ellipse magazine volume 1 by ellipse magazine

letter from the art directors When the time came to approach this yearâ&#x20AC;&#x2122;s edition of Positive Negative, our whole class was extremely excited. Our team had a unique opportunity to rebrand the publication. The product of our ideas became ellipse. A construct of mathematics, the ellipse is created by a curved plane about two focal points. The Earth, planets, and stars revolve in this shape and we, mankind, exist within it. By definition it is connection and revolution. Contingent on two links, it considers a delicate balance of perfection and entropy. With the social and technological landscape of our world altering every day, we chose to gear this magazine towards the future. As a team of young adults, we were excited to delve into topics that are relevant to our evolving society. We believe in the world and its promises of change and we believe that change is reliant upon our actions.

Every piece of content from these pages on are made with the sweat and tears of those dedicated to our mission. Across a span of eight weeks, our colleagues have written, photographed, and designed the articles presented in this publication. Through fact and fiction, we have created our story of human ingenuity. Dear reader, take with you the message of these pages, the concept of ellipse, and change your world.

GARRETT CHASE

DENNAE MAKEL

AI ART designed by Dennae Makel BECOMING A DIGITAL BARD designed by Kiara McDade + Colin Turner CELLULAR AGRICULTURE designed by Lauren Mays DISCONNECT designed by Yi Chen K. by Julia Prisaznuk

CYBORG IDENTITY designed by Eliza Tehan CRYOTHERAPY designed by Kim Stager + Michael Burpoe 20/20 designed by Jessica Arevalo BLURRING THE BINARY designed by Garrett Chase + Emma Echols

ANTHROPOCENE by Garrett Chase + William Kelly A NEW NIGHT, A NEW MOVIE designed by Hanna Tangeman ACCOMMODATING THE MODERN TRAVELLER designed by Yu Jiang + Yi Chen

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46 48 52 54

THE NINE AFFECTS by Hanna Tangeman + Sol Ji Park DIGITAL LEGACY designed by Michael Burpoe KI-NEE-SEE-OH designed by Kim Stager

MISSED COMMUNICATION designed by Lauren Mays INTERTWINED by Julie Campbell

COLOR & FORM designed by Kim Stager INGENUITIVE MINDS designed by Crystal Follansbee COMPACT LIVING designed by Brittany Maue + Abby Horrmann TOUCHING SCREENS designed by Kelsey Howard DYMAXION by Kiara McDade FASHIONABLE PIONEERS designed by Eliza Tehan VANTA IS THE NEW BLACK designed by Hanna Tangeman ONWARD & UPWARD designed by Julie Campbell NEW DARWINISM designed by David Hampton + Dennae Makel

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by DENNAE MAKEL photographed by GARRETT CHASE

Humanity. We think, we build, we create. Our own curiosity pushes us toward a defined culture. What we call a beautiful painting or a moving symphony only exists because we declared it as so. This attachment to the arts is how we differentiate ourselves from other beings. What would happen if that defining characteristic was possessed by not just humans, but other, inorganic life? Society has made it possible for machines to think. Neural networks are used to estimate functions that depend on a large number of unknown inputs. However, a system of neural networks are labeled as a small counterpart to artificial intelligence, or AI.1 AI has been tested and developed extensively for face or speech recognition, translation, as well as calculating outcomes or problems. It has flexible, rational agents that perceive its environment or situation and take actions that maximize its chance of success. AI is programmed to learn.

The first successful accomplishment of creating a computer that could comprehend music and, in turn, create its own occurred in 1951 with Alan Turing’s Mark II Computer.2 At this point, there were no screens, making visual input impossible. Instead, a variety of bleeps, noises, and other sounds were used to understand processes. The computer demonstrated its understanding with a mix of taps, clicks, and thumps, playing tunes such as God Save the Queen and Baa Baa Black Sheep.3 However, today’s technology has undeniably surpassed what was possible decades earlier. Recent projects are pushing more than ever to program emotion into machines Programming is the interface between man and machine.4 There is a clean, logical discipline with clearly defined aims. Programming rests in logic. Art lies in emotion. By the nature of both of these realities, it’s strange to consider that their paths can converge Termed by developers and programmers as generative art processing, computers have the

ability to conceive art. Generative art processing is defined as any art practice where the creator, developer, or programmer creates a system, such as a set of rules, computer program, or machine. This, in turn, is then set in motion with some degree of autonomy contributing to or resulting in a complete work of art.

step in AI, Google wants to advance machine-generated art and build a community of artists around it. The company intends to expand the AI’s creative knowledge over an extended period of time. Google’s AIs are learning to create their own art, but their ability to understand the emotion is still unknown.

The cold, strict, and logical process is subverted into creating illogical, unpredictable, and expressive results. Yet, AIs and neural networks are still unable to comprehend the meaning or emotion associated with their work. Feeling genuine emotion for art still remains a characteristic that is distinctly human.

Teaching a machine to create art is an extension of the human experience. Does art need to have emotional ties or is it something that may simply exist? Human interpretation and understanding is what makes art so precious. What truly matters is the weight and meaning we place on AI work and what emotion humans and AI take away.

Google’s Magenta is one case that’s pushing the boundaries between emotions and machines. This project is a fresh attempt to see if AI technology can learn to create compelling art anvThe Google Brain AI team is currently developing various algorithms to see what will prompt a computer to make art or music. In June of 2016, Google’s AI wrote its first original song. With this huge

1 “AI, DEEP LEARNING, AND NEURAL NETWORKS EXPLAINED,” INNOARCHITECH.COM/ARTIFICIALINTELLIGENCE-DEEPLEARNING-NEURAL-NETWORKSEXPLAINED/ 2 “LISTEN TO THE EERIE SOUNDS OF THE FIRST EVER COMPUTER-GENERATED MUSIC,” WIRED. CO.UK/ARTICLE/FIRST-COMPUTER-GENERATED-MUSICRESTORED-ALAN-TURING 3 “LISTEN TO THE EERIE SOUNDS OF THE FIRST EVER COMPUTER-GENERATED MUSIC” 4 PEARSON, GENERATIVE ART, 18-19 5 “WELCOME TO MAGENTA,” MAGENTA.TENSORFLOW.ORG/WELCOMETO-MAGENTA

BECOMING A DIGITAL BARD written and photographed by KIARA MCDADE 10

The tradition of poetry predates the written word and postdates the printed one. It began as the duty of the bard; an oral tradition constructed to memorize long verses and reach audiences. As with all good (read: free) things, accessibility did not survive the tradition’s evolution. Scholars and scribes produced work only for the elite; transforming the oral into the written left an illiterate society in the dark. Printing presses and accessible education returned literature to the masses, however authorship still remained exclusive — until technology reinstated the voice of the bard.¹ The world of digital publishing and social media has facilitated a new generation of poets. Writers self-publish and crowdfund, circumventing the “gatekeepers” and eliminating production costs. Beyond new channels for existing writers, we’ve also invented the most effective platform for becoming a poet to ever exist: the internet.

There is a notion that to be a poet is an exclusive business — a notion that the poet is a mysterious figure with a cigarette glowing above their turtleneck and some forsaken tie to wealth, marked for greatness by a publisher. And this notion may be true; even in an age of accessibility, a coattail-riding, promotable, publisher-marked elite emerges. But this time, the laypoet thrives. Social media has passed out pen and pre-published paper to anyone with internet access and turned every newsfeed owner into a curator. This new channel can activate protest and initiate reform. Poetry, in the words-charged-withmeaning sense of the word, has power to redirect everyone it comes in contact with. We now have an entry point in people’s pockets that we would be remiss not to take advantage of. Already, there is a generation of artists promoting work or creating content specifically for newsfeeds; poets like Steve Roggenbuck, Mira Gonzalez, and Anne Boyer are approaching platforms like Twitter and Youtube as new structures with their own opportunities and conventions.² In the less strict, finger-pointingto-something-beautiful sense, poetry on social media is no longer restricted to printed verse and

sending a photo of something beautiful becomes a poetic act

subjected to traditional analysis; it becomes a reminder to appreciate the world, nestled between a cousin’s bat mitzvah pics and a Friday night event invitation. In that sense, every user has the opportunity to tip the content balance in favor of the poetic. Sending a photo of something beautiful or sharing an inspiring article become poetic acts to illuminate significance.

Becoming a bard means reminding the world of what is important and beautiful, a task that has become increasingly accessible with the proliferation of social media. It’s important to remember that this accessibility is still limited — internet access isn’t free and lifestyles vary — but it’s a start.

1 TIM DOWLEY AND NICK ROWLAND, “THE RISE OF PRINTING,” ATLAS OF THE EUROPEAN REFORMATIONS, 36-37, AUGSBURG FORTRESS, PUBLISHERS, 2015, .JSTOR. ORG/STABLE/J.CTT155J33D.12. 2 “9 FANTASTIC POETS WHO REALLY LOVE THE INTERNET,” LAST MODIFIED DECEMBER 07, 2015, HUFFINGTONPOST.COM/ENTRY/ POETS-ON-THE-INTERNET

A SOLUTION TO THE CURRENT FACTORY FARMING SYSTEM by SARAH TOMASELLO photographed by REBECCA TOMASELLO Despite the common misconception that the majority of animal products come from small family-owned farms1, a report published in 2008 by the Union of Concerned Scientists estimates that over 50% of meat and dairy products in the United States are now produced on Concentrated Animal Feeding Operations (henceforth CAFOs).2 Not only do farmers have the incentive to increase farm size due to greater profit on less land, but with a population of roughly 324 million Americans, it would be difficult for small-scale farms to meet public demands. According to a report published by the United States

Department of Agriculture, individual U.S. citizens consumed an average of 53.9 pounds of beef, 90 pounds of chicken, and 49.7 pounds of pork in 2015 alone.3 The rise of CAFOs since the 1960’s has led to increased stresses on both human and non-human animals, and the environment as a whole.4 5 Large-scale CAFOs not only account for a significant amount of anthropogenic greenhouse gas emissions, deforestation, and water pollution, but they also raise concerns regarding antibiotic resistance, food contamination, and epidemic viruses among humans.6 As the human population continues to rise and meat is being consumed more frequently in majority world

countries,7 it is estimated that the amount of meat consumption will double within the next forty years.8 This is concerning for many reasons, one being that the emission of greenhouse gases that will result from this increased meat production is not in line with the Paris global climate deal, which aims to “limit the increase in global average temperature to 1.5 degrees Celsius.” 9 What is cellular agriculture? To combat this dilemma, scientists at New Harvest research institute are funding and conducting research in the field of cellular agriculture, a process that will allow animal products to be harvested using stem-cell technology to culture meat protein.10 The process goes as follows: First, stem cells are extracted from the muscle tissue

of the animal. These cells are then cultivated in a medium of “fetal bovine serum,” blood extracted via cardiac puncture from fetuses taken from pregnant cows at slaughter. 11 12 Antibiotics and antifungal agents are added to the serum and the cells are left to grow on collagen-based scaffolding. Once the muscle strips are grown, which currently takes about three weeks, they can then be layered together, colored with beetroot juice, saffron, and caramel, and mixed with fat.13 It is important to note, however, that while the process currently uses fetal bovine serum and animal-based collagen,

that, “the livestock sector emerges as one of the top two or three most significant contributors to the most serious environmental problems.”15 Not only does livestock farming lead to increased deforestation, land degradation, water pollution, and desertification, but it accounts for anywhere between 10-25% of total anthropogenic greenhouse gas emissionws due to animals’ release of methane and nitrous oxide.16 A study conducted at Oxford University estimates that a complete replacement of CAFOs with cellular agriculture would reduce greenhouse gas emissions

SCIENTISTS ARE CURRENTLY EXPERIMENTING WITH SYTHETIC AND PLANT BASED ALTERNATIVES AND PLAN TO MAKE THE MEAT 100% CRUELTY FREE

scientists are experimenting with synthetic and plant-based alternatives and plan to make the meat 100% “cruelty-free.”14

by 78-98%, and there would also be significant reductions in overall land and water use, between 82-98%, and a 45% decrease in energy use.17

While this may certainly be a promising solution to the current CAFO system, there are a number of factors that should be considered.

