Thursday, February 18th from 5:00-6:30 PM in Pacific Hall 123
“Homay King is Associate Professor in the Department of History of Art at Bryn Mawr College, Director of the Program in Film Studies, and Director of the Center for Visual Culture. Her fields of speciality include American cinema, film theory, psychoanalytic theory, and feminist film theory and criticism. She received her A.B. from Brown University in Modern Culture and Media, and her doctorate from the Department of Rhetoric at the University of California at Berkeley with a dissertation entitled “Effaced Figures: Authorship and the American Cinema.” Her essays on film, photography, contemporary art, and theory have appeared in the journals Afterall, Camera Obscura, Discourse, Film Quarterly, OCTOBER, and Qui Parle, and in edited collections including Jeff Wall: Photographs, Stanley Kubrick: Essays on His Films and Legacy, and There She Goes: Feminist Filmmaking and Beyond. Her book Lost in Translation: Orientalism, Projection, and the Enigmatic Signifier was published by Duke University Press in 2010. She is currently working on a book entitled Virtual Memory: Time-based Art and the Dream of Digitality. She has been a member of the Camera Obscura editorial collective since 2011.”
With the economic model of journalism irrevocably disrupted, the question of how to fund investigative reporting has taken center stage. The founding fathers saw watchdog reporting as essential to our democracy and it’s why journalism is the only enterprise specifically protected by the Constitution. Non-profits like ProPublica, where Engelberg is the editor-in-chief, have proven their value on national stories, but it remains an open question whether the model can flourish at the local or regional level.
For those planning on attending, please RSVP. A reception will follow the lecture.
Stephen Engelberg is editor-in-chief of ProPublica, a nonprofit newsroom that uses the moral force of investigative journalism to expose abuses of power and spur reform. He previously founded the investigative unit at The New York Times and served as managing editor of The Oregonian. His work has won two George Polk Awards for reporting, and two projects he supervised won the Pulitzer Prize. He is also the co-author of Germs: Biological Weapons and America’s Secret War.
How smart phones and social media are democratizing the press and empowering people of color
Tuesday, January 26 at 7:00 PM in Straub Hall, 156
“theBEseries is proud to partner with the School of Journalism and Communication to welcome Nikole Hannah-Jones to the University of Oregon. Nikole is an award-winning investigative reporter who covers civil rights and racial injustice for The New York Times Magazine. Nikole has spent the last four years investigating the way racial segregation in housing and schools is maintained through official action and policy. This talk focuses on current events as they relate to the role of the press, the police, and the people.
Along with The New York Times, her reporting has been featured in ProPublica, The Atlantic Magazine, Huffington Post, Essence Magazine, The Week Magazine, Grist, Politico Magazine and on Face the Nation, This American Life, NPR, the Tom Joyner Morning Show, MSNBC, C-SPAN, Democracy Now and radio stations across the country.”
Sally Claire Haseltine Endowed Lecture on the History of Design and Decorative Arts
“How might we rethink the “decorative arts” as being, instead, the “usable arts”? This lecture proposes related language, digital, and pedagogic tactics. Why say usable? How does digital technology promote the usable qualities of objects? How can students create usable public knowledge?
Anne Higonnet works on the history of art since the seventeenth century, on childhood, and on collecting. A 1980 Harvard College BA, she received her PhD from Yale University in 1988. Her work has been supported by Guggenheim, Getty, and Social Science Research Council fellowships, as well as by grants from the Howard and Kress Foundations. She has published five print books and many essays. In 2014, together with students, she organized an exhibition, course, catalog, article, and website project on Anna Hyatt Huntington’s 1902-1936 New York City sculpture. In spring of 2015, she launched a digital humanities seminar on the material world of the Enlightenment, funded by the Mellon Foundation. She lectures widely to public audiences, including in the Metropolitan Museum of Art “Events Program.” Her most recent publication is an Op-Ed in the Congressional magazine The Hill, in favor of putting Sojourner Truth on a new US $20 bill.”
Thursday, January 14, 2016 at 6:00 pm in Lawrence Hall 115
“Brian Bress, a Los Angeles-based artist and filmmaker, creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously costumed characters, more often than not played by Bress himself. Though they rely predominantly on homemade props and costumes, Bress’s videos are visually innovative and their inherent silliness and rambling pace only serve to intensify the examination of assumptions about the nature of reality. He is also known for his collage-like portraits that feature costumed actors wearing strange masks that obscure their faces. By disguising the identities of the sitters, Bress heightens the level of uncertainty in the work to humorous levels. For his lecture at UO, Brian Bress unpacks 10 years of navigating the agenda of painting through the medium of photography and video.
