The Dartmouth 01/12/15

VOL. CLXXII NO. 6

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MONDAY, JANUARY 12, 2014

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Theta continues “shake-outs” DOC chooses

new Trips directorate

By SARA mcGAHAN The Dartmouth Staff

Charged with welcoming the vast majority of incoming freshmen to campus, director Peety Kaur ’15 and assistant director Sam Parker ’15 will lead the 2015 Dartmouth Outing Club First-Year Trips directorate. They aim to emphasize community service, sustainability and the incorporation of students from across campus in the application process.

Kaur and Parker said that the 2015 DOC directorate will be announced to the campus via an email this morning.

This year, Kaur and Parker said they hope to hold information sessions for potential Trip leader and Croo applicants, which will aim to attract more volunteers who

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Epsilon Kappa Theta abstains from the formal Panhellenic Council recruitment process for a second term.

B y NOAH GOLDSTEIN The Dartmouth Staff

As winter sorority recruitment commences, Epsilon Kappa Theta sorority is undergoing an informal recruitment process with two “shake-out” events on Jan. 11th and 20th.

Theta first announced the decision to withdraw from formal recruitment last April, and fall recruitment marked the first time in recent years that the sorority did not participate in

the formal Panhellenic Council recruitment process.

Theta decided to continue only hosting “shake-out” events after a positive experience in the fall, president Emily Reeves ’15 said.

“We talked to our ’17s who joined and its so much more casual and less stressful, and I could actually enjoy meeting people,” she said. “Everyone who walked in the door was interested and polite. We don’t have to worry about rudeness violations like other houses have to.”

These two events, spaced out to accommodate formal recruitment, will be the only way in which potential new members can receive a bid to join the sorority.

For Theta members, the main impetus for the change was to make recruitment a more “genuine and enjoyable process” for both prospective and current sisters, Reeves said.

In the past, Theta has offered the “shake-out” option along with the formal recruitment process, but after convening with

Theta’s Standards Committee last spring, the sorority decided to hold solely “shake-out” events.

During the informal recruitment process, which was first implemented fall term, the majority of the 32 girls who were offered bids accepted them, Reeves said last fall.

The first event this term occurred on Sunday, and Reeves said that although the turnout was slightly lower than during the fall events, she was still happy with the bids that were handed out.

“We’re looking to grow, but not to grow too much because we like being small,” she said.

“We think it makes for a better sorority.”

Prospective new members can attend the event for however long they want, with prospective members staying from 15 minutes to over 3 hours, Reeves said.

Julie Solomon ’17 said she shook out last fall because she liked the high level of interaction during the events.

SEE THETA PAGE 5

Over 50 students audition for V-Februrary B y parker richards The Dartmouth Staff

Roughly 50 students auditioned Sunday for roles and performances in V-February, an annual monthlong campaign to promote gender equality through performances and discussions, sponsored by the Center for Gender and Student Engagement, event organizers said. An additional 10 more are expected to audition today.

V-February’s three main events are a performance of Eve Ensler’s

1996 episodic play “The Vagina Monologues,” as well as “Voices” and “Upstaging Stereotypes,” each of which is a series of performances created and performed by selfidentifying women and men, respectively, at Dartmouth. Smaller workshops, forums and discussions will also be held throughout the month.

Auditions for all three components of V-February were held Sunday, with make-up auditions scheduled for Monday.

Kalie Marsicano ’17, co-direc-

tor of the “Voices” performance, said that roughly 40 women auditioned Sunday for “Voices” and “The Vagina Monologues.” A smaller group turned out for Upstaging Stereotypes, with roughly 10 men auditioning, co-director Yobiel Kelati ’15 said.

There will be no cuts for either group, and Kelati said that the auditions were more focused on brainstorming and giving attendees a sense of what future rehearsals would entail.

Marsicano said she was pleased

with the turnout, which she said was not so large that it was unmanageable. She said she was concerned that too many people might audition following the creation and success of the “Voices” program last year.

“We had a great turnout,” Jessica King Fredel ’17, co-director of the “Voices” performance, said. “I feel it was really representative of campus.”

This year, “Voices” will be the culminating event, set to take place SEE V-DAY PAGE 2

THE DARTMOUTH NEWS

PAGE 2

DAily debriefing The Department of Defense’s “1033 Program” provides at least 12 Upper Valley law enforcement departments with tactical gear, including Humvees, semi-automatic rifles, night-vision goggles and weapon optics, the same equipment used by police during the Ferguson protests, according to the Valley News. The Pentagon military-surplus program dispatches excess equipment to law enforcement agencies at no charge. Lawmakers in Vermont and New Hampshire plan to create legislature to limit police access to military equipment. In the wake of the protests in Ferguson, which involved tactical gear and armored vehicles, some have called attention to a weakening divide between law enforcement and the military. The Hanover Police Department has not participated in the 1033 Program because the low quality of the equipment it was offered.