Could lab-grown meat be healthier? Researchers argue that labgrown meat has the potential to be much healthier than its “en vitro” counterparts.18 Mark Post, researcher at Maastricht University, states that since it won’t require the use of antibiotics in the future, we won’t have to worry about the dangers of creating antibioticresistant bacteria and superbugs,

How might cellular agriculture impact the environment? CAFOs are extremely costly from an environmental perspective. Steinfeld et al., members of the United Nations Food and Agriculture Organization, argue 14

which are a concern with factoryfarmed meat.19 Furthermore, growing tissue in this way would prevent the contamination of meats with diseases such as the avian flu or mad cow disease.20 In a 2008 report, the Pew Commission stated that, industrialized animal agriculture posed “unacceptable public health risks” as the concentration of animals allows pathogens to grow and spread much more rapidly.21 This is precisely what happened with regards to the H1N1 virus, or swine flu, which in the United States alone spread to approximately 60.8 million people and resulted in 12,469 deaths.22 Nutritionists do point out that even after removing the risks of antibiotics, steroids, and infectious disease, meat would still not be considered a highly nutritious food. In fact, the overconsumption of meat “may be responsible for over a quarter of all ischemic heart disease, or 1.8 million deaths annually.”23 However, if cellular agriculture is capable of altering meat to increase its nutritional value and remove or lower fat and cholesterol content, this could ‘potentially reduce such health concerns.’24 Will this improve animal welfare? Despite increased concern in animal welfare after the publication of Ruth Harrison’s book Animal Machines, the U.S. government has done little to improve conditions on CAFOs for animals, and “livestock” are still currently excluded from the Animal Welfare Act, which is the only federal law regarding the treatment of non-human animals.25 This is extremely concerning, especially considering what humans

are learning about the cognitive abilities of other animals, including their abilities to suffer both physically and mentally. The spaces in which the animals are kept on CAFOs are not designed for the individual needs of each species. Rather, they are designed so farmers can get the most out of each animal, viewing them as mere commodities. This is problematic from a welfare perspective as it does not allow animals to carry out natural or instinctual behaviors that are important for their physical and mental well-being. The inability to perform such behaviors commonly leads to the performance of stereotypic behaviors, “repetitive, invariant behavior patterns with no obvious goal or function” which an animal may use to cope with the stress induced by their environment.26 While such coping behaviors help to lower stress in animals on CAFOs, the behaviors themselves can be self-damaging, such as the mouth sores which pigs develop from “bar biting.” 27 If CAFOs are phased out and replaced with cellular agriculture, the confinement of livestock will no longer be necessary. What does this mean for me, as a student? In a recent lecture at the University of Oxford, Craig Bennett, CEO of Friends of the Earth, a grassroots organization focused on taking action on climate change, argued that universities are not doing nearly enough to meet the goals outlined in the

Paris climate change agreement.28 With industrialized farming being a significant contributor to climate change, Bennett’s argument is relevant. Cellular agriculture is at the early stages of its development, and there are many questions yet to answer regarding health, ethics, and its environmental impact. Conducting research to find answers to these questions and solutions for these concerns is an excellent example of ways which universities can remain on track with the Paris agreement.

1. RICK MCCARTY, “CONSUMERS AWARE OF FACTORY FARMING; TERM CREATES NEGATIVE IMPRESSION,” EEF.ORG, BEEFORG/UDOCS/FACTORYFARMING.PDF 2. DOUG GURIAN-SHERMAN, “CAFOS UNCOVERED: THE UNTOLD COSTS OF CONFINED ANIMAL EATING OPERATIONS,” UNION OF CONCERNED SCIENTISTS ISSUE BRIEFING, UCSUSA.ORG/SITES/DEFAULT/ FILES/LEGACY/ASSETS/DOCUMENTS/FOOD_AND_ AGRICULTURE/CAFOS-UNCOVERED-EXECUTIVESUMMARY.PDF 3.“PER CAPITA CONSUMPTION OF POULTRY AND LIVESTOCK, 1965 TO ESTIMATED 2016, IN POUNDS,” NATIONALCHICKENCOUNCIL. ORG, NATIONALCHICKENCOUNCIL.ORG/ABOUT-THE-INDUSTRY/ STATISTICS/PER-CAPITA-CONSUMPTION-OF-POULTRYAND-LIVESTOCK-1965-TO-ESTIMATED-2012-IN-POUNDS/. 4. CARRIE HRIBAR, “UNDERSTANDING CONCENTRATED ANIMAL FEEDING OPERATIONS AND THEIR IMPACT ON COMMUNITIES,” NATIONAL ASSOCIATION OF LOCAL BOARDS OF HEALTH, 2010: CDC.GOV/NCEH/EHS/DOCS/ UNDERSTANDING_CAFOS_NALBOH.PDF 5. WYATT GALUSKY, “TECHNOLOGY AS RESPONSIBILITY: FAILURE, FOOD ANIMALS, AND LAB-GROWN MEAT,” JOURNAL OF AGRICULTURAL AND ENVIRONMENTALETHICS 27, NO. 6 (2014): 931. DOI:10.1007/S10806-014-9508-9. “U.S. DEPARTMENT OF AGRICULTURE UNIFIED NATIONAL STRATEGY FOR ANIMAL FEEDING OPERATIONS,” 6. U.S. ENVIRONMENTAL PROTECTION AGENCY, MARCH 1999 EPA. GOV/NPDES/PUBS/FINAFOST.PDF 7. MAJORITY WORLD COUNTRIES, A TERM COINED BY THE PHOTOGRAPHER SHAHIDUL ALAM, REFERS TO COUNTRIES WHERE THE MAJORITY OF THE WORLD’S POPULATION LIVES, WHICH ARE COMMONLY REFERRED TO AS “DEVELOPING COUNTRIES”. FOR MORE ON THIS SUBJECT, PLEASE SEE: JAMES ESTRIN, “WRESTLING THE NARRATIVE FROM THE WEST,” THE NEW YORK TIMES, JULY 19, 2013, LENS.BLOGS. NYTIMES.COM/2013/07/19/WRESTING-THE-NARRATIVEFROM-THE-WEST/ 8. MARK POST, “CULTURED MEAT FROM STEM CELLS: CHALLENGES AND PROSPECTS,” MEAT SCIENCE 92, NO 3 (2012): 298. DOI:10.1016/J.

While this certainly involves departments including research plans for solutions to the CAFO dilemma, and funding councils giving more priority to this research, we as students play a major role in enabling this to happen. It’s our job to pressure our universities to invest in research in this area, find solutions to the CAFO system, possibly with the implementation of cellular agriculture, and meet our climate change goals.

MEATSCI.2012.04.008. 9. “CLIMATE ACTION: PARIS AGREEMENT,” EC.EUROPA.EU, LAST MODIFIED SEPTEMBER 2016, EC.EUROPA.EU/CLIMA/POLICIES/INTERNATIONAL/ NEGOTIATIONS/PARIS/INDEX_EN.HTM 10. GALUSKY, “TECHNOLOGY AS RESPONSIBILITY: FAILURE, FOOD ANIMALS, AND LAB-GROWN MEAT,” 931. 11. NICOLA JONES, “A TASTE OF THINGS TO COME.” NATURE 468, NO7325 (2010): 752 12. C. JOCHEMS ET AL.,”THE USE OF FETAL BOVINE SERUM: ETHICAL OR SCIENTIFIC PROBLEM?,” PUBMED 30, NO 2 (2002):219 13. ANJANA AHUJA, “MANMADE MEAT WILL NOURISH THE BODY AND SOUL,” THE FINANCIAL TIMES 11 (2014) 14. MARK POST, “CULTURED MEAT FROM STEM CELLS: CHALLENGES AND PROSPECTS,” 299. 15. “GROWING GREENHOUSE GAS EMISSIONS DUE TO MEAT PRODUCTION,” UNEP GLOBAL ENVIRONMENTAL ALERT SERVICE, OCTOBER 2012, UNEP.ORG/PDF/UNEPGEAS_OCT_2012.PDF 16.IBID. 17. HANNA TUOMISTO AND M. TEIXEIRA DE MATTOS, “ENVIRONMENTAL IMPACTS OF CULTURED MEAT PRODUCTION,” ENVIORNMENT SCIENCE AND TECHNOLOGY 45, NO 14 (2011): 6118. 18. M. HEID, “YOU ASKED: SHOULD I BE NERVOUS ABOUT LAB-GROWN MEAT?,” TIME.COM, OCTOBER 2016. TIME.COM/4490128/ ARTIFICIAL-MEAT-PROTEIN/ 19. IBID. 20. BARBARA TURNICK,“MEAT WITHOUT MURDER,” THE VEGETARIAN TIMES. 2016 VEGETARIANTIMES.COM/ARTICLE/MEATWITHOUT-MURDER “ 21.THE ROLE OF FACTORY FARMING IN THE CAUSE AND SPREAD OF SWINE INFLUENZA,” CIWF.ORG.UK, MAY 2009, CIWF.ORG.UK/MEDIA/22780/ SWINE_FLU_REPORT_05_05_2009.PDF“ 22. CDC ESTIMATES OF 2009 H1N1 INFLUENZA CASES, “ CDC.GOV, JUNE 24, 2014, CDC.GOV/H1N1FLU/ESTIMATES_2009_H1N1.HTM. 23. MARK POST, “CULTURED MEAT FROM STEM CELLS: CHALLENGES AND PROSPECTS,” 298. 24.IBID. 25. ANIMAL WELFARE ACT CHAPTER 54, SECTION 2131 26. GEORGIA J. MASON, “STEROTYPIES: A CRITICAL REVIEW.” ANIMAL BEHAVIOR 44, (1990): 1015 27. IBID. 1019 28.CRAIG BENNETT, “UNIVERSITIES AND THE PARIS CLIMATE AGREEMENT (PRESENTATION, OXFORD UNIVERSITY, OXFORD, ENGLAND OCTOBER 2016).

writ te by J n and p ULI A P hotogr RISA ap ZNU hed K an dD ON GN I YA NG

the beauty of humanity is found in our self-expression with one another. It is no secret that the majority of the population is constantly attached to electronic devices. An average person will spend eight hours and twenty minutes per day using these digital gadgets, meaning that adults are using their laptops and smartphones for a longer period of time than a full night’s rest of eight hours.1 Today, technology is accessible at the tips of our fingers and a touch of a button. Maybe it is time to start managing our levels of connectivity with not just technology, but reality. There are still individuals that intentionally steer their lifestyle away from using all of the trending devices. Non-smartphone user Zane Knight is a twenty-oneyear-old musician and student that controls his connection with the digital world by eliminating access of readily available information at the palm of his hand. “The benefit I personally find from not having a smartphone is that I don’t live my life staring downward at a screen in an attempt to entertain myself. I like to free my mind by looking up and observing the environment around me, otherwise I would be bound to the fateful trap of a

handheld prison,” says Knight. When you become too engaged electronically, we tend to lose a sense of genuine human emotion. It is important to set aside time with friends and family that does not involve expressing feelings via emojis.2 Knight’s personal goal of being a non-smartphone user is striving to have people talk to him in person rather than through the digital realm. Knight claims that, “When you’re face to face with someone, there’s so many nonverbal communications that happen, such as body language, tone of voice, and eye contact. It’s like you can see into them and absorb a part of their spirit and character just standing there while you’re observing each other. It’s quite magical. This is all lost with digital communication.” If you recognize that you are shielding yourself from the outside world with television, smartphones, and Facebook statuses, join together with others to put down the contraptions that are preventing us from being present. The people that have taken this advice feel their lives have been filled with meaning, creativity, and joy.3

We are so encapsulated by living raw moments through our devices that we forget we can experience them first hand with our eyes. Try to carve out time in your daily life to disconnect digitally and engage yourself mentally. Allow yourself to slow down by listening to the rain hit the asphalt as cars glide over top or by studying the way your significant other smiles at you. Restore balance between your virtual and physical world to weigh in quality over quantity. As Knight said, “The beauty of humanity is found in our self-expression with one another, so who would we be if we lived in fear, hiding behind our digital devices?”4 Be the most present you can be. Let the details of life, that you find from being existent, keep you engaged with reality and the ones you love. It is beneficial for your soul to live life better by living slower.

1. MAILONLINE, MADLEN DAVIES FOR. “AVERAGE PERSON NOW SPENDS MORE TIME ON THEIR PHONE AND LAPTOP THAN SLEEPING, STUDY CLAIMS.” MAIL ONLINE. 2015. DAILYMAIL.CO.UK/HEALTH/ARTICLE-2989952/ HOW-TECHNOLOGY-TAKING-LIVES-SPEND-TIMEPHONES-LAPTOPS-SLEEPING.HTML. 2. CARE, A. H. (2014). EXCESSIVE DIGITAL CONNECTIONS DULL KIDS’ EMOTIONS. AHCHEALTHENEWS.COM/2014/08/27/EXCESSIVEDIGITAL-CONNECTIONS-DULL-KIDS-EMOTIONAL-ONES/ 3. “ABOUT.” JOIN THE NATIONAL DAY OF UNPLUGGING MARCH 45 2016 RSS. NATIONALDAYOFUNPLUGGING.COM/ ABOUT-US/. 4. ZANE KNIGHT (MUSICIAN, STUDENT), IN DISCUSSION WITH THE AUTHOR.

by ELIZA TEHAN photographed by SAM KETTELL

The cyborg era is emerging. The boundaries of what characterizes this era have expanded past the way “cyborg” is usually defined. It is no longer simply confined to a cybernetic organism–the melding of organic and mechanical into one fluid form–but has now adopted a new, more ambiguous meaning. It can refer to humankind’s increasing overdependence on technology. Personal electronic devices have become essential to the everyday life of populations in many parts of the world. People feel naked or inadequate without them, as if these devices were extensions of themselves. Personalized technology is the tool we use to create our digital identities. We not only have our corporeal self, but a complex

network of online outlets we use to construct our separate, curated, cyber identities. This can be seen as the negative side of cyborgism and could represent a danger to our free will and independence. We are letting mechanization overcome us, letting the dependency cripple us instead of propelling us to optimal functioning. It presents a certain danger, but also an opportunity for the way we view identity. Contemporary artists who use digital tools are another aspect of cyborgism. The product of the human and the mechanical is a fluid energy that surpasses the singularity of either entity. This feature of cyborgism has evolved into something that promotes autonomy and freedom.

