626 items found for your search. If no results were found please broaden your search.
(11/13/03 12:00am)
Author: Sadie Hoagland The intensity did not crack for a single moment last weekend when "The Trestle at Pope Lick Creek" graced the Hepburn Zoo. Joya Scott '03.5 directed the turbulent scenes set in the depths of the American Depression, written by Naomi Wallace. The five actors in the production gave what must have been an exhausting performance as they ran and shouted through the Zoo, keeping the spectators on the edge of their seats.Wallace's play deals with not only the economic effects of the Depression, but also the psychological displacement that was associated with the time. The play tells the story of two young teenagers, Pace and Dalton, whose lives seem predestined by the hopelessness of the Depression era. The story is not presented chronologically and shifts from scenes of Pace and Dalton together at the Trestle, daring each other to out run a train, to scenes of Dalton's home with his unemployed father and hardworking mother. Finally the audience is introduced to scenes of Dalton in prison for Pace's murder - a train accident he refuses to explain. The play delves into the coming-of-age theme as the two teenagers discover their sexuality. It also depicts remarkably well the awkwardness of adolescence as well as the difficulties particular to the 1930s. Dalton's father Dray is left at home, hopeless in his job search, making hand shadows on the wall. The theme of shadows continues throughout the play and it becomes clear that the people of this era, struggling to maintain livelihood and without control of their lives, are also mere shadows. As the story progresses, Pace and Dalton become more involved in their tragic version of love in a world that seems to be crumbling down upon them. The play is highly moving, and this weekend's performance was no exception. The character Pace Creagan, played by Becky Martin '04, is a fascinatingly masculine young woman whose energy filled the stage. Martin gave an exquisite performance, shouting at Dalton, swinging on the Trestle and creating a deeply disturbed character whose aggression became a front for insecurity. Martin worked with John Stokvis '05 (Dalton) to create an intriguing relationship of power and strange love. The two achieved an incredible dynamic - Stokvis gave his character very real emotion. Dalton must witness his parent's relationship suffer as his father's depression seeps into the household. Stokvis very realistically played the part of a boy struggling with this situation and also his coming manhood.The three remaining performers, Dalton's parents and the jailkeeper, played by Dan Eichner '04, upheld the high standards set by Martin and Stokvis, each one displaying the same intensity and emphasizing the frustrations and difficulties of this time in American history. The set and music worked to further enrapture the audience in the lives of Wallace's characters. The music had a striking blues feel to it, alluding to the "old railroad times." The set remained the same with three different locations on stage representing the Trestle, Dalton's home and the jail cell. Screens were set up and the hand shadows were cast ominously and artistically throughout the show, creating an eerie effect while also serving as an occasional source of comic relief as the characters tried to guess what animals were being imitated. These moments of humor came as a catharsis to the otherwise heavy note of the play. The end of the play revealed the accidental nature of Pace's death, with Dalton as the only witness. Pace, the character perhaps most lacking in life, lived on in a ghost-like form, which returned to Dalton while he sat waiting to tell the truth in jail. The play involved the audience to a phenomenal extent, and left one with very memorable images. In one of the jail scenes, the jail keeper, played by Eichner, asked Dalton to guess what he was acting out, in the same vein as the hand shadows game. He then swung his arms low, jerking and snarling, looking rather nasty and not unlike Gollum from "Lord of the Rings." After Dalton failed to respond, he revealed the answer to be "your soul," which shocked the audience. This idea was disturbing and one of the many aspects of the piece that engendered an extremely tense crowd. Scott succeeded on several levels in creating a production that was profound, moving and inherently artistic. The end floored audience members, who were unable to adequately summarize how they felt about the display of emotional turbulence and undeniable talent they had just witnessed.
