limitations and without that type of formalized and institutionalized oppression.” People of African descent have been at the forefront of much of cultural production in both obvious and subtle ways. “We just had The Matrix 4 trailer come out,” Futrell said, “But that story was written by a woman of color. And she only in recent history had been compensated for her storytelling, which is an Afrofuturist storytelling.” The story of The Matrix is centered upon the idea of humans as slaves used primarily for “energy and power,” Futrell extends, “and needing to be liberated, because they have been conditioned to think that they were something else. That’s the transatlantic slave trade in a nutshell.” When we think of science-fiction, then, these underlying subjects related to race may not come to mind, nor those contributors who shaped much of these stories foundational to our shared cultural experience. However, African influence in sci-fi has been made more prominent in the latter half of the 20th century, such as Nichelle Nichols’s role as Nyota Uhura in Star-Trek: The Original Series. Her character allowed Black persons to see themselves on screen and offered the first interracial kiss on television between William Shatner and Nichols. “Bringing in a person of color in a very significant role really opened up eyes that black people exist in the future,” Futrell said of Nichols. “And not only that, but that they contribute to the future as well. It took sci-fi in order to do that.” Beyond the world of the screen, Afrofuturism transcends further within music, literature, performance and visual art, and more from Octavia E. Butler to Samuel R. Delany and notable names of today like recording artists Janelle Monae and Solange Knowles among a plentitude of others. 57

58 PEOPLE STATION THREE

Futrell considers himself to be an Afrofuturist and extended upon his own relationship to the field. “I think Afrofuturism, for me, it’s really how I identify myself through my spoken word, through my painting, through my curation, and all the other things that I do, because I’m always cognizant of how people of color exist in these spaces now and how we will exist further down the line.” Futrell uses his art to reflect this

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I think that there’s so much story to be told.

if we’re willing to give those that haven’t had an opportunity to tell that story, I think that And

we’ll learn more than we’ll be offended.

and to continue to expand the frontier for other artists to be implicated in our collective understanding of the future. “I always write poems really pushing that idea and pushing the boundaries for artists and audiences to really accept and have a broader understanding of how people of color perceive ourselves in some ways, and what the ideas of us moving forward look like. Afrofuturism pushes everything.” Afrofuturism is just as important to the family unit itself where the experience of seeing and understanding both

ruffe INTERVIEW AFROFUTURISM: EXPLORING VISIONolivia OF THE FUTURE

olivia ruffe

Black and African stories represent an important

of color are distorted or forgotten by well-inten-

macrocosmic vision of a future for all. “I’ll never

tioned (or sometimes not so well- intentioned)

forget taking my son to go see Black Panther in the

writers and directors attempting to tell stories

theaters for the first time,” Futrell said of his family

far removed from their own experiences. “I

who has seen the film now dozens of times. “That

think that there’s so much story to be told. And

in and of itself is Afrofuturism—seeing ourselves

if we’re willing to give those that haven’t had an

not just on camera, but behind the camera […] And

opportunity to tell that story, I think that we’ll

so it really also defines how I see myself as a father

learn more than we’ll be offended. […] Imagine

and a husband, and making sure that my children

the lives that people had to live, the lynching, the

and my family also see ourselves in the future.” In

enslavement, the denial of access to basic human

this way, this concept extends to all areas of Futrell’s

rights, the disenfranchisement, the fight for

life. “Afrofuturism is very much rooted in everything

basic human dignity. How offensive is that?” This

that I do, from my professional practice, to my artis-

extends beyond the world of media and art where

tic practice, to my family practice.”

arguments are conducted in our very classrooms and boardrooms about how history itself will be

The importance of Black persons behind the camera

told—a history decided by those few who fail to

becomes all the more obvious when stories of people

find the words to define the terms which they 59

discuss with such conviction. “It really shows the actual institutionalized racism that people are showing by showing up to school board meetings, and schools, and principals’ offices in this fake outrage,” Futrell extended, “the same outrage over teaching actual American history. And shame on Texas, by the way, and you can put that in.” This is a prominent example of many ways that these stories continue to be challenged and, at worst, silenced. Afrofuturism offers the counterargument. At its heart, this field is a way to envision and assert a future that includes Black people, and by extension, all people. The field and work of Afrofuturists thus encourages us all to see an inclusive future in which all human life exists, innovates, and thrives. And the field has done just that by continuing to construct a collective story that is, as Futrell puts,

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“Our story, the American story, the American story of struggle, and of triumph. And that’s Afrofuturism.”

ruffe AFROFUTURISM: EXPLORING VISIONolivia INTERVIEW OF THE FUTURE

olivia ruffe

Our story, the American story, the American story of struggle, and of triumph. And that’s Afrofuturism.