Cyborg also refers to the augmentation of conventional ideas of gender, self, sexuality, and roles in which society places us. New technologies, the rise of the internet, and the growing progress of abolishing preconstructed notions of identity are allowing people to create their own sense of self. Traditional Western ideals have formed the concept of identity as being holy for its purity and singularity. We are born into this pre-constructed world, which assigns us a specific identity based on sex, race, appearance, and socioeconomic status. 22

With these assigned identities come restrictions and prejudice forced upon people who hold no responsibility for these confining traits. Capitalism and mainstream Western ideological structures strongly uphold and enforce compartmentalizing identities. Mainstream social and authority structures perceive that people are easier to regulate when mass blanket categorizations are internalized by marginalized groups. This creates the notion that certain groups are superior to others based on identity.

In Donna Haraway’s 1989 “Cyborg Manifesto,” she discusses and critiques traditional notions of feminism and identity politics, while discussing the unstoppable effects of technology. She encourages women to use these emerging technologies as empowering tools to relate to each other based on similarity in beliefs rather than singular identity. She talks about normalizing a world without gender using technology to augment oneself.1 Haraway defines the cyborg as “a kind of disassembled and reassembled, postmodern collective and personal self.” Her essay is an important call to action for us to initiate conversations about identity politics. The gender binary of male and female is an example of how identity can be a strong way of oppressing people’s individuality. Oftentimes, our society openly condemns those who try to step outside of this limiting world, such as transgender and nonbinary people. Choosing to destroy this idea of only two choices and their allotted connotations is a direct way of protesting this binary, transcending dualism, and entering a cyborgian identity. The cyborg aspect comes from basically hacking what is perceived as normal and moving beyond the defined.2 Using tools such as clothes, names, body modifications, language, and technology is a way of disrupting how people think they should perceive another human. Recognition and acceptance of these decisions need to be more present in conversation and contemporary discourse in order for this type of identity freedom to progress for all. We also have to recognize

that, often, identities cannot be explicitly defined by science and therefore cannot be left to solely be interpreted by psychology or biology. If some definition is to be attempted, no human should be excluded. Every person should have the right to express how they feel and that should never be repressed or deemed invalid. So why is identity so important? It’s currently being used to systematically oppress and control groups of people. This can be seen through heightening transphobic hate crimes,3 laws that restrict transgender people from using the bathroom that make them comfortable,4 and prejudice towards people of color by police.5 A sense of identity should be used to illustrate one’s freedom of individuality as well as connect those who share similar affinities. It is being used to do exactly the opposite by defining people’s complexities that should never be defined for them. To dismantle this system is to dismantle these manufactured labels by stitching together something that cannot be confined, venturing beyond normality to explore new cyborgian territory.

1. DONNA JEANNE J HARAWAY, SIMIANS, CYBORGS, AND WOMEN: THE REINVENTION OF NATURE. 2.“CYBORG THEORY, CYBORG PRACTICE,” ELECTRIC LITERATURE, ELECTRICLITERATURE.COM/CYBORG-THEORYCYBORG-PRACTICE-A25D84E4E280#.346BDL25M. 3.“RESPONDING TO TRANSGENDER VICTIMS OF SEXUAL ASSAULT,” OFFICE FOR VICTIMS OF CRIME, OVC.GOV/PUBS/FORGE/SEXUAL_NUMBERS.HTML. 4. AMBER PHILLIPS, “THE LEGAL FIGHT OVER NORTH CAROLINA’S TRANSGENDER BATHROOM LAW, IN 4 QUESTIONS,” WASHINGTON POST, WASHINGTONPOST.COM/NEWS/THE-FIX/WP/2016/05/09/THE-LEGALFIGHT-OVER-NORTH-CAROLINAS-TRANSGENDER-BATHROOM-LAWEXPLAINED-IN-4-QUESTIONS/. 5.“ADDRESSING THE PERCEPTIONS OF LAW ENFORCEMENT,” DIVERSITYINC, DIVERSITYINC.COM/NEWS/ADDRESSINGPERCEPTIONS-LAW-ENFORCEMENT-PREJUDICE/.

CRYO THERAPY HOW EXTREME COLD HAS OPENED A BRAND NEW WORLD OF HEALING by MICHAEL BURPOE photographed by ADAM ANTALEK

The future is here, and more and more athletes are turning to cryotherapy. Cryotherapy is a cutting-edge recovery technique involving the application of hyper-cooled air to the skin1. This has positive effects on the participant's brain, skin, blood and more. The prefix "cryo-," coming from the Greek word for “icy cold” 2, has long been used in sci-fi stories as a futuristic motif. Most commonly used in relation to cryosleep, which is the prolonged suspension of a person using extreme cold, appearing in futuristic movies such as Avatar and 2001: A Space Odyssey, the plausibility of using extreme cold for healing or to prevent aging has always been seen as something only obtainable in futuristic novels. Ellipse consulted with Dr. Jacob Fey , PT, DPT, CSCS, NSCA-CPT and Owner of Buffalo Cryo for more information about this new recovery method. 3

e. Can you give us a quick summary in your own words of what cryotherapy is? b.c. Whole body cryotherapy is the use of cryogenically cold nitrogen gas (temperatures range from -180 to -260 degrees Fahrenheit), to stimulate the nervous system with a massive cold signal to initiate the body’s fight-or-flight systems. This then produces epinephrine, norepinephrine, and endorphins. These chemicals that are produced in your body, initiate anti-inflammatory processes, decrease the breakdown enzymes of collagen important in joint health, enhance mood regulation and improve sleep cycle. Is cryotherapy painful? The majority of the sensation felt is cold. Some people may experience a prickly sensation that lasts for only a minute or

CRYO UTILIZES COLD TO ELICIT A BODY’S FIGHT OR FLIGHT RESPONSE

BRAIN Due to extreme cold, the brain sends the body into “Fight or Flight” mode. Adrenaline and endorphins kick the body into overdrive, increasing metabolism and energy.

BLOOD As blood rushes to the core, it is enriched with oxygen a nd anti inflammatory proteins. As it flows back to the extremities, these assets aid in muscle recovery and inflamation.

SKIN Cold sensors located on the skin send cold signals quicker than pain signals, which effectively stops the brain from receiving pain signals temporarily.

CORE Blood rushes to the core to normalize temperature, burning 500 to 800 calories. Calories continue to burn as the body attempts to stabilize temperature throughout.

two during the treatment. This sensation is normal during cold exposure below temperatures of 50 degrees Fahrenheit. What are the differences between cryotherapy and a normal ice bath? Cryotherapy utilizes extremely cold temperatures to drive the fight-or-flight response for the production of epinephrine, norepinephrine, and endorphins to help heal from the inside out. In contrast, an ice bath uses cold temperatures to cool the affected tissues for the purpose of local vasoconstriction that limits blood flow to a specific area. Why don’t I get frostbite when I am subject to such extreme cold? Clients do not get frostbite during treatment due to the protective precautions (things like time limit, gloves, socks, shoes, underwear). If a person were exposed to these temperatures with enough duration, they would get frostbite. Is cryotherapy useful for dermatology purposes (treating things like eczema and acne), and have you had any Dermatologists prescribe a customer cryotherapy?

With hyperbaric chambers, the original intended use was to treat decompression sickness, AKA “the bends,” for divers. However, it was later discovered it was very helpful in the recovery of burns and other wounds, even though this was not the original intended use. Do you foresee cryotherapy having a similar application aside from simply high performance recovery? We have an idea or two, but we are keeping that close to the vest for now until we have some more research to back up our hypothesis. What demographic do you think could see the most benefit from use? (age, gender, lifestyle?) We think that high school athletes would see the most benefit due to the increased demands of sport and academics.

1 JASON KOEBLER. “A BRIEF HISTORY OF CRYOSLEEP.” JANUARY 19, 2016. ACCESSED OCTOBER 30, 2016. MOTHERBOARD.VICE.COM/ READ/A-BRIEF-HISTORY-OF-CRYOSLEEP. 2 MERRIAM-WEBSTER. “DEFINITION OF CRYOGENIC.”2016. ACCESSED OCTOBER 18, 2016. MERRIAM-WEBSTER.COM/DICTIONARY/CRYOGENIC. 3 E-MAIL. RECEIVED BY JACOB FEY, DR., 26 OCT. 2016. INTERVIEW QUESTIONS SENT AND RESPONDED TO VIA E-MAIL..

While we have not had any dermatological referrals yet, we have had a handful of clients have good outcomes in managing their specific issues including eczema, psoriasis, and acne. 27

20/20 20/20 by GABRIEL ALSINA photographed by CATHERINE SHARP illustrated by JESSICA AREVALO

Imagine having a remote-controlled car, with the most advanced remote in the world. With it you can individually control hundreds of other cars, check their individual battery levels, get an alert if any of them are malfunctioning, give someone else control of a car if you wanted to, and much more. This is the kind of technology Todd H. Becker has been working on for almost twenty years and because of his work, it is now in the hands of over half a dozen startup companies. 28

Whether or not you have heard of him Becker may be one of the most influential people. His work can be connected to some of technology’s most pivotal advancements such as conversion from analog to digital signals for microprocessors and the popularization of the light-emitting diode, or LED. “The latter is reason that the Apple logo on your laptop lights up, and the former is why a phone can be considered “smart”.

With over twenty years of experience in the tech industry Becker is helping pioneer the concept of connected smart devices, a large network of devices can be precisely controlled, monitored, and maintained, through a single interface. As complex as it sounds its premise is actually quite simple. “Its all about the management of resources over time and place from a distance.” Becker states it. It is the evolution of remote control. Becker is currently the managing director of KeyRock consulting partners, as well as the Chief Operating Officer at Yankee Candle Scent Systems. His latest endeavor with connected smart devices involves his position at Yankee Candle. He works with other commercial companies to provide them with an automated system that maintains a consistent scent at their venue. On top of that a team is provided that remotely monitors the system at all times to check how often the machine sprays, detect if a cartridge is empty, if a machine is unplugged, and remotely inform on-site personnel of any issue

that needs to be addressed. This all culminates to provide that pleasant welcoming smell when you walk through the door of your favorite retailer. Becker works to ensure that these technologies are adopted on the commercial side and his work was being marketed commercially an entire twenty years before they became financially viable and accessible to the average consumer. The same is happening now with connected smart devices, with app controlled smart homes already on the rise, and the combination of tech that is Phillips Hue remote control RGB LED bulbs show that Becker is an innovator and who you should be watching for what is next in the world of technology.

“TODD H. BECKER 2020 INTERVIEW.” INTERVIEW BY AUTHOR. OCTOBER 17, 2016.

blurring the bina r y From the moment one is born, they are assigned a biological sex. Used as a tool for identification, this action becomes the first of many perpetuated norms faced by gendernonconforming individuals. The path of least resistance is to accept one’s prescribed identity, but for many this action is a powerful restriction of free expression. For young adults developing in their minds and bodies, challenging this conversation can be overwhelming.

The ﬁrst step in understanding gender is abolishing the term “conformity” from our vocabulary. Humans are immensely complex beings and attempting to categorize ourselves only limits our own potential. Gender holds no inclination to the genitalia with which one is born nor with whomever one decides to romantically or sexually spend their time. Gender, at its core, is simply who you are and how you feel you should be.

written and photographed by GARRETT CHASE

With a demographic experiencing this level of discrimination due to a high degree of ignorance, it becomes our responsibility as a global society to become educated on the factors of its emergence. Not only that, but the evolution of gender and sexuality in the modern age is cause for celebration, not marginalization.

Identity Gender identity is the most important and greyest area of understanding. As a society originally built on a binary system, maleness and femaleness become easy guidelines for most of the population to determine their identifying principles. However, it is important to understand that not everyone can ascribe themselves to that scale. Many people ﬁnd that the ways of male and female lives do not accurately describe what they are or that both terms apply to them more than the choice of one. Genderless, two-spirit, polygender, gender neutral, and gender ﬂuid are terms that some people feel define them properly. Expression Gender expression is the way in which each individual manifests their own interpretation of identity. One may characterize themselves more as a male but behave with what they consider to be femininity. This is just one example, and the spectrum of expression is just as colorful as that of identity. What’s important is understanding that one’s actions do not define who they are and to identify someone solely on the way they behave is to falsely perceive them. Fluid expression opens up the world to a broad and diverse array of personal culture. 32

gender is simply who you are and how you feel you should be.