(11/13/03 12:00am)
Author: Abbie Beane If it had not performed in the Center for the Arts Concert Hall, one may have been hard pressed to tell I Fagiolini, a distinguished English choral ensemble, apart from a group of experienced actors and actresses. Not only did the ensemble's performance on Thursday night ring with the sensational chords of altos and tenors, but also with animated theatrics comparable to a troupe of expert comedians. I Fagiolini (pronounced fajoleenee) Italian for "the little beans," has sung at Middlebury in the past, putting on a show in 1999 when they were in residence coaching various Middlebury singing groups. And this year the College's Chamber Singers were lucky enough to harness the group's wise words of musical know-how when they worked together last week. The community also had the good fortune of having the opportunity to watch a fine-tuned concert, where I Fagiolini generously dished up a second helping of their vocal worth.As distinctive figures on the world vocal scene who have played everywhere from Western Europe to Hong Kong and Egypt, I Fagiolini is far from a group of starving artists obligated to play for the small college category in order to round up a following. Long established, I Fagiolini's reputation is grounded in the classics of Renaissance vocal ensemble and flagged by a spirited approach. As further testimony, the group has even released 12 CDs, the most recent being, "Thomas Tomkins - Music Divine" and "Andrea Gabrieli - The Madrigal in Venice: Politics, Dialogues and Pastorales." This is, however, their first full U.S. tour. I Fagiolini devoted the first part of their performance to renowned English composer, Thomas Tomkins (1572-1656), singing "See, See the Shepards Queen," "Weep no More" and "When David Heard." Striding onto the stage, dressed mostly in black, Fagiolini looked professional, but not imposing, confident, yet amiable, exuding a warmth and a sound that filled the silence of the hall.The following trio of songs really picked up the pace, paying homage to Italian composer, and arguably the most important musician in the late 16th and early 17th century, Claudio Monteverdi. The three madrigals from "Il quarto libro de madrigali" brimmed with expressions of embittered love and a sobering recognition of the pain, abandon and risk that passion for another uncontrollable human being entails. The first piece was well executed, the leading soprano lending energy to the four other singers, while the second I Fagiolini described as "erotic" and the third as a song filled with "musical bits of word painting." Finally, the third set of songs courtesy of Tompkins, I Fagiolini described as "one of the finest collections of the age," although people tend to think of it as an "afterthought." The most charged song of the trio was "Too much I once lamented," which contained a laughable number of "fa la las," that I Fagiolini called an "excuse for dancing." Almost sarcastically, Robert Hollingsworth, spokesman of the group continued, "They are expressions that couldn't take words. They were so powerful." The vocalist standing like a tall, brawny and jolly bookend on the periphery of the ensemble, in spirit was at the center of it, stealing the show with his relentless, animated grin and boisterous mannerisms. First he would act in refusal of the "fa la las," and then abruptly, he would happily embrace them, delighting the audience.The last half of the performance may have been the most memorable, serving as a platform to exhibit comedic types, which when incorporated into the vocals, made for a more entertaining and well-rounded final product. With the Hall's harpsichord dressed up as a boat, the audience was meant to take a trip up the canal from Venice to Padua to meet this hoard of characters. From the quayside departure among noisy gondoliers, some of the passengers introduced themselves (being a courtesan, a moneylender and a drunken German) to do a little of bad singing. Yet this innocuous bit of fun turned into the amorous details of the education of Rizzolina, a commedia stereotypes, transforming the boat into a spicy cruise vessel right out of the popular dating show "Ship Mates." A prayer-meeting was then broken up by more madrigals and popular love songs while the male vocalists attempted to woo the two ladies of the ensemble. I Fagiolini warned the audience of two things - first of all, that the humor in the opening explanations of each scene of the story would not be politically correct, and secondly that some of the comedic characters may not be familiar since their language would be filled with "clever jokes in Venetian dialect." I Fagiolini also cautioned any Tuscan Italians in the audience that the ensemble would be singing collectively in a Venetian accent. "There are always one or two in a crowd," the spokesman said. And it was with this sprinkling of charm, dash of humor and dollop of talent that I Fagiolini successfully won the support of the College in the second round. I Fagiolini exited on a standing ovation.
(11/13/03 12:00am)
Author: Chris Grosso Vincent van Gogh once said, "I tell you, the more I think, the more I feel that there is nothing more truly artistic than to love people." Artists have the ability to take the living and use it in a certain way to produce art, and it is their work that leaves us to ponder about the human psyche. In a lecture on Thursday, Nov. 6 at Middlebury College, John Willis, a local documentary photographer and Professor at Marlboro College in Brattleboro, Vt., presented his dramatic photographs, discussed his approach to capturing the human form and shared his history in photography. His impressive portfolio is a composite of documentary and human images, which comment on the human condition.In 1973, when Willis was in high school, his social circle pressured him to pick up a camera. Ironically after one class, John got hooked while his friends stopped exploring with the lens. To satisfy his creative desires, he attended Evergreen State College in Washington and studied photography and child psychology. For his senior project, he wanted to focus on the elderly in nursing homes, but his advisor discouraged him because of his shyness. Willis' mentor informed him that he needed to learn how to take people's portraits - so John decided to study individuals on the city streets of the Northwest. On the opening night of his senior show, he hung 16"x 20" prints around the gallery. He explained, "My work demanded a lot of the viewer. I was showing pictures of people from every race, religion and economic background." To capture his subjects' portraits, he explained, "I focused on the nose. I hoped that people would understand