2 0 2 1 1 2 1 7 4 0 0 1

Rhythms are present everywhere. They exist in the mountains, our bodies, and the things we create. Here, a creative who experiments in the auditorial arts shares his emotional and intuitive understanding of

the

future

through

his

second

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STATION FOUR

SOUNDS

heartbeat—SOUNDS.

STATION FOUR: CHECK-IN BOOTH

METROSPHERE

FEATURING:

xavier gauthier

NOELLE BETKOWSKI & PHOEBE NGUYEN

illustrations

FROM HERE scan to listen

METROSPHERE

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STATION FOUR

SOUNDS

SOUND SUBMISSION XAVIER GAUTHIER

xavier gauthier

SPOKEN WORD

From Here I see red and blue lights Squad cars Bout 6 or 7 on my block

From Here I see All

Two or three officers

Universal unknowns

Mobbin outta each one

Creatures created from rare elements Deities lost in nothingness

From Here I see a kid Black, of course

From Here I see schools

Bout 15 or 16 with a hoodie on

Black and brown all around

Sprite in his hand

Safe and sound

Walking with a swagger

Queens and Kings

Only found in the slums

Stand with poetic krowns

From Here I see murder

From Here I see leaders

Clear as plain day

Of the next generation

The look in his eyes pleaded

Profound as all hell

Bloodshot with fear

Prolific prophesier

For help nowhere near

Poised proud

From Here I see sounds

From Here I see victory

Shots ringing wavelengths

Over oppressive opposition

Vibrational frequencies

Rewriting traumas embedded in our blood

Muddied with blood

Melanated gods with purpose

From Here I see dimensions

But…

Colliding realities

From Here…

Time taking trips Inverted gravitational paradigms

I see red and blue lights 65

NOELLE BETKOWSKI & PHOEBE NGUYEN

METROSPHERE

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STATION FIVE

THOUGHTS

illustrations

This is our final destination. This is where THOUGHTS and emotions of STATION FIVE: CHECK-IN BOOTH

hope, uncertainty, pessimism, and everything else collide as we, the editorial staff of Metrosphere, reflect upon what is ahead for us and share what is on our minds. FEATURING:

charles schwaebe

chèna williams

alex ertel

78 67

METROSPHERE

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THOUGHTS 68

EDITORIAL

WORDS CHARLES SCHWAEBE COLLAGES METROSPHERE

charles schwaebe

Aldous Huxley’s The Doors of Perception, in which he described his experiences with mescaline, repeatedly comes up as an influence for many

2001: A Space Odyssey debuted in 1968 to thoroughly

science-fiction stories. Frank Herbert’s iconic Dune

mixed reviews. The now-iconic Stanley Kubrick

series was directly inspired by the book. In the

and Arther C. Clarke sci-fi epic was described by

1970’s, famed psychedelic filmmaker Alejandro

contemporary reviewers as “between hypnotic

Jodorowsky spent some time endeavoring to bring

and immensely boring,” and “a shaggy God story.”