U.S. Senator Bernie Sanders, I-Vt., will announce whether he will run for president by March, VTDigger reported. He has traveled to Iowa and the South to promote his platform of strengthening the middle class and closing tax loopholes for the rich. As an independent, Sanders would have to decide whether to pursue the Democratic nomination or run independently. In the Senate, he has been active about criticizing corporations and Wall Street, helping the shrinking middle class and reducing income inequality. Sanders spoke about climate change and the state of the economy at the Hopkins Center last October.

A popular Norwich trail, known as the Blue Ribbon trail, has been recently blocked, as reported by the Valley News. The three-mile trail runs from Beaver Meadow Road to Gile Mountain’s fire-tower summit, going across at least eight privately-owned lots.

One of the landowners decided to close the trail. The Norwich Trails Committee does not recognize the 17-year-old trail as official. Last Wednesday, the Norwich Trails Committee held its monthly meeting, when a five-person subcommittee was created to promote continued existence of a trail route near the Blue Ribbon Trail.

— Compiled by Erin Lee

MONDAY, JANUARY 12, 2015

V-Feb aims to inspire dialogue FROM V-DAY PAGE 1

in the beginning of March, Marsicano said. It will feature poetry, dance, monologues and music, and will focus on what it means to be a woman at Dartmouth today.

V-Februar y has expanded markedly in recent years, organizers said, growing from its inception as V-Day — part of a national movement of the same name — to V-Week and, in 2014, to V-February, a month-long series of performances and events. Both the “Voices” and “Upstaging Stereotypes” performances are recent additions to the program, created in the past two years. “‘Voices’ came into being originally as a complement to the ‘Vagina Monologues,’ but it’s moved beyond that,” King Fredel said.

“Upstaging Stereotypes” was created as “an opportunity for men to be involved as allies,” she added.

Kelati said that “Upstaging Stereotypes’” small size is in line with its respective role in the month.

“I think the main focus of VFeb is supposed to be women and femininity, and I would feel very odd, to be honest, if ‘Upstaging Stereotypes’ became one of the centerpieces of it,” he said.

“That’s not what the whole month is supposed to be focused on,” he said.

While this may be true, Mar-

sicano said that the month’s programming also aims to include men’s perspectives and to focus on equality more generally.

“Even though V-Feb does have a lot of events that are specifically organized and executed by women, it’s not a gender-exclusive series of events, and that’s not the point of the month,” she said.

“It’s to promote equity across the

“It kind of acted as a catalyst for a lot of conversations around gender and sexuality.

It was a very approachable environment. It didn’t feel harsh.”

-jessica king fredel ’17, “Voices” co-director board that’s intended to be allencompassing.”

Marsicano also added that this year, “intersectionality and recognition of diversity” are major components of V-February.

King Fredel said that she felt last year’s performance, with which she was also involved, succeeded

in creating an open dialogue on campus.

“It kind of acted as a catalyst for a lot of conversations around gender and sexuality,” she said. “It was a very approachable environment. It didn’t feel harsh.”

This year, organizers hope that the performances once again inspire a conversation on campus.

Luke Katler ’15, the artistic director of “Upstaging Stereotypes,” said that he hopes that performers and audience members alike can gain from the performances. “[Upstaging Stereotypes] will challenge people to look at ‘male situations’ and realize that they’re layered and complex based on the individuals involved in them,” he said.

Marsicano, who, like King Fredel, was involved in the program last year, called V-February the “most transformative thing” she has done.

“It completely revamped my Dartmouth experience, and it was very foundational in me gaining a lot of self-respect and a lot of understanding of what it means to be a woman at Dartmouth,” she said.

Many of the organizers of VFebruary are student interns at the Center for Gender and Student Engagement.

Kalie Marsicano is a member of The Dartmouth staff.

BABY, IT’S COLD OUTSIDE Corrections We welcome corrections. If you believe there is a factual error in a story, please email editor@thedartmouth.com.

Provost Dever invites you to Open Office Hours Tuesday, January 13 from 4-5 pm Provost’s Office, Room 102 Parkhurst Hall

Meetings are offered on a first-come, first-served basis Students suit up for extremely cold weather and make a brief stop in Robinson Hall.

JIN LEE/THE DARTMOUTH SENIOR STAFF

THE DARTMOUTH NEWS

MONDAY, JANUARY 12, 2015

PAGE 3

Trips directors hope for inclusivity FROM DIRECTORATE PAGE 1

may not have been previously involved with Trips, they said.

Kaur said that she thinks that the information sessions will increase transparency in the application process, which she said she believes is very important. In the information sessions, applicants will be told exactly what the directorate is looking for and how to present their skills in the most effective manner on their applications, Kaur said.