From there, it becomes accepting in our society that everyone, even individuals who conform to the gender binary (male or female), have different aspects about themselves that help deﬁne them. The gender conversation doesn’t start with accepting others; the conversation starts with accepting ourselves. Roughly three-quarters (73%) of LGBTQ youth say they are more honest about themselves online than in the real world.1 Social media allows us to express ourselves, but always under the guise of an alias. It is important to be comfortable with yourself on and off the internet.

It is a beautiful world that we live in to have such a variety of people with diversities of character. Perhaps one day we will be past discussions of controversy in this area, and everyone will be able to freely identify and express themselves without fear of retribution. Becoming a more sensitive society to these topics only serves to make us more advanced. Once we make the leap away from boundaries and binaries we take one step closer to transient beings.

1. HUMAN RIGHTS CAMPAIGN, “GROWING UP LGBT IN AMERICA: VIEW STATISTICS,” HUMAN RIGHTS CAMPAIGN, HRC.ORG/YOUTH/VIEWSTATISTICS/.

C O N S T R U C T

Y O U R W O R L D 35

a new n i g h t, a new

by ANABELLE PLAZA photographed by SOL JI PARK composite by MIKE DICOLA illustrations by LAUREN MAYS 36

mov ie

The machine hums its first breaths as I settle against the cool metal. An involuntary shiver sends the blank monitors into a fit of elongated beeping. I feel a blast of warm air reach my fingertips as I nestle in further. The new software update is meant to simulate the gentle comfort of a childhood bed. Coincidently, my childlike glee leads me into a small reverie of delight as I wiggle even further onto the machine’s bed and close my eyes. I’m excited for a new night, a new dream — a new movie. The whirring pauses — a brief repose of wonder and investigation. It’s acclimating to my body.

Finally, the metal bed begins moving, slowly slipping into the confines of the machine. I relax my shoulders a bit more. The cylindrical housing of the machine purrs. I’ve been thinking a lot about water lately; its soft, undulating curves; the sensation of complete submergence. It’s quiet under the ocean, where time and place don’t bear much significance. Maybe that’s what I’ll turn into a movie tonight. My eyes feel heavy, but I pry one open as the machine swallows me whole. Just before they flutter shut once more, I reach out 37

to the pink jelly coating the inside — it has something to do with the insulation of time and heat, so they say, yet its presence feels abnormal. My hands sink in. It’s a comforting feeling; my mind slowly slips. I blink once, twice, three times until there is water surrounding my skin. My toes curl up, sifting through mounds of sand. Fish swim beside me as I think of the ocean. A school of metallic blues and vibrant pinks flock at my feet. The fish float away the moment I give them a home. A coral reef that expands miles and miles — dominated by the whims of my mind. They swim through it like a maze. A maze, I think, of water. Instantly, the ocean dries up and I’m left with puddles at my feet. I look up and realize towering walls of waves surround me. An intricate labyrinth of blues and blacks roaring above me, as I turn a hundred corners. After hours, days, weeks — it feels endless. I wish for drier lands, and the walls collapse into heaps of water instantly engulfed by the sand. I sift through the desert, mountain ranges feeling years ahead. Vultures circle past me as the sand and wind nips at my fingertips. Once more, I wish for a quick escape. The ground quakes. A crack in the earth makes its way through the mountains and to my feet. I fall through, and my body feels heavy. I wonder what its like to fall up. My feet land on tiled floor. I look up and see glass. I’m in an elevator, treading up the floors of an endless building. I wish to see, so the elevator melts into glass. Before me there’s a city of tiny cubes falling from the sky. Each one lands on top of another, until the skyscrapers reach the clouds. I wonder if they can reach the sun. 38

I WONDER IF THEY CAN REACH THE SUN.

ACCOMMODATING THE MODERN

TRAVELER

written and photographed by FONTAINE RITTELMANN Waking up to a cool breeze rustling the exterior of the tent walls as a warm glow from the east ignites the orange polyester of my shelter, is one of the most calming and peaceful experiences I have had in my lifetime. The feeling of waking up after a long night spent outside in variable temperature and exposure always seems to leave me with a sense of accomplishment. I feel relieved and refreshed as if I braved through the night in a chancy situation, when in reality, all I really “survived” was something that is not usually part of my day-to-day life. Unfortunately, mornings like that one come few and far between. I am now wrapped so tightly in the modern technological world that I find myself daydreaming of times like that between sessions of deleting spam e-mails. Technology’s stimuli can be extremely hard to ignore, especially with “read receipts” turned on. Although my life would be impossible without technology, 40 40

I often long for peaceful mornings hidden in the warmth of my sleeping bag away, from it all. For those of you who feel similarly, you may have wondered how can we stay in touch with technology while staying in touch with nature.

IT IS SIMPLE; WE USE OUR TECHNOLOGY TO OUR ADVANTAGE. New technological advancements are created with the purpose of making our lives easier. There are multiple reasons technological advancements are made: they allow us to connect with people we may have never been able to meet without it, to assist us in determining where we are going, and to help lead us toward great experiences. We can even use it to our advantage when planning the perfect getaway. This past summer I had the opportunity of a lifetime. I was able to drive around the United States for forty days and forty nights, a true American dream. I had always dreamt of taking a cross-country road trip, and this past summer I finally decided to make it a reality with a little added pressure from my nowfiancé, Jeremy. We began planning with open minds and eager hearts, manipulating technology to create the perfect trip. Feelings of freedom and happiness became a focal point in my life as we mapped out routes and destinations across the forty-eight states. We used apps to find places to stay on the cheap as we slowly turned our

poorly funded dreams into reality. As the departure date for our trip grew closer, we could not hold back our excitement. Our friends and family were all very delighted as well. Everyone kept telling us to keep in touch and post photos to social media. We even created an Instagram account in addition to the usual Facebook photo album so our relatives would be able to see every part of our journey. Most everyone we discussed our plans with had one thematic statement to make; it went something along the lines of I have always wanted to do what you are doing. If you have always wanted to take a cross-country road trip, and you are at a point in your life where you may do so without any previous obligations to hold you back, Technology may now become your best friend;

AT LEAST UNTIL YOU SET UP CAMP AND LIGHT THE BONFIRE. Before we knew it, the time had come where we were packing up my tiny hybrid car with only one suitcase each, a few cameras, some running shoes, camping gear, and the realization that our once-almost-impossible dream was now becoming reality. With our smartphone GPS ready to go, we set off from Upstate New York with the intention of touching the east and the west coasts within the next forty days. We posted a photo of our predetermined route on our Instagram page and reached out to our followers, asking whomever, wherever, to meet up with us if

we were going to be near their location. We made plans to go for a run with a woman in New York City, get chili with a man in Cincinnati, work out at noon in Phoenix with a fitness guru, get dinner with two fellow athletes near Lake Tahoe, and hike the Flat Irons with two people in Boulder. Each person came with so many unique stories and a keen ear for every detail of our road trip. These people wanted to meet with us, to be a part of our trip, and to experience a type of adventure that you can only get from encountering new people. Technology is amazing in the way that it can bring complete strangers together through social media and similar interests. Not only did technology allow us to meet up with complete strangers and make new lifelong friends, it also gave us the opportunity to visit old friends that no longer lived nearby. Using Facebook, Jeremy was able to reconnect with two friends, both whom had moved away and were now excited to hear that we were doing a road trip and that we were looking to visit their new home cities. There is something about reconnecting with people you haven’t seen in a while. Memories from old times -in Jeremy’s case, childhood -- were recalled and laughed about over fried alligator in New Orleans one night and along San Antonio’s River Walk the next. It was really soothing to be amongst company with such generous hearts. Due to the generosity of friends and strangers plus hours of careful research, Jeremy and I were able to go our entire road trip without 41

being trapped inside a hotel. Well, we were in a hotel once, but that was only to take a quick swim after twelve days of not showering (but that’s another story.) Accommodations are the number one expense on almost every trip, which is why we decided to sleep cheap. Our accommodations ranged from friends’ houses and Airbnbs to camping in the national parks and Walmart parking lots. We had no trouble finding and reserving campsites in five national parks. Some national parks, like Grand Canyon National Park, have neighboring national forests, which often have free camping options. Kaibab National Forest has several dispersed camping locations so close to the Grand Canyon that if you roll the wrong way in your sleeping bag, you may find yourself floating down the Colorado River at two in the morning. “Dispersed camping” is a fancy term for a free place to park your car that isn’t in an actual campground. A simple Google search can help you find dispersed camping across the United States. If you are looking for a more developed place to roast some marshmallows, websites like reserveamerica.com and recreation.gov will be the key to your camping success and your ticket to finding and booking a cheap vacation all on one webpage. Every campsite that we booked in a National Park was twenty dollars or less per night, which is cheaper than reserving a camping spot in most state parks. If you are hoping to save money on your 42

road trip, cut the spending on accommodations, not food; food is just too damn good. If you really do not want to waste any money on accommodations, well, have no fear; there are still options in the 100% free category! We spent several nights in the car on roadside pull-offs, highway rest stops, and Walmart parking lots.

CAR CAMPING IS THE NEW AMERICAN RV. We knew that we would be spending a good amount of nights sleeping in the car; that is one reason why we only had one suitcase each. When we would sleep in the car, we would put the seats down in the back (luckily the seats would lay flat in my hatchback), move all of our belongings to the front seats, inflate my camping mattress, lock the doors, and call it a night! “When we slept in our car, we often ended up in semi-public space, like large Walmart parking lots.” Many people I have talked to about the trip and told them we slept at a Walmart for four nights in Boulder, Colorado thought I was insane, but the truth is that sleeping in their parking lots is totally legal and pretty safe. I frequented walmartlocator. com, a website that helps you find “campable” Walmarts. We quickly got comfortable in our Walmart parking lot after we noticed that we were not the only traveling vehicles that were staying for multiple nights. Trust me, more people use this free resource than you may think. Okay, maybe you are

really not a parking lot person, and the thought of being a large bear-treat sleeping bag burrito is not appetizing to you either. Well, there is one final option for inexpensive accommodations: Airbnb. If you have not heard of Airbnb until now, I highly suggest that you download their app and set up a free account. Airbnb was born from the concept of sleeping on someone’s floor in exchange for money. Airbnb is an inexpensive way to get a real bed and shower as well as meet new people. With Airbnb, you have many different accommodation options such as a single bedroom in someone’s house, an entire house, or even a sailboat hull; you name it; someone has it available for rent on Airbnb. Anyone can become a host on Airbnb, and anyone can use Airbnb. Airbnb’s app is extremely user-friendly; it allows you to create multiple filters in your search and shows images and prices upfront, among other features. On our trip, we used Airbnb for some of the cities we stayed in, because there were no places to camp and hotels were far too expensive for our limited budget. The use of apps and websites and a bit of technology digging was all part of the planning. We determined where we were going and how we were going to make it work, but what we did not plan for was the sheer weight of a lifetime’s worth of experiences in less than one summer. We traveled to nine different national parks, reached twelve major cities, touched both the Atlantic and Pacific oceans, and covered over 10,500 miles in a little over one month’s time.

There is no feeling that can replace standing next to the largest living tree on Planet Earth or walking through a fallen tree that is at least 142 times older than you are. There is no more exciting feeling than being the first of the day on the Double O Trail in Arches National Park. There is nothing more nerve racking and humbling than standing on the edge of the Grand Canyon at sunrise, when all is still and you can hear the faint cascading of the Colorado River a mile below the canyon rim. It is these very moments that make me long for those peaceful mornings in my warm sleeping bag, waking up to the glow from the eastern sun, surrounded by nature and all the wonderful elements that it encapsulates.