Dune to life in full psychedelic glory. However, he

Its meandering plot and overwhelming ending

abandoned the project in the 1980’s at which point

left many disappointed—most would not revisit

it was picked up by filmmaker Ridley Scott. Scott

the film. But it quickly found footing among the

eventually also gave up on the project to direct

counter-culture movement. It became a sort of rite

Bladerunner. The novel behind Bladerunner, Philip K.

of passage for many to take LSD while watching the

Dick’s Do Androids Dream of Electric Sheep, was itself

film, so much so that upon re-release the film bore

inspired by Huxley’s The Doors of Perception. Much

a new tagline: “The Ultimate Trip.”

of Philip K. Dick’s sci-fi catalogue was influenced by Huxley’s psychedelic book, including the novels

The connection between psychedelia and science

behind the popular films, Minority Report, A Scanner

fiction is difficult to define, but perhaps best

Darkly, and Total Recall.

exemplified by what has been called “The Overview Effect.” In 1987, space philosopher Frank White coined the term to describe an existentially shattering effect well known to both astronauts and “psychonauts” alike. As astronauts reach a significant distance from the planet and view the Earth from above, they are overcome with the ineffable feeling that, “There are no borders or

that divide us when we are on the surface begin to fade

from orbit and the moon. The result is a shift in worldview and in identity.

create in our minds or through human behaviors,”

However, and contrary to urban legend, Dick

as White wrote in The Overview Effect. “All the ideas

maintained that he only ever took LSD twice, though

and concepts that divide us when we are on the

he was well-known for indulging in a plethora of

surface begin to fade from orbit and the moon. The

other substances. His interest in the psychedelic

result is a shift in worldview and in identity.”

experience was very focused on the metaphysical and existential questions that it may present.

The word “psychedelic” was coined by psychiatrist

Before his death, Dick would recount the story of a

Humphry Osmond in the 1950’s after discussing

woman who was plunged into psychosis after taking

mescaline experimentation with writer Aldous

LSD against his recommendations. Despite their

Huxley. The word combines the Greek words

influence on his work, Dick was not a proponent of

“psyche” and “delōs” meaning “spirit” and “mani-

psychedelics. Similarly, Ray Bradbury was offered

fest,” respectively, referring to a manifestation of

psychedelics by Huxley but repeatedly turned them

the mind.

down. A number of vaunted science-fiction authors

boundaries on our planet except those that we

All the ideas and concepts

. . . the psychosexual fever dream that is 1974’s

Zardoz dove even deeper

into the nearly alchemic symbolism of psychedelia.

saw a terrible potential in psychedelics that they sought to warn the world about. Even Huxley, acidpusher to the sci-fi stars, imagined the potential psychological dangers of psychedelics, which he depicted extensively in his novel Brave New World. Space Odyssey was not the only psychedelic cult classic to be born in 1968. Counter to the meditative abyss-gazing of Kubrick and Clarke, Roger Vadim’s hypersexualized Barbarella was an irreverent romp THOUGHTS

through the euphoric side of psychedelia. With shag starships, a sleazy soundtrack, and the full power of Technicolor on display, the film was a Buck Rogers for the free-love generation. It fully embraced sexuality and the human body. Compared to the ever-rising stakes of Space Odyssey, Barbarella offered a hallucinating audience a relatively freakout-free STATION FIVE

experience, except for those concerned about the possibility of orgasming to death. Following in the vein of Barbarella, the psychosexual fever dream that is 1974’s Zardoz dove even deeper into the nearly alchemic symbolism of psychedelia.

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This two-hour fistfight between Jung and Freud was directly inspired by (and referenced) another story with a psychedelic stigma, The Wizard of Oz. Oz author Frank Baum is widely believed to have been a user of Opium, which can cause certain psychedelic

METROSPHERE

effects in sufficient doses. Zardoz puts a more direct psychedelic spin on his classic story and sets it in a post-apocalyptic future reminiscent of the Huxley novel After Many a Summer. The consumption of mindaltering drugs is a frequent scene in Zardoz, coupled with meditative states and deeply psychological

EDITORIAL

charles schwaebe

symbolism. While the film may be a self-indulgent

psychedelic mess, in its mess, there is earnest

to be psilocybin-containing mushrooms. By

manifestation of the mind, a “delōs” of the “psyche.”

effectively hallucinating on these mushroom

The original Star Trek series was inspired by a sci-fi

along a mycelial network that exists outside of

property that dealt directly with this manifestation:

three-dimensional space. This interpretation

1956’s The Forbidden Planet. While Star Trek dabbled

of psychedelia is deeply rooted in the work of

with psychedelic imagery, it never really confronted

popular mycologist Paul Stamets, whose name is

the philosophy behind that imagery. The Forbidden

even lent to the mycologist featured in the series.