People who have not been involved with Trips in the past may be unsure of how to show that they have the skills and assets needed to volunteer, Kaur said. The information sessions will create “an equal playing field for applicants,” because it will teach all candidates how to stand out on their application, Kaur said.

Kaur and Parker hope to host panels comprised of speakers who have been involved with Trips in the past, Parker said. Speakers will be able to answer questions and speak to their own experiences in the application process and preparation for their Trip or Croo, Parker said.

The directorate also wants to incorporate more community work into the Trips program by revamping the community service trip, Parker and Kaur said.

Additionally, sustainability initiatives — such as rerouting buses to maximize efficiency and increasing sustainable food options as well as

using local food — will continue to be expanded and emphasized in the 2015 Trips program.

This year, Connections Croo — a Croo aimed at providing guidance to freshman in the lull between their return from Trips and orientation week — will not be renewed.

“Peety and Sam have contributed significantly to improving the program over the last two years and I know they will make a phenomenal leadership team.”

-GERBEN SCHERPBIER ’14 The resources used by Connections Croo will be used to fund other aspects of Trips, Parker said. She added that the orientation team — which facilitates all freshmen activities during orientation week — overlaps with the work of Connections Croo and does the job well on their own.

Kaur said that she was excited to work with the rest of the 2015 directorate, adding that they will “have a huge role in shaping this program.”

Parker and Kaur aim to sustain volunteers’ energy and thoughtfulness throughout the entire program, adding that Trips can get “hectic” as program start dates draw closer.

The new directorate comes from a pool of deserving applicants, Kaur said. She added that she hopes that candidates will still volunteer for Trips even if they did not get a directorate position.

In the past, Kaur served as a member of the inaugural Oak Hill Croo and as Oak Hill Croo captain this past summer. Parker served as sustainability coordinator and TripLeader trainer this past summer.

Former DOC trips director Gerben Scherpbier ’14 said in an email that he is excited to see where the new directorate will take the program this year.

“Peety and Sam have contributed significantly to improving the program over the last two years and I know they will make a phenomenal leadership team,” Scherpbier said.

Kaur and Parker have begun planning trips nine months in advance for the purpose of gathering feedback and thinking about how they can improve all aspects of the Trips program.

Applications for Trip leaders and Croos will come out at the end of February, Parker said.

Staff members Noah Goldstein and Laura Weiss contributed reporting to this story.

HopkiNs CeNter for tHe arts FOLLOW US @HopkinsCenter

The musical equivalent of adding a drop of moonshine to your glass of pinot noir. #folkinspired #DavidFinckel #ShowInATweet

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Bar Garage hopkins center hop.dartmouth.edu • 603.646.2422 • Dartmouth College • Hanover, NH

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Hop Garage Seeking Innovative Interdisciplinary Student Arts Projects!

The Hop Garage, a suite of three studio spaces across from the Hop’s Courtyard Café, is open and in use as a space for arts teaching and the development of student arts projects. The Hop, Theater Department and Music Department invite proposals from students who wish to use the space for rehearsal, practice, project development and small-scale events (occupancy is limited to 49 persons in each studio). Students interested in developing winter term projects must submit a proposal (found at hop.dartmouth.edu/online/hop_garage) by friday, January 16 at 5 pm.

Among the criteria for successful proposals are: • Projects of an interdisciplinary nature • Projects that take unique advantage of the qualities in the Hop Garage spaces • Projects that lead to a specific culminating event or performance will be preferred over routine rehearsals and practice sessions For more information, email hopkins.center.facilities@dartmouth.edu ANNIE MA/THE DARTMOUTH STAFF

Students congregate on the lawn of Robinson Hall to do the Salty Dog Rag during DOC First-Year Trips.

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THE DARTMOUTH OPINION

PAGE 4

MONDAY, JANUARY 12, 2015

Staff Columnist EMILY SELLERS ’15

SENIOR Staff Columnist LORELEI YANG ’15

Contextualizing Charlie Hebdo

Responsible Reporting

We must have a complex understanding of free speech and expression.

It is safe to say that virtually all of us condemn deadly violence as a reaction against speech, ideas and opinions. Few would argue that speech — regardless of its content — is a sufficient provocation for murder, and we can all agree that the Charlie Hebdo shooting is a great tragedy.

I, however, have trouble understanding why people have been so quick to intimately align themselves with Charlie Hebdo, thereby implicitly condoning the magazine’s decision to publish works that could be labeled as hateful speech.

When I read the ubiquitous hashtag “#JeSuisCharlie” it seems explicit in what it conveys — I am the perpetrator of hateful speech, and I could be the next target — we stand together. But one can support the value of free speech, affirm the tragedy of needless loss and balk at senseless violence without identifying oneself as a tonedeaf bully or martyrizing a hugely problematic magazine and the decisions of its writers.