TECHNOLOGY ENABLED US TO PLAN AND EXECUTE THE EXPERIENCE OF A LIFE TIME. It allowed us to experience an entire country without getting lost, while staying under budget, and while being able to record every moment via social media. Although sometimes technology may seem overwhelming, in the end I have realized that it is only here to make our lives easier, it is a tool that allows goals to be met sooner than expected, and it is a powerful stepping stone for much greater life experiences.

written and photographed by MEGAN BARRETTE

When my family went through my grandmother’s personal effects we found pieces of her life - her photographs, diaries, old letters - all kept in piles on shelves in a dark basement. Among this collection was a small, curated stack of dusty newspapers. They were relics from significant days in her lifetime: the end of World War II, the first moon landing, and a local clipping about my first day of kindergarten. These were days that mattered and these were some of the events that composed her timeline, all kept together on the same level of relevance to her. When considering her legacy, these artifacts feel authentically part of her story and identity. While I’m certain millions of copies of newspapers about the war and our success in early space travel were kept in personal collections, in this archive the story of her only granddaughter

attending school held a similar modern culture to some degree. value. It seems as though very Social media platforms are few of us collect in this way today. readily understood as tools for Physical photographs and the communication and networking, printed word are seldom held but other implications can still onto with a similar tenacity be explored. and interest as before. But this humanistic desire to archive our Within social media platforms, lives has not disappeared and we have our own personality may have, in fact, been made easier and with every update, photo, and more personal than ever before. post, and opinion, we build upon identity. It is an abstraction AS A COLLECTIVE this of self, a narrative we have a hand SOCIETY, WE in creating. Perhaps one minute someone is sharing news about PUT A LOT OF the latest global crisis, and then TIME AND EFFORT next they’re sharing a photograph of their new nephew. INTO OUR

DIGITAL CULTURE.

As a collective society, we put a lot of time and effort into our digital culture. This is a general statement as many do choose to abstain from social media. However, it is evident that the majority of American adults now participate in this aspect of

The profile they share is completely self-tailored and begins to form a tapestry of their human experience. Several people may write off this avenue of sharing as fleeting and superficial. However, the more we feed into this narrative, the deeper it becomes embedded into our lives. Ours is the first 49

generation that grew up with social media platforms, so we have to consider what could be possible beyond the instant gratification of sharing. With every modern change comes criticism of the trend. Controversy surrounds the idea of “oversharing” oneself and not bearing in mind the consequences of a life archived online. There is validity in this argument when considering the ease in which we seem to acquiesce to surveillance. Agreeing to the terms for a service such as

Facebook creates a vulnerability to our personal information. It is important to remain cognizant that we sacrifice privacy for the ease of communication. However, if we’ve already forgone that privacy and still don’t feel the urge to switch to living off the grid, this is the reality within which we now operate. There are major challenges presented with this new form of archival process. These services we use are generally companies and we are given no guarantee that these platforms exist

indefinitely. Unlike the physical collections kept before, we now rely on faith that this intangible digitization of memories will not be taken from us. It can be a frightening prospect when realizing the future of this is unclear. Therefore it is crucial to recognize our personal relationship with our social media and take the steps to preserve this information if we find it invaluable. There are strategies and multiple services to facilitate downloading and archiving your media profiles.

If digital culture plays a role in telling your story now, then isn’t it worth keeping forever? Companies such as ArchiveSocial and PageFreezer offer comprehensive archiving along with web analytics. These services are all-encompassing, but it is important to note that you do not have to pay to capture your social media. For platforms like Facebook, you have the option to download your profile information from the site itself. If you have the means to back up your own information, your archival can be a simple process. With this criticism understood, we can examine the potentially unsung beneficial nature of this social media habit. We are a generation now faced with the opportunity to use this platform as an extension of identity. Your thoughts, quotes, preferences, interests, and personal image are compiled and exist as an entity outside of yourself. You’re given

control as to how specific and authentic this personality is to the “actual you.” Whether your social media presence is a fully realized representation or an abbreviated persona, it can function as an active archive. If you’re an individual with a smartphone, this aggregation of personal data is made instant. If this convenience is used wisely, we are given the opportunity to contribute to a living memoir. We have the option to share everything from the biggest life changes to the seemingly arbitrary. We have a catalog of history that we can revisit at will. We are no longer burdened with the fear of forgetting, of losing the moment. The practice of maintaining a social media platform is not and does not have to be for everyone. But the argument that it is inherently superfluous does

not hold weight when the act of saving memories can be genuinely sentimental. Social media as a legacy should not be a be-all-endall form of preservation, but as it is it works harmoniously in the digital age in initiating an archival process. No matter which platforms you use, if you find yourself contributing to them often, you may wish to consider taking the precautions to long-term conservancy. If digital culture plays a role in telling your story now, then isn’t it worth keeping forever?

1ANDREW PERRIN, “SOCIAL MEDIA USAGE: 2005-2015,” PEW RESEARCH CENTER INTERNET SCIENCE TECH RSS, 2015, PEWINTERNET.ORG/2015/10/08/SOCIAL-NETWORKINGUSAGE-2005-2015/. 2DANIEL TROTTIER, SOCIAL MEDIA AS SURVEILLANCE: RETHINKING VISIBILITY IN A CONVERGING WORLD, NEW YORK, NY, ROUTLEDGE, 2016. 3COLIN POST, “WHAT’S TRENDING? USING SOCIAL MEDIA PLATFORMS AS ARCHIVING TOOLS,” ARTISTS STUDIO ARCHIVES, APRIL 30, 2015, ARTISTSTUDIOARCHIVES.ORG/2015/04/30/ WHATS-TRENDING-USING-SOCIAL-MEDIA-PLATFORMS-ASARCHIVING-TOOLS/. 4“HOW TO DOWNLOAD AND ARCHIVE YOUR SOCIAL MEDIA MEMORIES,” WIRED.COM, WIRED. COM/2014/07/ARCHIVE-SOCIAL-NETWORKS/.

by KIM STAGER photographed by FONTAINE RITTELMANN

Kinesiology is the scientific study of human movement. Kinesio tape, or KT, is the aptly named, elastictape-child of kinesiology. Kinesio tape is stretched across the surface of the skin to relieve discomfort and to aid with pain and swelling. It is most commonly used by athletes but can be used for any soft-tissue discomfort from chronic pain like carpal tunnel syndrome to menstrual cramps. The tape itself is matrix-woven with pure elastic microfibers and delivers a second-skin, bodyheat-activated adhesion. It can be stretched along its longitudinal axis up to 140%; the same amount of elasticity as the human skin 1. Because of the way KT stretches and contracts, it elaborates tissue functions and distributes pressure

more evenly, giving inflamed muscles, ligaments, and tendons more space and comfortability to rebuild and restore.1 The way that Kinesio tape is applied has a huge impact on its effectiveness and function. It can be applied to both support or restrict soft tissues, depending on the user’s specific physical problem. During processes like rehabilitation, alignment, and stability, KT tape can be very useful. Kinesio taping is an alternative manual therapy just like massage, acupressure, or chiropractic care. It is not a preventative method, and the application process therefore must be learned before use. It is important that KT is

applied by someone who has been trained to tape and has a background in kinesiology, anatomy, and physiology. It may look fairly simple, but there are many different variations of tapes & tensions that only a trained professional can execute effectively. With a correct application of Kinesio tape, a great positive impact can be made on any softtissue pain.

1 KT HEALTH. 2010. “THE MAGIC BEHIND KT TAPE,” LAST MODIFIED DECEMBER 9, 2010. KTTAPE.COM/THE-MAGICBEHIND-KT-TAPE/.HTML.

by CAROLINE CALLAHAN photographed by CATHERINE SHARP

HUGHES:

Mid 50s; well groomed, slumped in the driver’s seat of a car. His stressful job is reflected in his stressed demeanor through the play. He doesn’t show any clear signs of injury but later he will wince at pain in his ribs, cough, and show the daze of a concussion. SIRI:

HUGHES. (assertively and clearly) Call 9-1-1.

(coughs lightly and holds his side)

SIRI. (monotone) I’m sorry? I missed that. HUGHES. Call– (shakes his head) Call 9-1-1 SIRI. I’m sorry. I missed that.

An emotionless young woman in business attire and a monotone voice; Sits next to HUGHES.

HUGHES. (coughs loudly)

CATHERINE:

HUGHES. (frowns, reaches for

Six or seven; pigtails, pink capris, tutu, and a simple white cotton shirt, barefoot and have a gaudy necklace made of yarn and macaroni, clearly something she made; full of childish enthusiasm. Place: Sequoya National Park. Two chairs sit left stage facing the audience, set up like the front seats of a car. Behind the seats, strewn across the stage, there’s an overnight bag that has burst open and a box with ripped wrapping. On stage left there is a tall kitchen stool and a black rotary phone, the latter either on a stool or the wall. The breakfast stool is tall enough that a child would have to climb onto it. ACT I, SCENE I: LOUD CRASH.

SIRI. There are no new messages.

her, grunting)

SIRI. I’m sorry, Mr. Willard Hughes, I

did not get that.

HUGHES. (anger building) Help me! SIRI. Here’s what I found on the web for “heavy”. HUGHES. Call 9-1-1! SIRI. Home or work? HUGHES. Nine. One. One. SIRI. (stays silent, pushes back a strand

of her hair)

LIGHTS UP.

HUGHES. Siri–

HUGHES. (wakes up confused, he winces in

SIRI. Reminder. Conference call with Tim Cook and Apple development at 9:45 am tomorrow.

pain and holds his side) Hel- (coughs on his words) Help? (panicked, sticking his head out of the “driver’s side window”) Help me! SIRI. (stays silent)

HUGHES. (leans against the door of the car,

sitting awkwardly and breathing heavily, he turns his attention to SIRI and reaches to his right swatting at the woman in the chair) SIRI. (turns to face HUGHES, and looks at him, expectantly)

HUGHES. Siri, (strains, reaching for her,

she shifts slightly in her seat, away from him) Do your job! This isn’t how I (reaches for her) raised you! (falls back against the seat’s headrest, exhausted) SIRI. I, Siri, was designed by Apple in California. HUGHES. Designed! (lets out a curt laugh)

This isn’t New York fashion institute, this is my life. I put my life into you andSIRI. I don’t know what you mean by ‘I put my life into you’. How about a web search for it. HUGHES. My life! I could be dying! SIRI. I don’t understand ‘I could be dying’.

But I could search the web for it.

HUGHES. Just being there isn’t enough, Siri!

to call 9-1-1. I’ve been in a car accident and need you to call the po– CATHERINE. That’s silly.

HUGHES. (looks across stage at the girl,

scowling, and speaks seriously and sternly) No. It. Is. Not. Silly. It is very, very serious and I need you to-

say’ and I’ll show you what I can do.

CATHERINE. It’s silly you called me to call the po-leese to call you. (climbs up onto the stool, sitting and wiggling back to sit comfortably. She looks at him.)

HUGHES. Call 911, then!

HUGHES. (ignores her) Is your mother there?

SIRI. I’m sorry, I don’t understand.

CATHERINE. (uncertain of this stranger)

SIRI. I’m here to help. Just ask ‘what can I

HUGHES. Ridiculous. SIRI. Would you like to update your phone

and restart?

HUGHES. No! Siri! No! I need you to call

nine one one!

SIRI. Calling. Nina Wardon. Home.

Area code–

I DON’T KNOW WHAT YOU MEAN BY ‘I PUT MY LIFE INTO YOU’. HOW ABOUT A WEB SEARCH FOR IT. HUGHES. Who!? SIRI. Ni-na war-don. Calling. Phone rings. CATHERINE. (CATHERINE runs on

stage, picks up phone) Hello? This is thuh (pauses and pushes up onto her toes as if she’s reading something written on the wall, mouthing it out) this is the War-don household, how can I... How may I help you? “May” is a better manners. Didja know? 56

HUGHES. Hello? (sighs, relieved) I need you

My daddy might be...

HUGHES. You have to find an adult. Where are your parents? CATHERINE. They’re... (looking at him

uneasily) My nanny is asleep.

HUGHES. Can you go get her without

hanging up, please? You’d be a hero, you know. (thinks) Like superman.

CATHERINE. (sighs and swings her legs) I’m not s’posta to talk to strangers, ya know? HUGHES. I know, but I’m... (raises his

eyebrows, a thought) not a stranger. I know your mom, (closes his eyes, both from pain and trying to remember) Nina! Nina Wardon. (He snaps and smiles with the smile of a salesman) I know her, (wags his finger) and I have a little girl your age. SIRI. (looks at HUGHES) Event reminder:

wedding beginning in 30 minutes.

HUGHES. (softly, to himself. Hurt.) Maybe

she’s not your age anymore...

CATHERINE. There’s a lady! She’s talkin’ to

you right now! Ask her for help!

HUGHES. I tried. (angrily) I tried. (coughs) Now I need you to help, you have to go get help for me. CATHERINE. I could try? (pauses) I could... (pauses) I gotta bike for Christmas! HUGHES. (rolls his eyes) okay, that’s very

nice, now could you-

CATHERINE. I could ride it to you! Where

are you?

HUGHES. (bangs his head against the wheel)

Highway 198, just a few miles past the giant forest museum. SIRI. You’re at 36 degrees, 34 minutes, 31.14

seconds by -118 degrees, 45 minutes, 30.21 seconds.

CATHERINE. Sick-coy-ah?! Giant forest

SIRI. (her voice is changed. Still mostly

monotone, but now clearly not just the phone anymore) Just like everything else. HUGHES. (quickly turns to SIRI.)