Planet created the structure and many of the

Whereas old Star Trek would use psychedelic

technologies that Star Trek would imitate, but the

imagery removed from the psychedelic experience,

story focused on a literal manifestation of the

Discovery has made a point to marry visual effects

ego. This intersection of mind and reality would

to psychedelic philosophy.

occasionally appear in Star Trek over the years but never became a central theme of the franchise.

In an arc that harkens back to Spock’s spiritual and literal journey through death and rebirth in

That is, of course, until 2017’s Star Trek: Discovery.

the first six movies, the first season of Discovery

This series features an intergalactic engine

is a subjective and disjointed self-exploration

spores, a starship can be guided through space

for hero Michael Burnham. The other characters do not understand the journey that Burnham embarks upon and the effect it has on her development. She struggles with alternate universes and deep-rooted emotional trauma as she rises from the ashes of catastrophe. Star Trek in the 1960s was deeply connected to the counterculture of the time, an aspect the franchise has attempted to maintain over the years. It is still a staple of the franchise to feature episodes wherein the cast becomes intoxicated on substances that transform them into free-love hippies. In the 1980s the show took on an anti-capitalist flavor in contrast to the rise of Reaganomics. In the 90s, women and people of color were brought to the forefront. In the early 2000s the show depicted

THOUGHTS

terrorists as victims of colonial powers. The optimism of the American counterculture has always been at the core of Star Trek. Science fiction almost universally operates on the assumption that humanity will progress into the future. We cannot have ourselves a Star War if we STATION FIVE

all die in a nuclear holocaust. It is taken for granted in these stories that humanity has persevered throughout any strife in our current day. Star Trek has always taken this optimism to heart. Today, the franchise imagines a future wherein we might use psychedelia to help us travel the stars. Space

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Odyssey might have used psychedelia to depict the unfathomable, but somehow a group of teenagers, dropping acid in a movie theater parking lot in 1968, understood something that would take others years to realize. The journey through the boundless

METROSPHERE

depths of the universe may very well find its reflection in the psychedelic journey into self.

charles schwaebe

. . . somehow a group of teenagers, dropping

acid in a movie theater parking lot in 1968, understood something that would take others years to realize.

EDITORIAL

WORDS CHÈNA WILLIAMS

STATION FIVE

THOUGHTS

IMAGES METROSPHERE

Have you been yearning to see what the stars 40 [1]

have in store for you as we begin the new year? Well, your celestial seamstress is here to sew all that I know about your astrological sign. METROSPHERE

As we move around in the world, the planets watch over us, shifting and reminding us that their orbits affect each of us individually. Keep reading to find out what the planets have planned for you.

together everything I’ve seen in the stars with

chèna williams

HOROSCOPES

ARIES

March 21 - April 19 The beginning of January shows Mercury, the planet of communication, squaring your sun sign—definitely not favorable. You may think less about what you say which could result in some hurt feelings. Make sure to be choosy with your words. This January will be full of hard work for you, but the end of the month will show excellent time for self-reflection and some much-needed R&R.

GEMINI

May 21 - June 20 Gemini, this first half of the month would be best spent dedicating time to yourself.

PISCES

February 19 - March 20 You’re kicking off the year with the support of your loved ones and what’s better than that? Unfortunately, your relationships are threatened by your emotions

Take a short trip, drink a Tequila Sunrise, sleep till noon, do what you need to do to clear your head while you can, because during the second half of the month your responsibilities are setting in. You’ll need to figure out a system to manage your finances and workload.

at this time. Be sensitive to the emotions of those around you and avoid conflict where you can. The end of January shows you opening your mind to something new as Mercury becomes semi-sextile to your sign. Relish in that new interest as it’ll help you grow.

TAURUS

April 20 - May 20 This is the time for you to get creative! The past month

may have left you feeling unmotivated and tired, but the sun being in Capricorn for most of this month as well as Mercury entering Capricorn at the end will help spark your fire again and help you finish some of your longterm goals. Speaking of lighting fires, this month will be dedicated to your relationships.