the humanity I was trying to capture. I wanted the viewer to view everyone as equal." Unfortunately the baggage of the viewers was related to the images, and Willis was disappointed by their responses.After graduating from college, he moved to Vermont where he creatively explored farm animal portraitures. He says, "I photographed clichÈs, but I made more than the clichÈ." With this comment, a portrait of ducklings crossing a muddy path was spread across the screen.One of Willis' concentrations has been the elderly. Since his college career, he had been interested in capturing the faces of nursing home residents. When he began the project, Willis wanted to use photography as a means to change society. He wanted to promote social reform for elderly care. To a man who loves the art form and radiates the utmost energy and ardor when discussing his work, the intensity of his work is no surprise. At a diner where Willis was a frequent patron, he met an elderly man, Edward LeMay, who loved socializing. They became friends and he allowed Willis to photograph him. The study permitted Willis to practice with his camera and satisfied the elder man's desire to chat. The products were anything but rough sketches. They were intimate and personal images of a real individual. The platinum palladium prints were some of Willis' first explorations in elderly portraitures.After receiving his M.F.A. from the Rhode Island School of Design in 1986, Willis soon established himself as a photographer of nursing homes, among other things. His ability to capture the persona of his sitters is unique. In one of his series, he photographed a lady named Frida Stern. She was a proud woman and one of myriad types of people in nursing homes. Her up-close-and-personal portraits portrayed the personality of an experienced and vivid individual. More notably, Willis interrupted Frida's meditation as the nurses explained that she didn't hear anymore and she had lost her mind.Another of his major projects has been his work on Native American reservations out West. Once again, Willis has developed a symbiotic relationship with his subjects. His deep connection with a family in North Dakota has made him more conscious of his use of their photos. He wants to please them, the cause he's trying to promote and himself as an artist. When asked his opinion about digital photography, he responded, "The new photography requires different tools." Willis remains partial to the old-fashioned black-and-white photographic processes - "I have and will always love playing with the craft in the dark-room," he said.It is inspiring to see how a man has pursued his passion and used it to affect the lives of others. He has spent much of his life teaching photography in diverse settings. He has worked with people of all age groups - elementary school students to college kids to residents in nursing homes. He now teaches at Marlboro College and is the co-founder of The In-Sight Photography Project, a non-profit program that teaches photography to adolescents. This past summer Willis led a teaching program to North Dakota, where he and 17 students taught photography to Lakota children for a month.Willis' sincerity, compassion and humanity emanate from his work and his disposition. He explained that he was a bit nervous to show his personal work because it means so much to him. "A photo is a visual language and way for people to express themselves and their subjects," he says. "I like using cameras as a way to explore things, and I love photography." On his Web site, Willis expresses, "One thing is clear, that the beauty in photography often lies on the other side of the lens."To learn more about Willis' career and see some of his work, you can visit http://www.jwillis.net/.
(11/06/03 12:00am)
Author: Tom McCann and Ryan Reese I don't think you ready for this jelly. I don't think you ready for this jelly. I don't think you ready for this. Cause my body's too bootylicious for ya babe. That's a song by Destiny's Child. Beyonce Knowles was in that group. We should write a column about her. But we probably won't - because we don't know her. But we do know Tim.Beyonce probably doesn't play ice hockey. Tim does, but not well. As a member of the Xi Omega Great White Yaks, Tim has frantically been preparing for the team's upcoming inaugural season. The Yaks, whose mascot was chosen on the basis of its fierce reputation and relative obscurity, will be outfitted in midnight black, the red of freshly drawn blood and the white of a Florida orange entirely covered in Vermont snow, which is really, really white. As a principal founder of the fine Yak organization, Tim was chiefly responsible for the selection of said Yak as the representative animal for a squad that will indubitably be forever etched in the annals of Middlebury College hockey history. On a roster of 13 "skaters," two are from countries where ice does not form naturally, one resides in Texas - resulting in his ineligibility for the season - and another's only previous skating experience involved the near severing of his ex-girlfriend's third and fourth fingers on her left hand, several months of physical therapy and permanent partial movement. When searching for an appropriate adjective to describe the young Yak club, "not awesome" comes to mind. Despite this minor deficiency in talent, Tim and his brethren are optimistic about the upcoming season. While Tim and his team may not score many goals this season, on a personal level, Tim is turning his hopes and dreams into reality every day. While most might describe their life goals as achieving superstardom in a clutch sporting performance, amassing a fortune in investment banking, finding the cure for that one really bad disease or simply settling down in a house in the suburbs with a white picket fence, 2.3 kids and an attractive spouse, Tim's simply relate to the collision of particles ejected from a solar discharge and the Earth's ionosphere. While others may never fully realize their dream, Tim's was fulfilled Thursday night. Through the brilliant pinks, reds, greens and purples that danced across the cloudless night sky, Tim's mind raced as he contemplated the grace and glory, the beauty and majesty and the unparalleled Creation of Science. Since Tim is so awesome at making dreams come true, he can surely help you in your personal pursuit of happiness. If you wanna be happy and you know it, e-mail Tim. If you wanna be happy and you know it, e-mail Tim.If you wanna be happy and you know it, and you really wanna show it, If you wanna be happy and you know it, e-mail Tim.That's another song - but not by Beyonce. She sings other songs. E-mail timthisisme@hotmail.com. He's waiting for you.