YOU ALWAYS TRIED TO PRESERVE THINGS. IMAGES OF THINGS, AT LEAST. CATHERINE. (rushes and picks up the

phone, proudly holding a pine cone) –A pine cone! (pause. More eagerly, demanding his attention.) Look! It’s a pinecone!

HUGHES. (looks at CATHERINE across the

stage. His face softens and he smiles weakly) Oh yeah? Did you buy it or pick it up? SIRI. You’re going to miss your daughter’s wedding. All she wanted was for you to finally be there.

museum in sick-coy-ah? (jumps off the stool and runs toward HUGHES until the cord won’t let her go any further) I’ve been there! (jumping up and down a little) I’ve been to that museum! Yeah! You won’t believe what I got! (drops the phone, runs off stage)

CATHERINE. (Inspecting the pine cone) My daddy bought it for me. We picked it out together! Our ranger said you can’t take things from the park, so daddy said we’d find a perfect one at the shop. And we really did!

HUGHES. Hello?! (desperately) Hello!? (leans

all. (leans his chair back)

forward and looks to where the girl was sitting, worried. He swallows uneasily and sits back, putting a shaking hand to his head. He speaks softly, not entirely speaking of the girl.)She left before I got the chance to-(blinks, and closes his eyes, feeling unwell. He sits still and then falls weak, his head lolling.) SIRI. (after some time of silence, abruptly,

HUGHES. Very good, conservation… and

SIRI. You always tried to preserve things.

Images of things, at least. Images of happiCATHERINE. Yup! We went all the way to the top of the mountain (climbs up onto the stool, sitting again. Cradles the pinecone.) And we looked down–

sharp) Ten minutes to the wedding.

SIRI. –ess. From an office. Behind a desk.

HUGHES. (shows pain.) Yeah, (sighs) yeah,

CATHERINE. And we could see

I know. I know, and I’m going to miss it. (rubs his face, his face looking weak as one might with a concussion)

the entire country!–

HUGHES. –Country?–

SIRI. While your family was across

HUGHES. (shakes his head “no”, affected by

CATHERINE. State?

CATHERINE. Not the trees. They don’t

the country.

HUGHES. -Park. SIRI. You never asked if raising me, being the mind behind Siri, was worth not raising her. CATHERINE. -Yeah! And daddy said we

could see back in history, like a time machine.

HUGHES. (to both SIRI and CATHERINE) I’m sorry, I don’t understand. SIRI. You wouldn’t.

change, they just grow-up. Taller. And taller. And taller. (stretches and tries to retrieve the pinecone with her toes) HUGHES. No, not the trees, I suppose. SIRI. But what motivates you. That changes.

A small apartment and a wife, a baby on the way, that’s motivation.

HUGHES. But I’m sure it changed over time,

it must have.

HUGHES. (glares at SIRI)

SIRI. Though a bigger office, higher salary. That motivates some, as well. It motivated you.

SIRI. We could look back in time. At the

CATHERINE. Yeah, now it’s old. (sets the

birthdays missed. Recitals, games, parties, years missed. (an image appears on the back wall of the stage. A little girl smiling over a birthday cake she wears a party hat) June 23rd, 2000. “Catherine”. CATHERINE. He said the trees are millions

of years old (drops the pinecone and frowns, the pinecone bounces away) and that it’s all stayed the same. HUGHES. She’s 23 years old and she has

changed without me. (Another image appears. The same girl only older, about 12 years-old. Another birthday picture.) SIRI. June 23rd, 2003. “Catherine”. HUGHES. But things change. They do. (Another image appears. The birthday girl even more aged, teenage.) SIRI. June 23rd, 2005. Five hundred-eightyfive more quote Catherine end-quote pictures found from Nancy Warner, previous contact: Nancy Hughes. Do you wish to continue?

the pictures)

phone down to retrieve her pine cone)

HUGHES. (looks down at his shoes and then

up at SIRI)

SIRI. June 23rd, 2013. A picture appears, it is

Hughes standing with two young, attractive women, neither his daughter nor wife, the picture carries implications. CATHERINE. (silence as she inspects the

cone for damage)

HUGHES. So your dad brought you

to the park? (removes his shoes, toe to heel. Coughs.)

CATHERINE. (picks up the phone and pokes

at the pinecone) A little thingy broke.

HUGHES. (frowns sympathetically) Oh? CATHERINE. It was the most

perfectest pinecone.

SIRI. Your rib broke, a lower one, no chance

of puncturing a lung but surgery will be

required to keep it from negatively affecting your spleen. The spleen is an organ found in virtually all vertebrate animals. Similar

CATHERINE. You’re going to a wedding?

HUGHES. (hushed) -Yes, (swats in her

HUGHES. That’s very nice. (smiles softly

direction and winces) Quiet. (his attention is now on CATHERINE, SIRI is left behind) When did you go to the park? CATHERINE. (picking at the pinecone) Daddy and I went two years ago. Last year we went to Disney Land! HUGHES. He had time for two trips?

SIRI. -Five minutes to Catherine’s wedding.

and finally turns to her fully) Can you tell me about it?

CATHERINE leaves the stage. HUGHES

picks up the tattered gift and holds it, he silently greets people we cannot see. He’s at a wedding. A warped version of Harry Chapin’s “Cat in the Cradle” Plays. CATHERINE returns to the stage in a

CATHERINE. We go on the best trips! But Disney-- have you been there? It was so much fun, the funnest. Have you gone?!

wedding dress, she spots HUGHES and smiles widely.

HUGHES. (rubs his temples) No, I mean, yes. Once. Catherine kept asking to go so I brought her when I had a conference there. That was... Years ago, my Cathy was just little.

him. They begin to slowly dance a father daughter dance. The lights go down.

CATHERINE. Catherine? Is that your

daughter? That’s my name! But I go by Katie, and my friend Cat-

CATHERINE runs to HUGHES and hugs

SIRI. (back to her normal monotone voice)

I’m sorry, I missed that. LIGHTS FADE OUT.

THE END.

"I always thought that before me, my characters lived in a world of silence. That I gave them life; but this play has given me life, it has changed my world long after I finished sculpting theirs. Whatever you are haunted by, whatever inspires you, go out and make it into art. Art gives you life."

PLAYWRIGHT, CAROLINE CALLAHAN-FLOESER. ENGLISH STUDENT. UNIVERSITY OF ROCHESTER, 2017.

color & form A CONVER SATION WITH ARTIST written and photographed by CHRIS COE

Rochester artist Michael Moncibaiz, who goes by St. Monci, uses his work to explore some of the most fundamental aspects of art and design. St. Monci studied Studio Art at the University of Oswego and since receiving his MFA from there, he has had solo and group exhibitions throughout the country. St. Monci carefully applies layers of gouache onto cotton rag mat board in his work. Through tastefully chosen color palettes and razor-sharp angles, the artist’s pieces boil over with potential energy. His works of color and form are studies of controlled chaos. We caught up with St. Monci at the tail end of his latest solo show, Non-Space, at Legion Gallery in San Francisco. e.

What does your artistic process look like when creating one of your pieces, and what do you feel is one of the most challenging aspects of making them?

s. m.

All my work starts with color. I’m constantly exploring color relationships /combinations and I put them down in paint as mini color studies that I call Training Missions. Once I come across an interesting color combination that I feel will translate well into a larger piece, I’ll move on to developing the composition.

I THINK THERE IS A LARGE MAJORITY OF US WHO CAN RELATE TO THE IDEA OF TRYING TO MAINTAIN SOME CONTROL IN THE CHAOS OF OUR OWN LIVES.

Finally, I’ll redraw the composition onto the board and move in with the paint and pattern. I’ve found that working with the scraps of paper allows me to move through compositions quickly and with a certain carelessness that allows for spontaneity. It’s really important for me that the paintings maintain a certain level of “controlled chaos.” I think there’s a large majority of us who can relate to the idea of trying to maintain some control in the chaos of our own lives. What do you enjoy most about working with your hands to create these paintings? There’s just something so rewarding about making something with your hands. I also love the old-school notion of really honing a craft, by taking the time to really learn your materials and expand your capabilities. In paint, I love that I can physically manipulate color.

What was the driving creative inspiration behind your latest solo show, Non-Space? Really, the work for Non-Space came from the same “flow of consciousness” that all my work comes from. I don’t really work in series. I’m inspired most by color, form, and composition. So all of my work is really just about expanding my own vocabulary and manipulating that vocabulary in new and interesting ways. That said, I do make an effort when grouping pieces together for a show, that there’s some small relationship between the pieces that allows them to work together as a group. A handful of your new pieces are named after various spacecrafts Maven, Kepler, Cassini, etc. Are these works abstractions of the physical objects, representations, maybe something else? Actually, they’re really something else… In this case I had painted several small pieces with small floating forms centered on the board. I was interested in them as a set and was exploring scale in small forms. These pieces were originally part of a show in Indiana called “Unmanned Missions.” So after titling the show, I decided to name these pieces in particular after various unmanned space probes.

LOO K AT E V ERYTH PAY A ING. TTEN TION EVERY TO THING YO U S EE.

Over the years I’ve developed a way of “sketching” that really lends itself to my current work. Rather than roughing out handdrawn thumbnails I use a box of scrap paper that I lay out onto a board and shuffle around. Then I’ll photograph the pieces from different angles all while continuing to shuffle the scraps around. From there, I’ll pick a composition that is the most dynamic and balanced and I’ll move it into the computer where I’ll manipulate and tweak it a little more.

Finally, are there any experiences from your past that have influenced your work today? Any interactions or happenings that have had impact on your art?

On that note, could you shed some light on your naming process? Titling work is something just kind of fun for me and, in fact, very far removed from the actual painting process. For me, titles are more revealing of myself and my inspiration and have less to do with the actual meaning of a particular piece. I have a notebook full of words or phrases that I pick up from all over – hip-hop lyrics, lines in old sci-fi movies, science books, comics, etc. – and when it comes time to title a piece I flip through and put words together. It’s just a very separate process that I use to infuse a little more of myself into the work. In high school, I started writing graffiti and was instantly hooked. It was art school that taught me to think about what really drew my interest in graffiti. It was really the combination of form and color.

I loved abstracting letters and how I could create an interesting and dynamic flow from one letter to the next. So basically, I’ve been trying to break down those forms in my work ever since. Several years ago I came across the Suprematism manifesto written by Kazimir Malevich

I’d say one of the most memorable interactions I had was with a professional designer I met while I was in high school. When I expressed an interest in pursuing art, he had only one piece of advice that has stuck with me ever since – ‘Look at everything. Pay attention to everything you see. Look closely at billboards, ads in magazines, road signs, books, the way shadows are cast when you’re walking down the street. Just be aware of everything.’ As artists I think we are all a more in tune with what’s happening everywhere around us. I think we just absorb so much more.

and I’d say it was that specific writing, and the work of some of the earliest Constructivists, that gave me the confidence to really push the work to some of its simplest forms.

Our work is really just a reflectionof the things we absorb most. I’d say learning to tune in and filter those things more clearly is what’s allowed my work to grow in the direction that it has.

MICHAEL MONCIBAIZ, PERSONAL COMMUNICATION, OCTOBER 26, 2016.

by LAURA RANDALL photographed by SOL JI PARK

“Life’s most persistent and urgent question is, ‘What are you doing for others?’”1 – Martin Luther King Jr.

It’s almost impossible to imagine a world without ingenuitive minds. When an artist can take their talent and drive to the next level, helping those in need, they become a humanitarian. Oftentimes I think of humanitarian efforts only as those who help refugees find shelter, provide shoes to those without, or help rebuild homes where natural disaster has struck. However, a humanitarian isn’t limited to only these three stereotypes, because a humanitarian is a person who works to improve the lives and living conditions of other people. 2 There are many different forms of humanitarian efforts, and wearable design. Brad Dunn graduated from the Rochester Institute of Technology with a Masters of Fine Arts in Industrial Design. Brad, with his team of designers, are currently working on ways to increase the quality of living for those who have multiple sclerosis (MS).

Multiple sclerosis is “a degenerative neurological disease that disrupts nerve cell communication.” When it is hot and humid, those affected by MS are impaired in their muscle functions, making it more difficult and less desireable to venture outdoors.

Brad and his team designed a vest-like garment that can be worn as an outer layer or underneath clothing. It is called Undercool and works as a comfortable and discreet cooling agent. This ingenuitive design helps regulate the core temperature, allowing for proper muscle function in warm weather. While this product is still in the early design and research stages, its ultimate goal is to not only reach those with MS, but also others whose muscles are affected by the heat and humidity.3

When asked where Brad and his team drew inspiration from, he answered with: “We were inspired after meeting so many wonderful people living with MS in our community. A year of talking to our clients really let us get to know them personally and made us even more emotionally invested.” Brad enjoys creating products like Undercool: “...it’s extremely rewarding to not just design a product but also see it through to production. The hardships in making something into a reality, were well worth it when we brought Undercool to MS meetings and saw the excitement on people’s faces. Making something that a client personally thanks you for creating feels a whole lot better than designing a toaster...” To learn more about Brad’s design, visit thermapparel.net. The world is full of problems that need solving, and the good news is there is a plethora of people that work every day to make this planet we call home a safe place where we can thrive together.