AQUARIUS

January 21 - February 18

SAGITTARIUS

November 22 - December 21

Sweet, impulsive, Sagittarius. I know that sometimes your impulses can translate into your financial habits. Don’t let that happen this month. Avoid expansion right now. Instead, put your energy into using the charms that Venus is providing for you to succeed in your professional career. The end of January shows you impressing the socks off of your colleagues and family.

Happy Birthday to you, Aquarius! Good health and space for you to excel in your talents is present at the beginning of this month. As the sun moves into Aquarius at the end of the month, it encourages you to work. Careful though— this could be a slippery slope into overworking. It’ll be good to remind yourself that you don’t

THOUGHTS

have to prove anything to anyone.

CANCER

June 21 - July 22 This month has an abundance of energy for you, Cancer! You’re feeling at the top of your game, crab walking through life with ease, but this energy you’re

40 [1]

STATION FIVE

feeling may appear dominating to others. Make sure you aren’t coming off as arrogant and channel that energy into creating structure and boundaries for yourself in romantic relationships as well as business.

VIRGO

August 23 - September 22

METROSPHERE

naturally want to analyze the projects you care about, but this month isn’t a good time for critique as it may cause you to halt your creative projects altogether. At the end of January, it’ll be beneficial to turn your attention to your family relationships as Mars will be traveling into a space that opens up familial structure.

This is a great time for your self-expression! I know you

chèna williams

HOROSCOPES

LEO

July 23 - August 22 My darling Lion, how can I put this gently…? This month, you gotta let go of your high expectations of others and the validation you’re seeking from them. Like Cancer, your determination and independence are high, but it may translate into selfishness in your day-to-day life. Venus is reminding you to be happy

And just a little

with the little things! This is a great time to focus

note to all of the

on self-care as your mental and physical health are

signs, Venus will be

doing well right now.

retrograde the entire month of January. What does that

mean? It means don’t

go back to your ex. SCORPIO

October 23 - November 21

Seriously!

The beginning of this month offers you slow gratification from your relationships. Slow is good. With the wave of vitality you’ll be feeling as January begins, it’ll be challenging to hold back—but worth it. Don’t rush these moments. January also shows opportunities and success for you in leadership roles, Scorpio! For you, this month is all about stability and flow.

CAPRICORN

December 22 - January 20 Happy Birthday, Capricorn! Generosity, generosity, generosity! Giving back to the people who have helped you along in your successes will make you feel the best at the beginning of this month. There is temptation to become overwhelmed

LIBRA

September 23 - October 22 You’re entering 2022 with confidence and courage, Libra! The beginning of this month is great for setting your goals, laying foundations for your future, and taking leadership in your relationships. Distractions threaten to slow you down as the sun enters Aquarius at the end of the month but remember to concentrate.

by your emotions at the end of this month but try to remain balanced.

78 THOUGHTS STATION FIVE

In 2002, author M.T. Anderson published his dystopian novel, Feed. In the early 2000s a novel about social media controlling the lives of the younger generation— dictating what they buy, how they speak, and where they spend their time— might have seemed outrageous, or even laughable. However, today, that reality has simply become our

40 [1]

normal. Feed could even be considered prophetic in that regard. Social media has now become an essential and everyday part of life. We use it for work. We use it to connect with our peers and family members. We share successes and sometimes failures. We endlessly scroll, switching

METROSPHERE

between three or four platforms. All too often we close our apps feeling WORDS ALEX ERTEL ILLUSTRATIONS METROSPHERE

no less fulfilled than before. It is not that we do not enjoy the quick rush of a notification, the engagement from friends, or the ability to see what is happening, but we also contend everyday with our peers, celebrities, strangers, advertisements, and ourselves.

OPINION

alex ertel

Anderson’s novel centers around the experiences of an affluent teen named Titus. Titus, along with his groups of friends, had the feeds implanted when they were young. When the group decides to go to the moon, which is now a local hangout spot and amusement park, they meet another teenager, Violet. While on the moon, the teenagers all have their feeds hacked into. After the hack, Violet decides that she wants to throw off her feed by searching for absurd clothes, food, T.V. shows—anything that she would never actually buy. Violet grows progressively disillusioned with her feed, and Titus begins to distance himself from her. Her feed’s malfunction worsens further, since she did not ever heal completely from being hacked. This impacts her body and mind. When her father goes to the company in charge of the feed, he is refused help for his daughter due to her lack of purchases. By the end of the novel, Violet’s feed malfunctions entirely, resulting in her death.