(11/06/03 12:00am)
Author: Edward Pickering In search of overlooked but deserving books, I have sometimes read the early or lesser-known works of famous authors. Robert Penn Warren's debut novel "Night Rider" was a recent treat. George Orwell's early novel, "Burmese Days," on the other hand, proved a great disappointment. We are all admirers of Orwell, devotees of his prose and ideology. You'll be hard pressed to find a man or woman who doesn't profess admiration for Orwell and for his masterpieces, "Animal Farm" and "1984." It was with great expectation that I picked up "Burmese Days." I envisioned an exciting drama full of Orwellian insight and attack. However, in comparison to Orwell's more renowned writings, I found the novel crude and unconvincing. Though it has its moments, "Burmese Days" ultimately proves grotesque, depressing, at times even farcical.The novel takes place in Kyauktada, a remote town on the banks of the Irrawaddy River in northern Burma. Here lives a population of four thousand Burmese, a handful of Chinese and Indians and seven Englishmen who commercially and administratively oversee the region. The protagonist, 35-year-old Flory, is a timber merchant. Flory has not left the country since his arrival 15 years earlier. The novel opens with Flory on the verge of self-realization: his youth has elapsed in drinking, whoring and lazing about, and now he is lonely, remorseful and unhappy. The plot concentrates on the intrigue and uproar caused by an executive memo sent to Kyauktada's European Club - it proposes that the club members elect a token native. This club, the last all-white club in Burma, is a bastion of bigotry, a refuge for drunken louts and pretentious fools united by nothing more than a common disregard for the native population. In reality, they all hate each other and hate their lives. Through these sorry figures Orwell exposes the vileness of imperialism. It is a disease affecting the imperialists and imperialized alike. Indeed, nobody- not a single European or native-escapes Orwell's excoriating pen.Of his countrymen, Flory, alone, befriends the natives. His innate cowardice is put to the test when he promises to nominate his Indian friend, Dr. Veraswami, for club membership. At this moment, as he is steeling himself for the upcoming trial, Flory meets Elizabeth, the niece of a club member and an exceptionally beautiful specimen of English womanhood. Yet, as Flory soon learns, her contempt for the Burmese knows no limit.In this novel the natives are dumb, avaricious and petty, the Europeans, loathsome. One can't even sympathize with Flory, whose status as an outsider is symbolically confirmed by the hideous birthmark on his cheek. As you read the novel you pray for the deaths of these Europeans, for a universal tide of comeuppance to sweep them away and cleanse the land.The novel's chief fault lies in its infelicitous transitions. Many of the events are unconvincing and a number of the scenes lack a vital and necessary life of their own - they are flat and dull. The ending itself lets the reader down. Orwell's conclusion seems like a cop-out, so simple and foreseeable is it.
(10/30/03 12:00am)
Author: Andrea Gissing Middlebury College's Volunteer Service Organization (VSO) held a cow-pie bingo event Saturday, Oct. 25 to raise money for Heifer International, a non-profit organization that works to alleviate world hunger.Participants of the cow-pie bingo bought a square on a large grid marked onto McCullough Field for a dollar. A cow, brought for the occasion by Monument Farms, was let loose to wander on the enclosed grid. Whichever square the cow plopped a cow-pie on was the winner. Prizes were gift certificates to restaurants in town, including Mr. Upps, Green Peppers and Noonies. Two hundred tickets were sold and between 25 and 30 people came to watch the event. "It took about an hour for the cow to do its thing," said Erica Goodman'06, community co-chair of VSO. "It was very nervous and did its stuff before getting out of the trailer. The long time probably contributed to people getting board and leaving, but we did have some faithful fans."Heifer International is a non-profit organization that fights hunger by helping families around the world feed themselves and become self-reliant. This is achieved by providing needy families with animals instead of "just a food handout," Goodman described. Last year VSO supported Heifer International by selling Valentine candy grams and holding a "date auction."
(10/30/03 12:00am)
Author: Meghan Keenan In his passionate and animated lecture last Friday entitled "Guerilla Tactics for Breaking Into the Film Industry," Josh Newman stated the best part about being a successful movie producer - "It beats having a real job." Although it was not the most profound comment regarding the competitive and often frustrating industry, Newman delivered an engaging account of his duties of working alongside such stars as Giovanni Ribisi, Joshua Jackson and Marcia Gay Harden. Newman is currently CEO of the indie film company Cyan Pictures - an amazing feat for a young man barely 24 years old. After graduating from Yale University with an economics degree, Newman did not take the traditional Hollywood route to become a movie producer. He worked with venture capital firms following graduation before becoming a producer for Robert DeNiro's TriBeCa Pictures and the Comedy Central network. He then joined Cyan Pictures, where his first film competed in the Toronto Film Festival. He has not looked back since.Newman gave a frank lecture and did not hesitate in giving his honest opinion regarding the various paths into the film industry. He first discussed the "climb the ladder" approach, which requires visiting every agency possible, looking for unpaid internships and generally being hazed in unrewarding positions. This process can be very long, and requires a thick skin. As Newman bluntly stated, "Basically be ready for crap between now and age 35." He gave three general rules for more effectively gaining access into the business. Stating tenacity as the first rule, Newman quoted Winston Churchill's commencement speech at Oxford University, "Never give in. Never, never, never." Newman also exemplified Colonel Sanders who pitched his idea for Kentucky Fried Chicken to 171 investors before his proposal was accepted. "You have to love rejection," Newman said. He was also quick to note that potential filmmakers must really love movies, since there is not as much glamour in filmmaking as there appears to be. "If you're really interested in going to the parties and hanging out with the stars, maybe journalism is your better chance," Newman