All of this uproar suggests that freedom of speech is inherently valuable. The images and commentary Charlie Hebdo often published contain shocking and deeply offensive content relating to nearly every religion and ideology, some of which I would argue may even be hate speech. For example, the magazine is rife with Islamophobia, such as a Sep. 2012 cover that depicted the Prophet Mohammed on all fours with his genitals bared — note that seeing any visual depiction of the Prophet is considered to be a sin. Many people, however, still stand by the magazine’s right to publish such content, as disallowing it would impinge on a group’s right to express themselves — no matter how vile the expression.

Expression is important, regardless of what you are expressing, because it is a liberty that is crucial to an open society. In fact, expression is central to identity within such a society. Any kind of perceived censorship, especially when applied in a discriminatory manner, would communicate that your society does not value your freedom as much as that of other people in your society.

To censor certain ideas constitutes widespread denial of the most essential human characteristic — speech. An unsavory outcome for a liberal

democracy, right? France, however, curtails the rights of Muslim citizens to express themselves.

France has banned pro-Palestinian protests, as well as religious symbols — even making it illegal for anyone to cover their face in public, thereby outlawing the burqa, hijab and the niqab. If free speech sometimes includes matters others may find offensive or even hateful, but is worthwhile anyway, then free speech must also include expressions of religious beliefs and tenets to which we do not all adhere. One cannot use freedom of expression as a defense for some actions, while completely ignoring its relevance elsewhere.

It is understandable that the present debate is focused on the particular type of speech that was targeted in the violent attacks. The notion that violence can ever be a reaction toward opinions is a frightening one — one that makes the world seem much less free and much more divided. It is important, however, to remember that there is a difference between oppressive government censorship and vigilante retribution. The latter can cause a deep mistrust of those around you and their commitment to liberal values. The former, though less immediately tragic and horrifying as violence or murder, is more insidious because government and systems of power can more effectively limit and shape speech.

Despite this fact, French reactions to it are often tepid. For instance, where was the outcry when France ruled to ban Muslim school children from wearing hijabs? It is neither ideologically consistent nor helpful to the cause of free speech to be outraged by infractions only when a small handful of extremists with relatively little power target a handful of people.

We must have a complex understanding of free speech that does not include supporting groups in power’s harassing minority groups and exacerbating existing social ills. Though offensive speech may be a necessary evil, it can still be acknowledged as such without diminishing one’s commitment to anti-censorship sentiments.

It is also important to include the involvement of government and other power systems along with small groups who threaten such values when discussing freedom of expression.

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The Rolling Stone-UVA scandal was rife with ethical dilemmas.

Scan national publications over the past areas of concern. Doing so is a common few years, and you will find that the topic practice in similar situations, and Rolling of sexual assault on college campuses has Stone was willfully irresponsible in its failure garnered an immense amount of attention. to contact the subjects of Jackie’s allegations Members of Congress, college administrators, in the course of its fact-checking. Second, the student activists, alumni and parents have magazine’s decision to throw Jackie under the all taken an interest in seeing change come bus when other sources identified discrepanabout on college campuses. A recent White cies in her account was wildly unprofessional House report cited a statistic that one in five and disrespectful to both Jackie herself and to college women will be the victim of attempted sexual assault survivors in general. Ultimately, or completed sexual asthe burden of factsault over the course of “A recent White House checking a source’s her college career, high- report cited a statistic representation of reallighting the frequency ity falls on a publicathat one in five college at which college-aged tion, rather than the women will be the victim women face the threat source. Rolling Stone’s of sexual violence. The of attempted or completed initial retraction struck recent publication and sexual assault over the the wrong note and subsequent retraction of course of her college career, demonstrated a churlSabrina Rubin Erdely’s highlighting the frequency ish refusal to acknowlNov. 19 Rolling Stone at which college-aged edge its own error, and 9000-plus word story, “A women face the threat of its shifting of the blame Rape on Campus: A Bru- sexual violence.” onto Jackie devalued tal Assault and Struggle what was already a diffor Justice,” captures some ficult decision to speak of the journalistic and ethical dilemmas that with a reporter about a traumatic event in her arise in the coverage of this issue. Specifically, life. issues regarding sensitivity to survivors’ rights However, it would also have behooved to privacy come into direct conflict with the Erdely to bear in mind that survivors’ acjournalistic directive to fact-check a story as counts may differ slightly with every telling, thoroughly as possible. even when the key facts of the matter remain Initially, the story of Jackie’s brutal gang the same. Elizabeth F. Loftus, a cognitive psyrape at Phi Kappa Psi fraternity at the chologist, has made a career of demonstratUniversity of Virginia and the University’s ing how our memory can change. In 2012, failure to respond to the alleged assault made she and others studied how misinformation tremendous waves — even prompting UVA can affect a person’s memory of genuinely president Teresa Sullivan to promise a full experienced, stressful events. The unreliable investigation into both the case itself and nature of memory is simply a reality — it is the school’s investigative process for sexual the reason why eyewitness accounts are among assault allegations. Shortly after the story’s the least reliable forms of evidence, as was publication, however, the Washington Post apparent for the prosecution in the Michael and other news sources began to point out Brown case. Given this unfortunate fact, the discrepancies in Jackie’s account. On Dec. 5, only good counter against Erdely’s mistakes Rolling Stone issued a retraction that put much would have been simply to speak to as many of the blame for these discrepancies on Jackie sources as possible — which Erdely failed to and her misrepresentation of her story, saying do. “our trust in her was misplaced.” Shortly after At the end of the day, there is no easy way this, the magazine covertly revised its retrac- to write about sexual assaults like Jackie’s. tion to acknowledge the role that the writer When a sensitive person’s natural inclination and her editors should to respect a survivor’s have had in fact-checking right to privacy comes “The unreliable nature the story prior to its pubinto direct conflict with of memory is simply a lication. The retraction, a professional obliwhich now prefaces the reality — it is the reason gation to fact-check story, says that Rolling why eyewitness accounts that person’s account Stone was “mistaken in are among the least of events, journalists honoring Jackie’s request reliable forms of evidence, are put into a difficult to not contact the alleged as was apparent for the position. Clearly, askassaulters to get their ac- prosecution in the Michael ing journalists to push count” and that it was the Brown case.” sources to disclose diffimagazine’s mistake. cult personal informa From a journalistic tion is an uncomfortperspective, there are two important things able directive, but simply failing to fact-check that Rolling Stone could have done to prevent serious allegations before publishing them is this debacle. First, Erdely’s acquiescence to an equally untenable position for reputable Jackie’s request that she not contact the alleged publications. Unfortunately, this entire deassailants is an unusual one. Even if she were bacle can be used in attempts to legitimize unable to get an on-the-record interview, an misconceptions about the frequency of false off-the-record verification of the facts that sexual assault reports, and also will likely affect Jackie had presented might have helped her survivors’ willingness to come forward with and Rolling Stone’s staff to identify potential their stories in the future.