There is often a focus of social media being either good or bad.

It is both and neither.

The novel is morbid and cynical. It observes social media as a vehicle for conformity and profit. Today, even statements as far-reaching as “social media killing someone” are not unheard of. People have died for selfies, or committed heinous crimes to garner attention. Obviously, Twitter and Instagram are not forcing people to die, but the need for attention has become so infectious that it has led people to perform dangerous and atrocious actions. Not everyone treats social media in this way, and the vast majority of us use it to stay connected with friends and family as well as to see what is happening in popular culture. We enjoy sharing our ambitions and moments of achievement, and the more vulnerable of us are willing to share our challenges as well. Most people tend to avoid sharing their struggles, however, not because of a desire to be seen as impervious to emotion, but to avoid the general reaction received when people share things beyond positivity and greatness. We all know social media is fake in many regards, yet we

THOUGHTS

tend to reject the images of realness. There is a lot of pressure to be seen as perfect, on trend, and happy through the eyes of social media. People are othered when they go outside the box. There is an expectation to meet the standards of what is viewed as acceptable, and those often align with racist, sexist, and homophobic ideologies. Feed used class differences to highlight this element of social hierarchies, but it extends far beyond class and bleeds

STATION FIVE

into all facets of our online interactions within our current society. Algorithms focus on Eurocentric beauty trends and Western culture, forcing this to be the most interacted thing in our newsfeeds. Newer apps, like TikTok, have given a unique platform to people of the global majority to be able to express themselves and let them be seen by a wider audience than what past social media platforms have offered. However, appropriation is still rampant and white people are often 40 [1]

given the credit where BIPOC should be. Social media is a complex beast. It sells the idea of being perfect as realistic and attainable whereby the experience of being a person is removed. It emphasizes the need to conform through the way people are METROSPHERE

ridiculed for being imperfect. However, the standard of imperfection can only exist when it is in the context of what is perceived as perfection. When we are constantly being sold the idea of “perfect,” we begin to believe that is the truth, causing our “imperfections” to be viewed as false. Our identities become intertwined with online personas that

OPINION

alex ertel

Opinions are confused with facts.

Emotions overpower logic, and people do not want their worldview threatened because it 81

is so intricately linked to their identity.

The standard of imperfection can only exist when it

is in the context of what is perceived as perfection. perpetuate harmful cycles—not only to our mental health but within

THOUGHTS

our larger society. It is important to take a step back and ask, who am I without this and what is this doing? There is often a focus of social media being either good or bad. It is both and neither. It has no inherent positive or negative value—it is only based on the value people give it. But simply because one does not like it or is not active on it, it does not mean social media has not

STATION FIVE

become a prominent sociological feature of our society. We see it play a part in our justice system with hashtags like #FreeBritney. It pushes people to fame and can destroy them in an instant. It allows us to revisit the past with a new lens. One of the most challenging aspects to combat is misinformation. It is easy to get caught up in headlines, and we have seen a plethora 40 [1]

of conspiracy theories and fear arising around the new COVID-19 vaccines and the pandemic itself. It is easy to surround ourselves in things that fulfill our perceptions of society without looking at the facts that are presented. Big events can fill us with fear and anxiety, and sometimes to rationalize that fear, only a big answer can fulfill METROSPHERE

us. A virus that someone cannot see putting the world to a halt feels hard to rationalize. While many people understand, many others let fear decide for them. Conspiracy theories are dangerous because they do not need any facts, or sources, or credible information—that can all just be a part of a larger conspiracy theory. It’s a scapegoat and a