suggested.Newman cited networking as his second rule, claiming that in the film industry it's all about knowing the right people. He recommended contacting other aspiring filmmakers, screenwriters and anyone who might have a shot at success. Offer to take someone out to lunch, he suggested, and pick people's brain about the industry. The most important aspect of networking, however, is to maintain the relationships. Even if you add one contact a week to your Rolodex, Newman advised following up on those contacts every few months to improve the chances of "making it."Newman's final rule was to make sure you have fun. "Fun people are more fun to work with," Newman said, admiting that a person's reputation can definitely impede him or her from obtaining certain roles. It's a very stressful and time-consuming industry, and if you're not enjoying yourself, it's not worth it, he explained.During the question-and-answer period following Newman's talk, the inevitable question arose regarding the importance of film school. While many students see film school as a necessary stop on their way to making it as a director or producer, Newman sees tuition money better spent on making a few short reels that really showcase one's talent. Newman said if you don't have a director's eye before you go to film school, you most likely won't have it coming out. Newman also observed, "You can't hope your resume will get you there - you just need to demonstrate the skills." It's not necessarily about experience, but a natural eye. Newman frequently considers first-time screenplays and directors solely based on talent, not reputation. The lecture was extremely well received, as the attending students appreciated Newman's humor, enthusiasm and honesty. As Jason Farkas '04 commented, "It was both encouraging and discouraging. Josh is someone who is young and already made it, and he really gives you the sense that if you love the industry there is the possibility of success. At the same time, he didn't withhold the fact that it's a hard business to break into and is often very daunting."Newman's lecture offered crucial insights to the aspiring filmmakers in Middlebury College. See Newman's work in Cyan Picture's new psychological film opening in January 2004, "I Love Your Work."
(10/30/03 12:00am)
Author: Charlie Goulding Earlier this semester, two prospective students came to stay with this writer for a three-day weekend. When they arrived, they asked to experience Middlebury's nightlife, to attend classes and to eat the food. They also asked if there was an anime club. Sure enough, the prospectives left Monday afternoon having danced at the drag ball, sat through a literature class, dined at Ross and attended a screening sponsored by Middlebury's Manga and Anime Club. Middlebury received high marks in all categories.The Manga and Anime Club meets Friday evenings in Bicentennial Hall and usually consists of a screening followed by a discussion of the film. The club is only a few years old, but its burgeoning popularity mirrors the rise in recognition anime has received globally in recent years. Indeed, anime is on fire, and the fire sparks have reached Middlebury.Traditionally, manga are Japanese comics and anime are the animated versions of those comics. Anime can take the form of television programs, movies and internet publications, among other media. Although the art form originated in Japan, it has recently enjoyed a surge in worldwide appeal. In America, manga and anime are best known for "Pokemon" and other children's favorites. Many do not realize, however, the wide scope of audiences to which manga and anime appeal. Additionally, they cover a robust array of themes and topics. Globally, anime has emerged in recent years as a booming industry. Germany launched Daisuki, a monthly manga magazine targeting girls, in January, and in 2001, Carlsen Comics started publishing the monthly Banzai, the most popular weekly manga in Japan. Banzai currently enjoys a circulation of about 130,000 copies in Germany. Moreover, in the United States, Viz Comics started its English version of Shonen Jump, the inspiration for Banzai, in November with 250,000 copies. Shonen Jump began in Japan in 1968, and currently has a circulation of 3.4 million copies in its native country.Other artists have begun recognizing anime as an interesting and novel medium. Quentin Tarantino's latest film "Kill Bill," for example, contains a 20-minute animated interlude with "Japanamistic" overtones.Anime's worldwide rise in popularity has piqued international interest in both Japan's culture and language. In some youth cultures, manga and anime are so pervasive that the status of the medium has been rapidly upgraded from a subculture to a widely recognized artistic form. Many anime aficionados extend their interests by visiting Japan and learning Japanese. This trend is evident here at Middlebury, as well. As Julia Cheng, prospective Middlebury student, noted, "My interest in anime is a big reason why I want to study the language. I attended a Japanese class at Middlebury for that reason and liked the class very much."The artistic scope of anime far exceeds its primary stereotype as an art form intended for children. "It's not all PokÈmon," stated Club Treasurer Shannon Gmyrek '06.5. "In fact, anime started as an adult form of entertainment. I also think that movies like 'Spirited Away' and 'Perfect Blue' are changing people's perceptions. Anime can be serious, action filled and definitely not for kids!" Anime has also been blamed for promoting excessive violence. As Gmyrek noted, such perceptions often stereotype anime as a superficially "lame, predictable art form." She went on, "But really, you have classics like 'Metropolis' that deal with man's inability to grapple with technology. Or 'Akira' or 'Ghost in the Shell' ... all movies that deal with philosophical and pretty deep stuff."As another example, Kazuichi Hanawa's "Keimusho no Naka," "Inside Prison," is a diary-type manga based on Hanawa's three-year imprisonment. Devoid of action, the manga focuses solely on the writer's contemplative observations on fellow inmates and himself. In Japan, "no Naka" is a highly regarded philosophical inquiry.While the Middlebury's Manga and Anime Club is certainly a part of these global trends, its purpose is simply to make the media accessible to Middlebury students. "Sure, if someone came and wanted to start a hardcore discussion [about anime's influence], we'd be all for it. But mainly we're just here to be geeks and have fun with some great shows," quipped Gymrek.The Manga and Anime Club is sensitive to the breadth of audiences to which the medium speaks and topics