THE DARTMOUTH NEWS

MONDAY, JANUARY 12, 2015

Theta continues “shakeout” recruitment process FROM THETA PAGE 1

“I think we’re all about empowering women, and so a lot of the policy we do was about trying to have more real conversations and not just superficial exchanges,” Solomon said. “We care about how women interact and how they’re treated.”

Solomon also said that she enjoyed how quick and casual the event was.

Rather than going through a multi-day process, she attended one of the events for only 20 minutes and was then able to go to Theta meetings that week.

Panhell vice president of public relations Jessica Ke ’15 said that Theta is still involved with every other aspect of Panhell, and that the recruitment changes were supported by the organization.

“We discussed it with them ahead of time and all of the other house presidents, so Panhell and other sorority presidents are very much in support of Theta doing shakeouts.”

The remaining seven sororities are not considering informal recruitment at this time, Ke said.

Delta Delta Delta sorority president Camila Vigdor ’15 said in an email that Tri-Delt needs to continue doing rush according to the Panhellenic regulations

due to the mandate of the national organization.

Theta is able to implement its own process because it is a local sorority.

In order to attend the “shake-out” events, potential new members are required to attend a Greek Letter Organization and Societies hazing prevention education session along with a Dartmouth Bystander Intervention overview session.

Potential new members are able to go through the formal recruitment process in addition to attending the “shake-out” events. The offer of a bid from Theta will not interfere with the formal recruitment process.

Solomon said she thinks that the new process gives women more control over the rush process.

“The problem is women don’t really have a say in their own destiny,” she said. “I know a lot of girls who joined Theta wanted to be in a local. You just have more say in your own future.”

Representatives from Alpha Phi sorority, Alpha Xi Delta sorority, Kappa Kappa Gamma sorority, Kappa Delta sorority, Kappa Delta Epsilon sorority and Sigma Delta sorority did not respond to request for comment by press time.

PAGE 5

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PAGE 6

THE DARTMOUTH EVENTS

MONDAY, JANUARY 12, 2015

DARTMOUTH EVENTS TODAY 5:00 p.m.

“Book Arts Workshop: Letterpress Orientation Session,” Baker Library, Room 21

6:00 p.m.

“Alumni in the Arts Biennial Exhibition 2015,” Top of the Hop, Hopkins Center for the Arts

7:30 p.m.

“Beginner & Intermediate Argentine Tango Course,” Sarner Underground

TOMORROW 4:30 p.m.

“Negotiating for the Planet: Environmental & Climate Diplomacy” with Kerri-Ann Jones, Filene Auditorium, Moore Building

5:45 p.m.