OPINION

alex ertel

rabbit hole that only leads to more fear and misin-

shaped our perception of reality. He did not

formation. It was only recently that social media

account for all the same power dynamics to play

platforms began to label posts and articles as false

into social media that appear within our society,

information when applicable, and even then, people

and he did not consider how misinformation

still do not accept that it could be false. The damage

would so easily and readily spread, creating

has already been done. Misinformation is rampant

very real-world consequences. His focus was

now and there may be no combatting it. Opinions

on advertising. But advertising and marketing

are confused with facts. Emotions overpower logic,

are where it all began; it is all a matter of being

and people do not want their worldview threatened

sold the idea of oneself. It has just taken on

because it is so intricately linked to their identity.

larger consequences than teenagers all being told where the cool place to hang out is. Social

The influence of social media has turned out to be so

media has advanced to become such a prevalent

profound that it feels like Anderson’s version is an

element of our everyday life. Regardless of our

understatement. Anderson did not account for the

own personal feelings or how it might advance,

sociological effects of social media and the way it has

it seems as though social media is here to stay.

METROSPHERE

40 [1]

BEHIND SECTIONTHE MAGAZINE 84

SUBMISSION TITLE

author name

RESOURCES ACCESS CENTER

CENTER FOR MULTICULTURAL

accesscenter@msudenver.edu

ENGAGEMENT AND INCLUSION

Ensures access and inclusion for all students with

cmei@msudenver.edu

disabilities. Provides accommodations, services, and

Supports students’ sense of belonging in college

access to students with either temporary medical

and affirms their identities by building community

conditions or permanent physical, health, learning,

through participation.

sensory or mental health disabilities. CENTER FOR VISUAL ART AURARIA EARLY LEARNING CENTER

cva@msudenver.edu

rachel.ruiz@ahec.edu

Offers diverse high-quality art experiences that

Provides full- and part-time programs for children

brings local and international artists, MSU Denver

12-months to 5-years-old and summer camp for

students, and the broader community together to

children through age 8.

advance the global urban dialogue.

AURARIA LIBRARY

COLLEGE ASSISTANT

library.eref@ucdenver.edu

MIGRANT PROGRAM

Assists in research help, retrieval of library

camp@msudenver.edu

materials, as well as copying and scanning.

Supports the completion of the first year of college

METROSPHERE

40 [1]

RESOURCES

of eligible migrant and seasonal farmworkers and AURARIA POLICE DEPARTMENT

their children by providing comprehensive outreach

303-556-5000

and enrollment assistance, academic support,

A dedicated, full-service police department that operates

financial aid, and social opportunities.

24 hours a day, 7 days a week, 365 days a year. COUNSELING CENTER CAREER SERVICES

303-615-9988

c2hub@msudenver.edu

Can help you find ways to manage difficult times and

Provides high-quality student-focused services to

provide you with a comforting place to examine your

support all aspects of career exploration.

life and learn more about yourself so you can realize your potential.

CENTER FOR EQUALITY AND STUDENT ACHIEVEMENT

FIRST GENERATION INITIATIVES

cesa@msudenver.edu

firstgen@msudenver.edu

Provides student support with an emphasis on

Serves as a resource hub for current first-generation

addressing inequities experienced by students

students as they navigate campus. Encourages and

and houses several centers and programs aimed

empowers the Roadrunner community to embrace

at increasing college retention, persistence, and

and celebrate the multiplicity of identities the first-

graduation rates of historically underrepresented

generation college student population holds.

student populations.

THE GENDER INSTITUTE FOR

in achieving academic success and developing

TEACHING AND ADVOCACY

meaningful relationships, as well as prepares them

gita@msudenver.edu

in attaining competitive employment.

Provides space for those most impacted by the intersecting oppressions present in our culture and in students’ everyday lives.

IT HELP DESK

it-services@msudenver.edu Did you forget your password? Need a loaner

THE HEALTH CENTER AT AURARIA

computer? IT Services Help Desk provides

303-615-9999

technological support to students, faculty, and staff.

A tri-institutional department that provides medical and mental health services for all students, faculty, and staff on the Auraria Campus.