1. “TOP 10 HUMANITARIAN QUOTES - THE BORGEN PROJECT,” THE BORGEN PROJECT, OCTOBER 6, 2013. MERRIAM-WEBSTER.COM/DICTIONARY/HUMANITARIAN. 2. “HUMANITARIAN,” MERRIAM-WEBSTER. THERMAPPAREL. NET/. 3. “THERMAPPARE,” THERM APPAREL, 2015. BORGENPROJECT.ORG/10-QUOTES-FAMOUSHUMANITARIANS/.

tiny homes multifunction funiture minimalist garden

compact

LIVING

written by ABBY HORRMANN, BRITTNEY MAUE, LAURA RANDALL photographed by LAURA RANDALL AND REBECCA TOMASELLO

Home is a place with a purpose to offer us a tranquil space. The bigger the space is does not always mean it is more desirable. A large home can potentially become a cluttered space or be a void. A barren room can tempt us into buying more objects. Objects ultimately have no use and are left unnoticed. Tiny homes are compact spaces that utilize multipurpose furniture to make one room function in different ways, a minimalist garden can be innovated to fit in the outdoor space and also save money in creative ways. Searching for tiny homes that may fit our needs can be easy by searching online. A compact home is a movement nowadays. Compact is a definition for small, and the real estate is evolving because idea of owning a small home is becoming popular. On an average, regular homes are about 1,600 square feet or more.1 That means just for one house, it can fit four tiny homes or more depending on the size of the house. Having a small home means we do not have to worry about financial troubles because compact homes costs averages around $20,000 or $70,000 if higher quality design build. On an average, regular homes are about 1,600 square feet or more, whereas compact homes are only averaging 100 to 400 square feet. That means one house can fit four tiny homes or more, depending on the size of the house.

Compact homes are altering the design of furniture. Furniture can give us a sense of warmth and comfort. It surrounds us daily and plays a big role in our day to day lifestyles; we eat off of it, we sit on top of it, and we sleep on it. Furniture that can morph itself in a way that is multifunctional as well as practical is an efficient way of living, especially if your home is compact. It is easier to have less clutter and things to take care of. Designers from all over the world are continually creating new ways to make the spaces we live in more practical. There are all sorts of multifunctional furniture fit for certain areas such as kitchens or bathrooms. Sometimes our bedrooms can be in the same location as our living rooms. If you have a studio apartment or a tiny home, a bed that morphs into a couch is a perfect solution. They are aesthetically pleasing and extremely practical at the same time.2 If you’re looking for something a little different, there is a bed that can become a wall when not in use. They would add a lovely modern touch to your tiny living space.3 Another option is a couch that can be transformed into a table which can add an extremely minimal modern flare to your small home or apartment.4 Multifunctional furniture is a practical approach to a healthier atmosphere for tiny home dwellers.

Tiny homes do not just save money with reduced bills and time on cleaning; they also have strategic ways to make one space functionable in multiple ways. Tiny homes do not always mean it is limited to one floor, they can be larger by adding a patio or an outdoor living space. It is nice to have an additional small garden because it’s a great way to save money by growing organic foods. Gardeners have found many ways to pursue their passions, even in small spaces. Design, resources, and hands will make the garden possible. There are many different tips for keeping your garden fresh and last a long time for those who like to move often. Finding the recycled items will benefit your garden as you start living in tiny homes or a small space. There are so many possible ways to be creative with how to set up the garden. If you want more ideas, you can always go to Pinterest and look up small space gardening; you will find new ideas and great nifty designs. It is best to reuse the items to keep the earth clean by smart recycling and composting properly.

1. “TINY HOUSE LISTINGS: TINY HOUSES FOR SALE AND RENT,” TINY HOUSES FOR SALE RENT AND BUILDERS TINY HOUSE LISTINGS. WWW.TINYHOUSELISTINGS. COM/. 2. ”LUGNVIK SLEEPER SECTIONAL, 3-SEAT GRANÅN BLACK, - IKEA.” WWW.IKEA.COM/US/EN/ CATALOG/PRODUCTS/90214134/. 3. ”CLEI WALL BEDS FROM RESOURCE FURNITURE.” RESOURCE FURNITURE. RESOURCEFURNITURE.COM/TRANSFORMING-WALLBEDS-BY-CLEI/. 4. LIVDIN. “MOMENT SOFA.” PRODUCT. WWW. LIVDIN.CO/PRODUCT/MOMENT-SOFA.

OPTIM

ISM

LOV E

FI GH

RAGE

SUBMI

SSIO

FEAR

AW E

TRUST

INTER

EST

JOY

R PR

ISE

ESS

Emotional Scale This color map represents the shift in the range of emotions and the escalation of emotions evoked through Connected the constant use of technologies. Whether through phones, laptops, e-mail, or Snapchat, technology Productive and Confident gives people multiple opportunities The Cloud has given an example of to communicate with one another how of how the traditional office on a day-to-day basis, helping keep workspace has been transformed families and friends connected and through technology. The cloud has informed in a meaningful way. given employees access to essential materials no matter location or Understanding time. This allows employees to be Technology has provided people a more empowered, productive, and platform, and oftentimes a meeting confident by this technology. place, for like-minded individuals to share ideas and communicate Curious and Intelligent their message. This has been seen With the internet literally at our this through things such as social fingertips, anyone has the ability to media movements, online support learn something new, or explore an groups, and even tech forums. We area of expertise they might not have now have access to resources that otherwise. Additionally, social media help readers find online support platforms are constantly full of people groups; it allows people the liking, sharing and discussing articles, ability to share their story and get adding a new source for learning and encouragement from those who are quenching curiosity. also struggling.

touching screens by KELSEY HOWARD photographed by CLAUDIA SCHULTZ

In today’s society, we often find ourselves touching, interacting, and working with screens or technology just as much as, if not more than, with one another. To many, this suggests we are lacking in human communication more than ever before. Human communication can be defined as:

”The production and reception of oral, written, signed, or gestured information among human beings; involves the use of symbols known as language received through the auditory, tactile, proprioceptive, and visual systems and generated through voice and speech, writing, manual signs, and gestures.“ According to this definition, utilizing our screens in everyday life could be improving our nonverbal human communication skills, rather than damaging them. With the ever-growing landscape of technology, it’s only natural that our communication evolves, which is not necessarily a bad thing.

MEDICAL DICTIONARY FOR THE HEALTH PROFESSIONS AND NURSING, S.V. “HUMAN COMMUNICATION,” RETRIEVED NOVEMBER 2, 2016

QUINN, BEYOND CIVILIZATION : HUMANITYâ&#x20AC;&#x2122;S NEXT GREAT ADVENTURE 137

fashionable

p oneers

written and photographed by SAM KETTELL

You are standing in front of a beautifully ornate box. The box is exactly as tall as you are, and just as wide. There is a door which is cracked open just enough that light leaks through the sliver, illuminating waves of grey dust, transforming it into golden stardust. You reach for the handle and your fingertips are met with a warmth like spring’s first sunshine. In one swift motion, you swing the door open and jump inside. You are now fully immersed in this world which resembles a walk-in closet, except the ceiling must reach further than the tip of the Empire State Building, and if there are walls, they stand farther than the eye can see. You are surrounded by a sea of sequins, towers of tulle, and a labyrinth of lace. Racks and stacks of fashions from every era, from around the world, are lined up in rows and columns like books in a grand library. You feel comfortable. This world is your dressing room. There are no rules, no labels. Imagine the possibilities. Above all else, fashion is an expression of individual identity. It is an extension of our person. It is our thoughts, our passions, our personalities. It serves as a bridge between our inner and social selves. Fashion allows us the freedom and opportunity to be and become whoever we want to be.

This generation knows no limitations, yet we are restricted by predetermined labels set by the generations before us. Who we are on the inside should be expressed on the outside, regardless of gender, without cause for discrimination or prejudice. “Fashion, at its best, is reflective of a society’s values, and pushes culture toward an aspirational place.” Jian DeLeon, Senior Menswear Editor at WGSN

Society has made great strides in the past few years regarding overall awareness of LGBTQ culture. Today, trans visibility and bending the gender binary seems to rank as top priority within the world of fashion. That being said, it is time that we recognize just how diverse and important LGBTQ identities are and expand our spectrum of beauty. As we continue our fight for equality, good style may be our greatest weapon.

We have moved into an era where we stop seeing gender and just see people Over the past couple of seasons, we have witnessed a shift in the way men and women dress; A blurring of elements from traditionally male and female attire blend to become one. This “non-gender” appearance is exhibited in publications such as i-D magazine,1 where both male and female models are dressed in leather bomber jackets, pink tutus, and combat boots. Garments seen as stereotypically masculine or feminine are no longer perceived as such. We reject the notion that pink is for girls and blue is for boys. “Losing the labels is what it’s about.” Lucas Ossendrijver, Creative Director of Lanvin Homme This isn’t just a phase Fashion’s obsession with androgyny has blinded the industry. Designers have taken this idea of gender ambiguity and turned it into something sellable and trendy. Androgyny does not actually represent a full scope of gender, as it should, nor does it speak much beyond women wearing masculine clothing. Take for example YSL’s Le Smoking suit, photographed by Helmut Newton in 1975: A woman stands alone in a haze-filled alley, smoking a cigarette.2 She sports a pinstripe tuxedo and slickedback hair. Her look is confident, sexy, and ambiguous. At the time, the concept was considered bizarre and inappropriate, but it was an important first step in establishing a base for what androgynous fashion came to be. Unfortunately, we have seen the fashion industry recycle and republish this same old story.

losing labels is what it’s about

A look we don’t see every day is men appropriating women’s clothing. The idea is still largely taboo. From a very young age, boys are raised to be strong, nonsensitive men. This path is rooted in the fear of being marked as weak or effeminate. To see men

presented in a feminine fashion (ex. Jaden Smith for Louis Vuitton) is refreshing and sparkly new. If we are to experience a genuine fashion revolution, representation across the board is a necessity.

i see an erasure of the body, i see an erasure of identity regardless of gender. i see something that exists in a vacuum that doesnâ&#x20AC;&#x2122;t really take an individual into account

Gender is more than a profitable trend Men in womenswear, women in menswear. This dream shoots far beyond ‘unisex’ fashion. In terms of fashion, unisex is defined as: “designed to be suitable for both sexes, noun: a style in which men and women look and dress in a similar way.”3 Take a look at Zara’s Ungendered collection.4 The clothing itself is shapeless and colorless. It’s a line full of boyfriend jeans, loose sweatshirts, and oversized white t-shirts. Furthermore, the clothes are worn by male and female models exclusively, rather than anyone gender non-conforming. The insinuation here is that the clothes are still made with solely men and women in mind. “I see an erasure of the body, I see an erasure of identity regardless of gender. I see something that exists in a vacuum that doesn’t really take an individual into account.” Hari Nef, transgender model and actress The world we live in is not so different from the world within the ornate box. The reality of our situation stands to be challenged by our imagination. We have the power to turn our world inside out, like a pair of gently used underwear, providing new life and a fresh perspective. We are the bridge between these two worlds: one of hostility and exclusivity, and another of harmonic togetherness.

1. I-D MAGAZINE. 2. HELMUT NEWTON, LE SMOKING, FRENCH VOGUE. 3.“DEFINITION OF UNISEX,” OXFORD DICTIONARIES, EN.OXFORDDICTIONARIES.COM/DEFINITION/UNISEX. 4. ZARA, ZARA.COM/US/EN/TRF/UNGENDERED-C758512.HTML.

NEW PIGMENT DISCOVERIES EXPAND ARTISTIC AND ENVIRONMENTAL POSSIBILITIES

vanta is the new black.

written and photographed by KIARA MCDADE CGI by MARLA MURRETT

2 3

1 Carbon Black The first black pigment. 2 Bone Black The deepest widely available black. 3 Vantablack The deepest black in existence.