it addresses, and plans its film screenings accordingly. "We try and show series that reflect the wide variety of stuff that's out there," noted Gymrek.Accessibility is another key issue. Given the continuous, serial nature of many mangas, the club tries to interchange movies with print manga series, so students can join at any time and not feel left out. Recently, the club has also held a number of Dance Dance Revolutions (DDR) competitions. DDR is to dance what karaoke is to song, and this popular social activity in Japan is featured in Sophia Coppola's new film "Lost in Translation."The club is excited about its future plans. Said club president Laura Isham '04, "this January we're planning on watching Twelve Kingdoms, which has just been released in the US, and for which they are still making new episodes in Japan."Isham explained the appeal of anime nicely when she stated: "Anime fans like to see something unusual. I don't like to see stuff that's avant-garde and weird-just to be-weird, but I do like to see stuff that's unusual or presented in a different format."
(10/30/03 12:00am)
Author: Taylor Johnston After three weeks of deliberation, two recommendations for changes in the sexual assault judicial process emerged from the Monday, Oct. 27 Community Council meeting. The Council recommended giving sexual assault victims the option of participating in hearings through closed circuit television conferences and providing special training and debriefings for Community Judicial Board members who review sexual assault cases. The Council approved these sexual assault policy revisions, suggested by the Sexual Assault Policy Group, with some of its own caveats, in response to concerns raised about the evenhandedness of the proposed procedure. The Policy Group's plan for an anonymous reporting form and the creation of a smaller subgroup of the Judicial Board to review assault cases did not gain the Council's approval.President John McCardell will now consider the Council's recommendations. In an effort to educate the College about the possible new policies, the Council has also called for a community forum on the subject, which will take place before McCardell makes the final decision. Though both the Council and the Policy Group hope the provision for a hearing over closed circuit television will make the judicial process more comfortable for assault victims and encourage them to come forward, several members voiced concerns about the impact this might have on the rights of the accused, echoing the opinion of the College attorney who attended the last Council meeting to address this issue.Council members Hieu Nguyen, associate director of annual giving, and Felipe Colon '04 brought forward similar questions about the fairness of allowing the accuser to participate through television."If you have the accuser in another room you are already kind of victimizing [the accused] . . . [It makes you think] 'Look at this guy, this animal. She can't even be in the same room as him.' It creates this atmosphere," Colon explained. He later added, "Obviously, we can't forget the reasons why we're doing this, but we have to be prepared to have accountability."In addition to Colon and Nguyen's concerns about implied guilt, the Council addressed the importance of the right of the accused to face the accuser, an issue brought to light by the college attorney during the previous meeting. Assistant Professor of History and Council Member Louisa Burnham addressed this concern. "Facing your accuser doesn't necessarily imply breathing the same air [as your accuser]," she claimed.The Council ultimately decided to approve the recommendation on the condition that the possible disadvantages a teleconference hearing could pose to both the accused and the accuser be clearly enumerated to the Community Judicial Board before such a hearing took place. They also specified that an advisor must stay with the accuser for the duration of the hearing. The motion passed with ten approvals, one disapproval and five abstentions.The Policy Group's recommendation that assault hearings be tried by a smaller subgroup of the Judicial Board failed to resonate with the members of Community Council, who believed the diversity of opinions of the larger Judicial Board more valuable than the more intimate environment a smaller group might provide in order to limit access to sensitive details and encourage victims to come forward. The council unanimously adopted a motion to keep the current eight-person Judicial Board for assault cases, but did pass the recommendation to provide further education to the Judicial Board about sexual assault cases and allow members of the Board to discuss their feelings after the outcome of a case or appeal during a confidential debriefing. In an informal straw poll, the Council also voted to send the anonymous report form back to the Policy Group for reconsideration, feeling the form, as it stood, allowed too much room for false accusations, pranks, and inaccurate statistics."We want to [make sure we] know what the goal of [the anonymous report form is]," said Dean of Student Affairs and Council Co-Chair Ann Hanson. "If the goal is to make it easier for victims to report, that takes us one way, but if the goal is to get better information [about assaults on campus], that takes us another way. I'm not sure this report form is the best bridge between the two goals."Some Council members felt a survey by a professional polling company might better achieve the dual goals of awareness and improved information and education about sexual assault with more accurate statistics, but Policy Group member Elizabeth Brookbank '04 defended the importance of the form, sighting the success Colgate, Mount Holyoke and Skidmore Colleges have had with similar reporting methods."The actual numbers are secondary in importance to the awareness that [assault happens on campus] - the awareness that the numbers from the anonymous reports would give to other victims that they were not alone and that there were things they could do about it," Brookbank argued. "Obviously, this isn't a perfect solution, but I feel like it is better than what we have now. Isn't it better than not knowing [about the possible assaults] at all?"At the conclusion of the meeting, the council decided to send the report form issue back to the Policy Group rather than call for polling at this time. They offered that the form be reconfigured as an online option with set drop-down fields to eliminate the possibility that someone may put the name of a specific person, which might leave students and the reputation of the college vulnerable to pranks and false accusations.