“Chess. Sudoku. World of Warcraft. Battleship. Candy Crush. Basketball. Roulette. These are all things we call games – but what exactly do they all have in common? This course introduces students to the basics of games as a cultural phenomenon. Beginning with a seemingly obvious question which has frustrated generations of scholars and theorists – what is a game? – we will go on to examine games in terms of function, purpose, mechanics, design, and audience. Students will learn how to talk about games and then how to put that knowledge to work in designing their own games.”
Along the main questline
You can also take a look at Dr. Fickle’s “game manual,” a creative alternative to a traditional course syllabus. If her course description alone doesn’t convince you to add the class, the manual will. Included in this manual are a list of achievements (course goals), a guide to getting started (necessary materials for the class), a guide to leveling up (scoring), quest tutorials (assignments), and more. She describes the class further in her opening lines of the introduction,
“In this course, you will have an opportunity to explore some of the most influential ideas and exciting developments of the 20th and 21st centuries related to games of all kinds, from board games to video games to sporting contests and everything in between. In the process, you will develop considerable insight into the nature of games both as important cultural phenomenon and burgeoning economic industry. You may or may not be a gamer or game designer, but you will almost certainly some day have to decide how to transform something “ordinary” — a product, an idea, a task — into an extraordinary, play-worthy experience. This course will help you make those “gamification” decisions wisely. It will also help you understand more about how your own relationship to play, and to work, is intertwined with how you identify yourself (and with others) in terms of culture, nationality, gender, class, and more”
My dissertation research focuses on military recruiting advertisements during the era of the all volunteer force, 1973 to the present. In focusing on print ads targeted towards women and people of color, I am interested in the ways that recruiting ads have used representations of difference in making appeals to potential recruits. Ground in archival research, I explore how representations of difference emerging at the intersections of gender, race, sexuality, and class articulate and reflect ideals of citizenship. While my dissertation research focuses on print advertisements, I used tools learned while completing my NMCC certificate to digitize my archive of military recruiting advertisements.
Discovery of NMCC:
I discovered the New Media and Culture Certificate while taking a course on Histories and Theories of New Media in the School of Journalism and Communication. As a feminist media studies scholar interested in the ways media representations and technologies shape, and are shaped by, cultural understandings and material practices, I was excited about the opportunity to engage in a transdisciplinary program. Since then I’ve taken a number of NMCC courses, including a course on Informational Politics in the Philosophy Department, a Habitual New Media course in Comparative Literature, and a Digital Ethnography course. All the courses I’ve taken as part of the NMCC have shaped my research interests and have provided me with the opportunity to engage with students and faculty from across the university who I otherwise might not have met. The NMCC has been incredibly influential in shaping my experience as a grad student at the UO.
Useful Resources for New Media Students:
Outside of the faculty and fellow students I’ve met while pursuing the NMC certificate, I’ve found a number of useful resources. The Digital Scholarship Center has been a fantastic resource as has the Fembot Collective. Through the DSC and the Fembot Collective I also had the opportunity to meet with numerous scholars from a variety of disciplines who have a vast wealth of knowledge to share. I also just recently discovered The Programming Historian, which has a variety of lessons and tutorials on techniques for digital scholarship.
This year I am planning on continuing my dissertation research while also exploring other research interests. I’m working with the Digital Scholarship Center to construct an interactive archive based on my primary source research on military advertising. I’m also working with the DSC and the Fembot Collective in designing a tutorial on using digital tools for social activism. I’ll also be serving as a Fembot Grad Student Intern and helping with new initiatives for the academic year, including Ms. Fembot 2016 in LA this spring
What’s on your shelf? Interested in being the next NMCC shelfie feature? Contact us!
“In her paintings on hand-woven textile, Bittman exploits the limitations of the basic floor loom. By designing and executing weave drafts that consist of simple sets of numerically based instructions, she generates woven cloth whereby the architecture of the weave interlacements and the graphics of the cloth are one in the same. Once stretched over traditional painting stretcher bars, the textile patterns, which often become distorted by the act of stretching, direct and dictate the painted surface. These moves are both intuitive and logical. In several works, the weave graphics are replicated precisely in paint, negating the materiality of the textile in favor of the pictorial aspects of the cloth. In other instances, selectively painted areas merge with their underlying textile support, further flattening the picture plane and perceptually disorienting the viewer.