“Multi-Faith Conversations,” dinner and conversation, Tucker Foundation, Room 105

7:00 p.m.

“Eyewash: Carlos Casas,” screening and performance, Loew Auditorium, Black Family Visual Arts Center

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THE DARTMOUTH ARTS

MONDAY, JANUARY 12, 2015

PAGE 7

Ceglia ’94 works as an animator for DreamWorks

B y mikey ledoux The Dartmouth Staff

Alessandro Ceglia ’94 has dreamt of working in animation began during his time at the College and eventually translated this dream into his current career as a rough layout artist at DreamWorks Animation Studios. Ceglia, who has also previously worked as an animator for television commercials and music videos, has worked as an artist for recent DreamWorks films, such as “Madagascar 3” (2012), “Turbo” (2013) and “How to Train Your Dragon 2” (2014).

Ceglia is currently working on “Kung Fu Panda 3,” which will be released in early 2016.

How were you involved with the arts at Dartmouth?

AC: I took a bunch of studio art classes, but I wound up majoring in art history. I took painting, a bunch of drawing classes and I worked at the pottery studio — that was my campus job. I was also in a production of “The Tempest” at the [Hopkins Center for the Arts].

I had an internship at the Hood [Museum of Art] my senior year where I helped catalog some of their Asian art collection. I actually took an animation class, but it was only offered my senior spring.

It was hand-drawn animation then. Now, I almost exclusively use

computers, even for drawing. It actually took me a while to get into animation. I think if I had been able to take the class earlier in my Dartmouth experience, it would have been different. I loved the

“Part of the job description is to explore the possibilities of the story which causes you to go through multiple iterations.

You can get attached to one that you think is perfect, but the director might not agree with you...

It’s challenging continually finding the energy to re-do and re-explore the ideas for the movie.” class and definitely felt like it was something I was interested in, but I was already pointed in a slightly different direction. It felt like too big of a leap to jump into animation based on one class. Later, I

wound up going to grad school to get my MFA at [the University of Southern California].

How did you start your career as an animator?

AC: I began with an internship at a very small studio in New York that was unpaid. I was also working in interactive media at the time and working specifically in Flash, which is a program also used in animation so I became proficient in Flash and it was natural to move from there to animation. Once I moved to California to go to USC, things started falling into place.

The important thing about animation is living where the jobs are.

That’s the benefit of USC. You’re already where the employers are and that helps a lot. Once I was at USC, I did another internship and started freelancing on the side.

Once I graduated, I freelanced for a while and eventually wound up at DreamWorks, which is where I am now.

What aspects of your job do you find most challenging?

AC: The most challenging thing is being able to re-do your work repeatedly, because I work in the rough layout department, which is where we pre-visualize the film.

We create a rough version of the film, which once it’s approved becomes the blueprint for the

movie. Part of the job description is to explore the possibilities of the story, which causes you to go though multiple iterations. You can get attached to one that you think is perfect, but the director might not agree with you so you might have to abandon that idea and explore another idea. It’s challenging continually finding the energy to re-do and re-explore the ideas for the movie. But you get used to it — you can’t get married to anything because it really is an iterative process.

Which aspects do you find most interesting/rewarding?

AC: The most rewarding part is having something tangible that you created or help[ed] create that you can say, “I did that!” I think that’s what drew me to creative work. It’s that you can point to the screen and say, “I built those shots.”

What is something interesting about animation that people might not realize?

AC: One thing that’s interesting is that once you first get into animation as a student, the vast majority of students want to become animators. What you learn as you go along is that there is a whole range of positions in the studio and you realize not everyone is destined to become an animator.

They may work in the animation industry but you rarely realize that until you start working. It can take a few years to figure out.

What projects are you currently working on?

AC: I’m actually working on Kung Fu Panda 3, which is scheduled to come out in March of 2016. I’ve been working on it for almost a year and a half.

When you work on films in a series do you have to keep the style the same as the previous film worked on by different animators? Is that difficult?

AC: For a character animator, that is true. So if you’re animating a shot with Po, the main character in Kung Fu Panda, that performance has to be consistent across all three movies even though the character is going to grow and evolve. I’m not a character animator, so it’s not that difficult for me.

I definitely need to be familiar with the previous movies, but it’s not as challenging for me to match the style of the previous movies. We are responsible for the cinematography and that has a style that we do need to match. In Kung Fu Panda, the camera work often has a snappy, cartoony flavor to it.

This interview has been edited and condensed.

“Inherent Vice” gives its viewers a contact high B y andrew kingsley The Dartmouth Staff

If you got Sherlock Holmes off of opium and onto grass, threw him into the 1970s and ramped up his libido, you would approximately end up with Larry “Doc” Sportello, the bumbling, high-as-a-kite detective and protagonist in Paul Thomas Anderson’s latest film, “Inherent Vice” (2014). The idea of a Thomas Pynchon novel being adapted into a Paul Thomas Anderson film might sound like a recipe for an abstruse mess — Pynchon’s novels have often been deemed “unfilmable” — but somehow they gel, finding a middle ground where incomprehension is made up for by zeitgeist and farce.