(10/30/03 12:00am)
Author: Sadie Hoagland Halloween has evolved since we were children. The holiday used to mean dressing up, making ghosts out of Kleenex and cotton balls, parading the streets and eating an obscene amount of candy out of pillowcases or plastic pumpkins. The night was delightfully frightening - you never knew what was going to jump out at you next or who was behind the ghoulish masks. Though we are beyond trick-or-treating and many of us don't scare as easily as we once did, Halloween can still bring out our creative sides, whether it's through an elaborate costume, a cubist jack-o-lantern or a chilling ghost-story that makes you look over your shoulder as you cut across Battell Beach late at night. Ghost stories haunt our culture and compose a prominent oral tradition. We've all heard the campfire classics and urban legends such as the one about the girl who, as she is driving home, notices a man following her, flashing his high beams. She becomes very frightened and races home, running from the car to her house. He gets out too and runs to her car. It turns out the man was following her because he had seen a man with a knife get in the back of her car and crouch behind the driver's seat. There are many others, and with Halloween upon us, the Vermont autumn nights beg for a quiet voice to speculate the possibilities that lie waiting in the darkness, or the basement of Starr Library. Ghost story-telling is an art in and of itself. We all know a good ghost story when we hear one and know that it takes an extra something to repeat it effectively. So how do you tell a good ghost story? There is often more potential fright in the telling than the actual tale, and in a well-told ghost story the audience's imagination will do far more to scare them than the story ever will. The idea of the ghostly subject can be far scarier than any details - something to keep in mind. My father, an expert ghost-story teller, mastered this in a story that used to give me nightmares, though now I realize he never actually told a coherent tale. The story, so to speak, was of the "one-legged deer" that haunted the Idaho woods outside our cabin (the concept of the one-legged deer didn't actually become humorous until I was much older). As we sat on the floor listening to him by the firelight, he would tell a warm-up story. He would then refer to the "one-legged deer story," pause, and shake his head solemnly, saying, "No, that's too scary for you kids." Sometimes my mother was in on this and would sigh and tell my father that we were too young, or that he'd better not dare. Sometimes he would go so far as to start the story - a fisherman gets up before dawn and ventures into the cold and the fog and suddenly hears something in the bushes. But he never had to go farther because he would just jump a little and we'd scramble screaming into his lap. It was a perfect build-up. The idea of the story was more frightening than anything he might have actually told (especially involving a one-legged animal). There certainly is an undeniable craft in ghost story-telling. Mark Twain, in his essay "How to Tell a Story," asserts that the "pause in front of the snapper on the end" is the crucial element to a good ghost story. To use Twain's example, the art is in knowing where to pause between the "Who's got my golden arm?" and the "YOU'VE GOT IT!" The proximity to your audience becomes especially important if you've got an ending that involves jumping and yelling something to scare them, in which case you'll want to lean in real close and speak in almost a whisper before the grand finale. When telling an urban legend, it is best to tell it as if you know for certain that it is true, and that it in fact happened to someone you know, your cousin perhaps or your best friend from sixth grade. This makes the listener inherently more interested. Make sure to use details familiar to the auditors. It's best if the story takes place wherever you are, or nearby, and if the main character of the story is doing something your listener can relate to (i.e. babysitting or making out on the football field) rather than something less realistic (i.e. walking past the haunted mansion or plowing corn at night). Your listener should be eager to hear the end and left with a shiver. As an example of this art form, here's a story I heard and I'd like to pass on...So a neighbor of mine went to Middlebury, she graduated in 1998, and told me a pretty scary story over Fall Break. She was an Art major here, and she was doing a senior project on nature photography. She procrastinated until the end of the semester and so one weekend decided to go hike the Long Trail, camp for a few day and get it all done at once. Well, there had been some murders in Addison County over the past year, mostly young girls, which they later all connected to one serial killer. The suspect had escaped custody and had been seen up in the Green Mountains. People were warned not to go up in the mountains until he had been found. Well my neighbor heard this and didn't really think much of it. She thought the killer had probably hiked his way up to Canada. She also really wanted to get the project done, so even when her friends told her not to go, she was still determined. So she headed out on her trip and took some beautiful photos. Though she was a little more wary than usual, she didn't see anyone else on the trail and finished her project. The trip seemed to go smoothly until she got back to campus and began developing her photographs. (Pause) It was then she saw the pictures of herself sleeping.This is, of course, a true story, and so be sure to remind your listeners that, and also when you tell it was your neighbor. Happy Halloween!