Samantha Bittman lives and works in Chicago, Illinois. She received a BFA from the Rhode Island School of Design in 2004 and an MFA from the School of the Art Institute of Chicago in 2010 and also attended the Skowhegan School of Painting and Sculpture in 2011. Recent solo exhibitions include Razzle Dazzle at Andrew Rafacz Gallery, Chicago, IL; Number Cruncher at Longhouse Projects, New York, NY; and Soft Counting, at Greenpoint Terminal, Brooklyn, NY. Bittman has been included in recent group exhibitions at Morgan Lehman Gallery, New York, NY; David Castillo Gallery, Miami, FL; Guerrero Gallery, San Francisco, CA; and Paris London Hong Kong, Chicago, IL. She is currently on faculty at the Rhode Island School of Design.
Sponsored by the UO Department of Art, Mrs. Carol Reinhold and Mr. B. Terry Reinhold, and the Reinhold Foundation.”
The University of Oregon Graduate School is seeking individual, poster, and five-minute presentation proposals. The 7th annual Grad Forum will showcase UO’s graduate student research, scholarship, and creative expressions. This year’s Grad Forum themes revolve around ideas of interdisciplinary work, innovative research, and life in the Pacific Northwest. The 2016 Graduate Student Forum will take place on February 26, 2016 at the Ford Alumni Center.
Students may participate with:
Poster Submissions: Submit a 100 word abstract of your research. Posters will be presented on a 24 x 36 inch standard poster board
5 Minute Presentation Blitz Submissions: Submit a 100 word abstract of your research for a 5 minute presentation made to a broad audience.
Individual Submissions: Submit a 100 word abstract for a 12 minute presentation of your research
Group Panel Submissions: Submit a 300 word abstract with three to five other presenters with similar areas of research (but from different academic fields) for a group presentation.
Themes:
Crossing Borders, Crossing Cultures, Crossing Frontiers: Language, migration, identity, and the synthesis of cultures
Breaking New Ground in the Sciences: Approaches to reproducibility and data management, shifting paradigms, and innovative research practices
Challenges for a New Generation of Leaders: Policy, scientific, and social approaches to emerging and continuing catastrophes
In Our Own Backyard: Pacific Northwest life, research and education, community and philanthropy
Ecology and Sustainability: Adaptation, succession, homeostasis, and planning
Proposals for posters, individual panel presentations, and/or 5 minute presentation blitzes are due Friday, December 18, 2015. Apply at this website
Nicole Smith Dahmen, Assitant Professor of Visual Communication at the University of Oregon.
A reception will follow in Allen Hall Heart starting at 5:15 pm.
“Recent advances in digital technologies are allowing data journalists to find and tell stories in new and visually exciting ways, often working in collaboration with developers, statisticians and designers. It’s a new frontier for many newsrooms, but not without its own teething pains. This much anticipated follow-up volume to the bestselling Data Journalism: Mapping the future features 30 chapters from journalists, developers and academics on both sides of the Atlantic and further afield. It is an essential primer for wannabe data hacks and others interested in the trade.” –Amazon
“Homay King is Associate Professor in the Department of History of Art at Bryn Mawr College, Director of the Program in Film Studies, and Director of the Center for Visual Culture. Her fields of speciality include American cinema, film theory, psychoanalytic theory, and feminist film theory and criticism. She received her A.B. from Brown University in Modern Culture and Media, and her doctorate from the Department of Rhetoric at the University of California at Berkeley with a dissertation entitled “Effaced Figures: Authorship and the American Cinema.” Her essays on film, photography, contemporary art, and theory have appeared in the journals Afterall, Camera Obscura, Discourse, Film Quarterly, OCTOBER, and Qui Parle, and in edited collections including Jeff Wall: Photographs, Stanley Kubrick: Essays on His Films and Legacy, and There She Goes: Feminist Filmmaking and Beyond. Her book Lost in Translation: Orientalism, Projection, and the Enigmatic Signifier was published by Duke University Press in 2010. She is currently working on a book entitled Virtual Memory: Time-based Art and the Dream of Digitality. She has been a member of the Camera Obscura editorial collective since 2011.”
The University of Oregon 
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Steve Doig