Anderson brings Joaquin Phoenix back from their previous project together, “The Master,” (2012) into the dazed, hippie epicenter of 1970s California, where astrology is religion and everyone is some combination of high, horny or buttoned-down conservative. When land magnate Michael Wolfmann and Doc’s former girlfriend Shasta Fay Hepworth both go missing, Doc jumps on the case, leading

him down a tortuous rabbit hole of bizarre characters, all of whom revolve around a multinational drug cartel, a mysterious boat and a dental organization, all which are named The Golden Fang.

Like something out of a Wes Anderson or Woody Allen film, there are so many highly stylized and explosive characters who supply each cut or entrance with comic possibility. To rifle off some ensemble highlights, there is Josh Brolin as the homoerotic, emasculated Los Angeles Police officer who sucks on chocolate covered bananas and demands “Multo panacako!” Martin Short as the pedophilic dentist with The Joker’s smile, Benicio Del Toro as Doc’s marine lawyer representative, Maya Rudolph, Anderson’s real life partner, as Doc’s sweet nurse and Jena Malone as the drug advising single mom who teaches kids how to use drugs “responsibly.” In this swirling, surrealist universe, only the absurd can exist.

The film’s inexplicability nearly goes unnoticed due to its trippy, dreamlike quality — plot points are often unresolved or unmotivated, but does that really matter

in dreams? Leave your classicallytrained Hollywood brain at the door, because its need for resolution and clarity will not necessarily be met. The film itself could be seen as Anderson’s nostalgic dream of his father, who was the host of a late night television horror movie anthology and encouraged his son’s film career .

Form matches content — a film about a perpetually pot-smoking detective should translate the goofiness and confusing essence of being high. So it’s ironic that in an interview with the Boston Globe Anderson claimed “I also remember feeling that if your characters are stoned, your camera should be sober.” While Anderson’s classic, saturated and real film stock look remains, the camera fails to make sense of much that’s going on. It even seems to deliberately obscure details, but, like Doc himself, you don’t seem to care too much. You just blithely face what’s in front of you. Film reviewer Tony Macklin said, “you should bring brownies, instead of popcorn, to Inherent Vice.” Well, I ate popcorn, and I still felt high watching it.

Because of this contact high, I

found myself laughing at all the absurdities, from the fact that Doc’s partner can’t drive to a scene of

“The idea of a Thomas Pynchon novel being adapted into a Paul Thomas Anderson film might sound like a recipe for an abstruse mess — Pynchon’s novels have often been deemed “unfilmable” — but somehow they gel, finding a middle group where incomprehension is made up for by zeigeist and farce. ” Brolin eating a platter of weed, from a drug swap carried out by “sweet” children to Doc’s mini detective notebook that contains

the emptiest, most confused information that even Inspector Clouseau — otherwise known as the Pink Panther — would have scoffed at. A hiatus from the grim, monomaniacal nihilism of his previous films — including “The Master,” and “There Will Be Blood” (2007) — Anderson returns to the levity and irreverence of his earlier “Punch Drunk Love” (2002) while preserving his current cryptic narrative style.

The film’s title comes from the carrier industry, where the “inherent vice” of an object is a hidden defect natural to the transported product, like that chocolate melts or glass shatters. If the film had an inherent vice, I’d say it tries too hard to be obscure and plays more as an experimental cinema rather than a standard film. While the 155-minute experiment in adapting Pynchon drags on at times, it discovers Anderson’s funny bone, and brings us the glorious world of sex and drugs in his beautiful film.

Rating: 9/10 “Inherent Vice” is playing at The Nugget at 3:50 p.m. and 6:45 p.m.

THE DARTMOUTH ARTS

PAGE 8

ARTS

MONDAY, JANUARY 12, 2015

Hopkins Center holds exhibition of alumni artworks

B y amelia rosch

The Dartmouth Senior Staff

A man made of steel precariously leaning forward, arms thrust behind him. A book made of tissue paper held together by thin, red thread. An interactive machine that manipulates light. All of these pieces and more are featured in the second Alumni in the Arts Biennial Exhibition, which opened this weekend at the Top of the Hopkins Center.

The works in the exhibition, which began two years ago, aim to inspire current studio art majors about possible careers in the arts, Brice Brown ’95, one of the exhibition’s curators, said.

“We wanted to show them that there are very active, very professional artists who are making their way, and that they can do it too,” he said. “That was the impetus, to encourage students to stick to their guns and go out and be professional artists.”