A History of Voids Black is achromatic, or without hue, and is defined by a total absorption of light energy.1 Carbon black, the earliest known pigment, refers to any pigment that is made by charring organic materials.2 Paleolithic paintings in the Lascaux Caves in France reveal use of carbon black dating to 17,000 â&#x20AC;&#x201C; 18,000 years ago and the pigment has remained popular, appearing in infrared 82

imaging underneath famous Renaissance masterpieces. In recent years, however, attempts to create new pigments have been made in response to a need for a truer black. Vantablack Vantablack is now the blackest known substance.3 It replaces previous attempts to create a stable, non-reflective black by using tightly packed rows of carbon

nanotubes that allow the substance to trap almost all light, reflecting only 0.035% of the visible spectrum.4 This light absorbance makes the pigment particularly useful for catching stray light in imaging systems or telescopes. The dimensionless, void-like quality of the pigment prompts unique artistic applications, though the rights for artistic use currently belong solely to sculptor Anish Kapoor. 5 6

1. “DEFINITION OF ACHROMATIC,” FREE DICTIONARY. 2. “INTRO TO BLACKS,” PIGMENTS THROUGH THE AGES WEBEXHIBITS.ORG/PIGMENTS/ INTRO/BLACKS 3. “VANTABLACK, THE WORLD’S DARKEST MATERIAL, IS UNVEILED BY UK FIRM,” SOUTH CHINA MORNING POST - WORLD. JULY 15, 2014. 4. “VANTABLACK: U.K. FIRM SHOWS OFF ‘WORLD’S DARKEST MATERIAL,’” JULY 15, 2014. 5. JACQUELINE HOWARD (JULY 14, 2014). “THIS MAY BE THE WORLD’S DARKEST MATERIAL YET,” HUFFINGTON POST. 6. “ARTISTS AT WAR AFTER TOP SCULPTOR IS GIVEN EXCLUSIVE RIGHTS TO THE PUREST BLACK PAINT EVER WHICH IS USED ON STEALTH JETS,” DAILY MAIL ONLINE. MARCH 15, 2016.

ONWARD & UPWARD

by TYLER MONICA photographed by ADAM ANTALEK

Applause rang for miles around It didn’t matter what anyone Voyager–5, the vessel that would release thought now. Just outside the a lucky hundred from the bonds of Earth. window to Molly’s left, the red Thousands had gathered to watch the planet was coming into view. She passengers part. Some onlookers came could faintly make out mountain out of envy, others curiosity, excitement, peaks from so far above. A few scarce or simply sorrow over saying goodbye to clouds were the only other discernible a loved one. The ship that would carry sights. Mars still had a long way to them was massive in scale. It was designed go before regular rainfall would be to comfortably hold the migrants as well feasible. On that day, people would be as an entire crew. Food would be prepared able to walk freely without airtight suits three times a day while entertainment or visors that always seemed to fog up. events occurred bi-nightly. It was to be Homes would be able to be built with the journey of a lifetime. windows that opened to allow in the martian breeze. There would be no That day was long gone, though. Since limit to what the world allowed. Molly then the ship’s halls had been filled had no trouble waiting for that day to with the merriment of strangers, days come. Neither did any other passenger of drinking, sleeping, and plenty of of Voyager-5. It would be more than philosophy. There had also been a worth the wait. surprisingly long period of getting used to the artificial gravity. Barreling through A new journey was offered for those who space at near 18,000 miles per hour allowed had the heart to leap over the canyon’s edge. a great deal of time to reflect. How did A scary jump for someone who didn’t know life come to be on Earth while remaining what lurked at the bottom. But, for those seemingly absent everywhere else? What who leapt, for those that were willing to would it take to recreate that elsewhere? gamble on chance and survive the descent, Would humanity eventually be able to the bottom offered endless possibilities. create barges over Jupiter and Saturn as well? Molly kept those questions in her Then Voyager-5 touched down. Molly thoughts alongside countless others. She didn’t even realize they had gotten so near. knew the passengers sitting around her She was too entranced by her thoughts. would look at her funny if she started Nothing could distract her from the landing asking such things aloud. now, though. Spacesuits descended from 85

overhead compartments accompanied by signs flashing to please put them on. She rushed to zip the cold nylon suit over her clothes. Initially the visor stayed black. Her arms flailed about as she panicked over being trapped. Seconds later the hololens turned on. It indicated her oxygen levels, her heart rate, blood pressure, anything that could be of consequence. Her heart rate was exceeding 100, she realized. A mix of anxiety, trepidation and exhilaration was winning over the steadiness of mind. A red light flashed once everyone was suited. It was the single light illuminating the interior. There was the sound of air whistling. Metal creaked as gears turned A MIX OF ANXIETY, for the first time in six months. Sunlight slowly filled the deck. Passengers became TREPIDATION AND giddy in anticipation. They jumped in EXHILARATION WAS place, nudged their friends, moved closer to the exit. Everyone sought to be the first WINNING OVER THE to step foot on martian soil.

STEADINESS OF MIND.

Soon enough the door opened. Voyager–5’s they were sparse in number. A handful passengers filed like they were water of flowers sprouted up every hundred feet. flooding a town’s streets. Security guards Surrounding the marigold petals were lined walkways to keep people from patches of grass tinted the slightest bit wandering off. Behind them were rows yellow. All of the fauna had come from of cheering civilians, all those who had the domed structure at the settlement’s previously devoted their life to the great center, the greenhouse that would rebirth beyond. Now, Molly and the ninety-nine the alien world. It reached the height of other passengers were part of them. low-end skyscrapers and would only grow with the years. Mars was mesmerizing at a glance. It was beyond belief when Molly took into account Branching from the central hub were all that humans had done to terraform reinforced tunnels coated in panes of glass. it. Pictures used to come back to Earth of One extended to each ridge where they red wastes and endless ridges. There were met up with towers that rose the length of V-shaped valleys and canyons that ran for the wall. Most of the other structures were miles. The ship had landed at the base of complex, multileveled homes. They were one such ravine. There were canyon walls composed of hexagonal panels that allowed to its left and right with an open, winding inhabitants to peer out without anyone path straight ahead. But the ravine wasn’t seeing in or any light passing in. That all all rusted rock. Plants had taken root caused the buildings to take on a unique among patches of newly fertile soil, though, 86

geometry, not present on Earth. Inside them were enough bedrooms to comfortably fit the families, a kitchen, two bathrooms, and a sizable living room. Everything a family could desire was contained within. There was the latest technology such as transparent tablets to replace books, screens that spanned walls, computers to automate kitchen equipment. No one had the time to be taken in by these luxuries. Everyone spent dawn to dusk building up the world. Molly looked out from the ship with a surreal sensation overtaking her. One of these homes would be hers. Beginning tomorrow sheâ&#x20AC;&#x2122;d have a job as an engineer in the research facility. With a deep breath she stepped off the ship to walk beside everyone else. As she did, she couldnâ&#x20AC;&#x2122;t help but imagine herself among the crowd. A year from that day she would be just like them, cheering for those fresh off the ship. By then so much would be different. Every step would be small in furthering mankind. But, for Molly, they would be the greatest of leaps.

by DENNAE MAKEL photographed by AARON TRAN

We live in the Digital Age. Internet access is widespread and technological devices play an integral role in our everyday lives. It has become a staple of households, businesses, and organizations, to the point that it has been marked as a necessity, not a luxury. Our societal survival relies on technology and our ability to understand it.

countries have different economic backgrounds. Therefore, there is a wide disparity in access. An individual’s ability to use the technology will have a massive effect on how well the devices will be utilized. Those who already have and use technology are more likely to adapt to new and upcoming developments.

The suit makes the man, or in our case, Digital Darwinism is the study of the causes technology makes the man. It has become and effects due to adaptations with the rise how we define and maintain our lives. It is 1 of technology in our society. Over the past two both a statement about ourselves while also decades, this rise in technology has drastically being a place to make those statements. We changed how we live, work, and interact. want to show off what we have, whether it’s a smartphone, tablet, or We have reached a point computer, then show our in our society where the lives through them. The absence of technology ability to keep up with TECHNOLOGY results in ignorance. jobs and family means WE ADAPT TO Separation from the digital the difference between world was once a matter success and failure for DEFINES OUR of personal preference, but people worldwide. IDENTITIES, now results in a dangerous inconvenience. As the Having connections BEHAVIORS core of our society, the through devices changes AND LIVES choice now is not whether an individual’s mental state we choose to adapt to the and allows users to stay in digital age, but how. touch with their friends and family.3 Emotional morale Our choice of technology changes how we and mental stability are maintained. Also, interact. What technology people are able to connect with positive, likewe adapt to makes a statement about our minded groups they would be otherwise unable identities, behaviors, and lives. Access to to meet physically. As a result, people don’t feel new technology offers the ability to thrive and as isolated or alone in the world. grow.2 The internet has evolved to serve as a platform for information and identities. We The ability to obtain information, no matter have made it a place to portray ourselves, set in what platform, has changed the world for the either reality or fantasy, and the achievement better. Smartphones have bridged the gap in of these methods means the difference between the intellectual divide and have granted societal success or failure. The use of outdated immediate access to the internet. With the computers or cell phones creates the risk of Digital Age, individuals have the opportunity falling behind and the ability to afford new to learn and access more information than devices creates an evolutionary advantage. ever before. Staying at odds with the quick pace of society requires a stronger use of this tactic. Accessibility is the core of technological success and survival. Individuals, organizations, enterprises, schools, hospitals, and even

1 “DIGITAL DARWINISM: HOW DISRUPTIVE TECH IS CHANGING BUSINESS FOR GOOD,” WIRED. WIRED.COM/INSIGHTS/2014/04/DIGITAL-DARWINISMDISRUPTIVE-TECHNOLOGY-CHANGING-BUSINESS-GOOD/ 2 “FROM THE ‘DIGITAL DIVIDE’ TO ‘DIGITAL INEQUALITY’,” PRINCETON. PRINCETON. EDU/~ARTSPOL/WORKPAP/WP15%20-%20DIMAGGIO%2BHARGITTAI.PDF 3 “THE NEW DIGITAL DIVIDE,” THE NEW YORK TIMES. NYTIMES.COM/2011/12/04/ OPINION/SUNDAY/INTERNET-ACCESS-AND-THE-NEW-DIVIDE.HTML?_R=0

DESIGN DIRECTORS

FEATURE EDITORS

COPY EDITORS

01 Lorrie Frear 06 Lauren Mays 02 Rachel Jerome Ferraro 07 Hanna Tangeman 03 Emily Baker

EXECUTIVE EDITORS

10 Kiara McDade 11 Sol Ji Park 12 Kimberly Stager

16 Michael Burpoe 17 Megan Barrette

ART DIRECTORS

PHOTO EDITORS

PRODUCTION TEAM

SOCIAL MEDIA

04 Garrett Chase 05 Dennae Makel

08 Chris Coe 09 Fontaine Rittelmann

13 Crystal Follansbee 14 Catherine Sharp 15 Colin Turner

18 Julie Campbell 19 Emma Echols 20 Desmond French

SOCIAL MEDIA

ASST. DESIGN DIRECTORS

ASST. PHOTO EDITORS

ASST. COPY EDITORS

21 Kelsey Howard 22 Aaron Tran 23 Dongni Yang

26 Jessica Arevalo 27 Yi Chen 28 Eliza Tehan 29 Paula Piedrahita

31 Yu Jiang 32 Laura Randall

37 Adam Antalek 38 Abby Horrmann 39 Julia Prisaznuk

ASST. ART DIRECTORS

POST PRODUCTION

24 Samuel Kettell 25 Rebecca Tomasello

30 William Kelly

ASST. PRODUCTION

33 Brittney Maue 34 Rob Rauchwerger 35 Claudia Schultz 36 David Hampton

thank you Donors: President Bill Destler Capture Integration Mr. & Mrs. Keith Randall Lei Shi Truth Collective William & Debra Rittelmann Annette Hampton Christine Ceron

Our issue of ellipse would not have been possible without the help and support of our contributors and sponsors. From the entire staff of this publication, we offer our greatest appreciation and thanks to all who helped make this possible. Thank you to RIT President Bill Destler for his continued support and generous donation to our publication. Thank you to Barbara Giordano and John Dettmer at RITâ&#x20AC;&#x2122;s Printing Applications Lab for their guidance and knowledge in the production process and printing of our magazine. Also, thank you to Marc Bardeen for binding at Book1One and Jeff Haak for foil stamping at O.L.P Print Finishing. We would also like to thank Beth Povie at Finch Paper for the gracious donation which made our publication a reality. Thank you to Paul Racz with USEED for helping us accomplish our fundraising goals. Also thank you to Dayna Papaleo for her assistance to the copy editing team. Thank you to Sarah Haas for helping us to create our Squarespace website. Finally, we would like to extend our deepest gratitude to our professors Lorrie Frear and Rachel Jerome Ferraro and our T.A. Emily Baker. Their years of experience and knowledge, along with their endless encouragement, have helped us to create this meaningful publication.

production Cover

Printing Applications Lab New Leaf Ingenuity 100% Recycled Paper

Interior

Binding

Printing Applications Lab New Leaf Ingenuity 100% Recycled Paper Book1One Perfect Binding

credits Cover

Staff Portraits Design

photographed by Sol Ji Park design by Hanna Tangeman photographed by Chris Coe Julie Campbell Dennae Makel Lauren Mays Kim Stager Eliza Tehan Hanna Tangeman

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