LGBTQ STUDENT RESOURCE CENTER

lgbtq.auraria.staff@gmail.com A tri-institutional office that serves students, faculty,

HONORS PROGRAM

honors@msudenver.edu Tailors a combination of both academic courses and co-curricular options to approved applicants.

and staff of all genders and sexualities on campus. OFFICE OF EQUAL OPPORTUNITY

303-615-0036 Investigates allegations of discrimination,

HUMAN RESOURCES

discriminatory harassment, sexual harassment and

303-615-0999

assault, domestic violence, and stalking at MSU

Responsible for the management, oversight, and

Denver. If you see something, say something!

coordination of all benefits, employment matters, compensation matters, performance management, and employee relations matters for the University

OFFICE OF FINANCIAL AID

finaid@msudenver.edu

as well as fosters a workplace culture of inclusion,

Offers financial services for undergraduate and

engagement, innovation, partnership, community,

graduate students including scholarships, FAFSA,

and continuous growth.

work study, and more.

IMMIGRANT SERVICES PROGRAM

OFFICE OF INTERNATIONAL STUDIES

gmieder@msudenver.edu

studyabroad@msudenver.edu

An academic and social support program that

Interested in studying abroad? Consult with the

aims to increase enrollment, retention, and

Office of International Studies, where advisors can

graduation of undocumented, DACA, immigrant,

let you know of available opportunities!

and refugee students. PHOENIX CENTER AT AURARIA INTEGRATED SUPPORTS FOR

info@thepca.org

STUDENTS WITH AUTISM IN COLLEGE

Auraria’s interpersonal violence resource center

slhs@msudenver.edu

provides prevention education for our campus, free and confidential survivor advocacy, and a

autism spectrum that provides one-on-one and

24/7 helpline to anyone who has been impacted by

group interaction opportunities, offers support

relationship violence, sexual violence, and/or stalking.

A strengths-based program for students on the

THE STUDENT ADVOCACY COUNCIL

TRIO STUDENT SUPPORT SERVICES

303-615-0899

triosss@msudenver.edu

Dedicated to serving and empowering the

Upon approval, assists students with academic

students at MSU Denver by bridging the gap

requirements, enhancing study skills, and

between administration and students, advocating

connecting them with academic recourses. Available

for students, and involving our diverse student

for those who meet at least one of the following

body in service, social recreational, cultural, and

identities: limited income, first-generation, or have

professional opportunities.

a disability.

THE STUDENT CARE CENTER

TUTORING CENTER

studentcarecenter@msudenver.edu

tutoring@msudenver.edu

Provides holistic, non-clinical support to students

Find the derivative of f(x)=6x3−9x+4... or just visit

through the following initiatives: case management,

the place that offers remote tutoring across a variety

the Roadrunner Food Pantry, the Student Emergency

of disciplines for students.

Retention Fund, and the EPIC Scholars program.

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40 [1]

RESOURCES

UNDERGRADUATE RESEARCH AND STUDENT EMPLOYMENT

CREATIVE SCHOLARSHIP PROGRAM

studentemployment@msudenver.edu

undergradresearch@msudenver.edu

Provides students with paid jobs to help alleviate a

Promotes, supports, and celebrates MSU Denver

portion of their educational expenses while gaining

faculty and student engagement in undergraduate

experience and leadership skills.

research activities.

STUDENT ORGANIZATIONS

VETERAN AND MILITARY

orgs@msudenver.edu

STUDENT SERVICES

Provides you with the opportunity to meet people,

veterans@msudenver.edu

develop leadership skills, have fun, enhance

In the Navy, you have the chance to sail the seven

professional experience, and network in a student

seas. At MSU Denver, we have a program that assists

organization that fits your interests.

military and veterans with a variety of needs.

SUPPLEMENTAL INSTRUCTION

WRITING CENTER

si@msudenver.edu

ekleinfe@msudenver.edu

Supports students enrolled in traditionally difficult

Helps students become stronger and more confident

courses by offering free, regularly scheduled group

writers by developing healthy writing processes,

study sessions that are facilitated by SI Leaders

metacognitive awareness, and a broad repertoire of

(current students who have previously succeeded in

writing strategies. Don’t write good when you can

the course).

write well!

METROSPHERE

THE 40TH ANNIVERSARY VOLUME • ISSUE ONE

JANUARY 2022