Studio art professor and exhibit co-curator Enrico Riley, who is also member of the Class of 1995, said that he and Brown decided to feature pieces by alumni artists who are still active in the art community and display a diversity of artistic styles. The exhibit includes sculpture, mixed media installations and a sound piece.

There is no specific theme to the exhibition, Brown said.

One of the biggest challenges associated with putting on the exhibition was finding all the art for the exhibition, Riley said. He and Brown began reaching out to

artists last August, he said. Two of the artists featured in the exhibition live outside of the United States.

Brown said that figuring out the best ways to display the disparate pieces of art was another major challenge that they faced.

“It’s hard enough to mount an exhibition as a solo exhibition, but when you have 13 different artists with different mediums that require different technical specificities, it was like cats in a bag,” he said.

Riley said that they hope to continue holding the exhibition every two years, but that its future will depend on their ability to attain funding.

Torin Porter ’93, who contributed the steel sculpture “Aviator,” said that he had not yet finished the piece when it was chosen for the exhibition.

“It really started just with the gesture and the clothes came from that, just as an extension of what he could be doing,” he said. “The arms are elongated just to emphasize to that forward motion, and the hands as well. Later I realized from the front, they almost look like, with the foreshortening, they go back to the scale of where they would be.”

He said that the inspiration for the sculpture came from an earlier sculpture of his “High Wind.”

That piece was much smaller than “Aviator,” and the figure’s arms were much longer in relationship to its body. He said he chose to use steel in the piece because of its connotations with strength and the industrial.

In addition to “Aviator,” Porter

AMELIA ROSCH/THE DARTMOUTH SENIOR STAFF

“Mapeando” by Gisela Insuaste ’97 included a performance by the artist.

will also hold a public performance in March as part of the exhibition.

He said that his performance will be more about using events, instead of a material piece of work, to create experiences in the viewer.

“I see the art of it is actually, it’s a prop for creating an experience,” he said. “That’s where art is actually living, in the person who is looking at it. It’s creating that effect and that’s why, with the performance, it’s a similar thing.”

Porter said that he has not finalized what his performance will entail and the exact date that it will be held.

Laura Grey ’02, who contributed the piece “Book of Hours Medium,” said that she chose to contribute because she was excited to be part of an exhibition focusing on alumni in the arts.

She said that her piece, which is a 25-page book made out of tissue paper and thread, was inspired by the traditional Christian Book of Hours, which were miniature prayer books that include some of the earliest examples of large illuminated illustrations. She said that the text in the book did not come from any original Books of Hours but instead included indie rock lyrics and an excerpt from Rainer Maria Rilke’s collection of

poems “Book of Hours.”

Grey said that she chose to exhibit that piece because it connected to her professional work as a graphic designer as well as her own interests.

“This is related in the sense it is a book, but most of the work I do is more kind of traditional graphic design,” she said. “This is when I get to play and do things off the computer. It’s related but aside from my main work.”

Both Brown and Riley said that the student response that they have seen so far has been positive.

“I was installing one piece late last night and a couple of students came up and said this is the coolest thing they’ve ever seen and they love it,” Brown said. “It’s going to get a good response.”

Kasha Wahpepah ’15, a studio art major who attended the exhibition, said that she liked that the showcase focused on alumni artists, instead of current students, whose work used to be exhibited at the Top of the Hop. She said that her favorite piece was “Aviator.”

“I think it’s placed really well, and it’s the first thing you see when you walk into the room,” she said.

Wahpepah said that she thought the exhibition was a good way to show that graduates of the College

can have successful artistic careers.

“It’s really nice to see that you don’t have to go into teaching or curating or anything,” she said.

“You can actually produce art and make a living off of that, if you want.”

Katie Milligan ’15, a studio arts major, said that she enjoyed the variety in the exhibition’s pieces and that it was in a venue outside of the Hood Museum of Art. “There’s a mix of this one has audio and then there’s wood and a bunch of different mediums and materials,” she said.

The Annual Alumni in the Arts Biennial Exhibition will run in the Top of the Hopkins Center from Jan. 10 to April 30. In addition to Porter’s performance, Anna Schuleit Haber MALS ’05 will have an image projection in April, while at the opening reception Gisela Insuaste ’97 held a live installation.

The exhibition is sponsored by the Hopkins Center, the Hood and the College’s studio art department.

The exhibition will also feature pieces by Mark Brosseau ’98, Frank Chang ’01, Carrie Fucile ’99, Matthew Jones ’02, Anna Linzee MacDonald ’02, Karyn Olivier ’89, Catherine Ross ’94, Kirsten Stromberg ’94 and Anna Tsouhlarakis ’99.

AMELIA ROSCH/THE DARTMOUTH SENIOR STAFF

“Aviator” by Torin Porter ’93 is one of the featured pieces in Alumni in the Arts biennial exhibit.