(10/23/03 12:00am)
Author: Tom McCann and Ryan Reese "Terminator" had one, so too did "Home Alone," "Mighty Ducks," "Rocky" and unfortunately "Speed," so it should come as no surprise that TIM has one, too. This is the sequel to the blockbuster, chart-topping, best-selling column that began two weeks ago to chronicle the life of Tim Bellis '06, your average student here at Middlebury College.Last time we introduced to you the Girlfriend Exchange Program (GEP) initiated with the University of Nebraska, Lincoln. Joy, the lead candidate for Tim's heart not long ago, has been joined in the race by two other contenders for the throne. Crystal '06 and Jill '06 have staked their claim with e-mails to Timmers that set the young lad's pulse racing. It remains unclear to this point with whom Tim would be most likely to sit at the table of commitment. He is hoping for some new candidates to come from you, the readers. Don't keep him waiting.Besides trying to balance multiple girls yearning for his adoration, the man himself has been busy being the quirky bugger that he is. In one small, isolated and utterly moronic incident two weeks ago, Tim made a frantic phone call from his car claiming that his gas had disappeared. "A hole in my tank? Did someone siphon my gas? What's going on? How can I get to Burlington in an hour if I have a hole in my gas tank?" A disaster? Absolutely not. A hole in the tank? No. Siphoned gas? Not a chance. Just a bad read on your gauge. Get back in the car, Tim, turn on the engine and drive. Tim made it back that day all by himself and, continuing the adventure, soon found himself on his way heading to New York City with six of his best friends for Fall Break.In Times Square, he pointed out his favorite ad, the giant steaming Cup of Noodles. He also pointed out Central Park and a restaurant named "Mexican Restaurant," which he admires due to his similar inability to come up with creative names, i.e. his stuffed animals from when he was little: "Bunny" (a small, grey rabbit), "Brown Doggie" (you can probably guess) and finally a bear in a Mets uniform, named, of course, "Mets Bear."His friend Mercy made the mistake of assuming that Tim would refer to Julie, his dog, as "Julie the Dog" but was clearly wrong when Tim pounced on her, which resulted, inadvertently, in Mercy's head gushing blood. Needless to say, after this incident, he apologized and told her that she could call the dog whatever she wanted to. Tim also spiced up the trip with a handstand competition in the middle of New York's Grand Central Terminal, during which Tim easily defeated the field of three contestants. He also dominated a rave style ping-pong competition lit only by a single black light. It wasn't just any Fall Break, it was an oasis, a utopia, one of the greatest trips of Tim's life. After a journey of such unparalleled success anywhere in the United States by anyone going on any vacation for any reason, Tim is looking for that special someone to share it with next time. There are few better vacationers than Tim. If you want to be a part of the next one, want to be a GEP candidate or just want to be part of his life, don't hesitate to get in touch. Advice, date requests, help, comments, suggestions, Tim does it all. E-mail timthisisme@hotmail.com - he's waiting for you.
(10/23/03 12:00am)
Author: Edward Pickering The words "wilderness" and "wasteland" are used interchangeably to describe any barren, imposing landscape. To say that the Western Highlands of Scotland are barren would be an understatement - a failure of description. The West Highland Way stretches from Glasgow north to Fort William, 95 miles of moorland and mountain bisected by a single highway. The Bridge of Orchy, a collection of mostly white buildings grouped around a hotel, sits astride the road and in the shadow of the 3,000-plus foot peaks Beinn Dorain and Beinn an Dothaidh. From their summits one can see clear to the horizon, bare mountains and sheer valleys extending on all sides. Not a single unplanted tree adorns the denuded slopes of this range; aside from rock, sheep are the only projections. Man has left his foot trails and cairns, but nothing more. Even Nature, elsewhere so liberal, seems to have begrudged the place its tiny stock of plants and animals. To return to my original question: are the Highlands a wilderness or wasteland? Or, what is the distinction? And why, on the summit of Beinn Dorain, was I reminded of Greece, and then Vermont? I'm told that the Highlands were blanketed by forest a mere few thousand years ago. Moose, bear and lynx inhabited these wilds. But these species and many more vanished from Scotland, the victims of deforestation largely caused by agriculturally and pastoral-ly minded humans. The same goes for the Peloponnese, the birthplace of ancient Greek civilization, home to Corinth, Sparta, Pylos and Argos. Since time immemorial the Peloponnese has borne the rustic face with which we, in the modern age, instinctively associate all things Greek, past and present. Burnished hillsides with low growing shrubbery, the odd cluster of attenuated trees, a prevailing midday sun - that is our conception of Greece. Yet, bears and lions used to roam the Peloponnese and forests were once abundant and extensive, at least, until man did away with them sometime in the B.C.'s. The landscape we think of as uniquely Greek - as "natural" - is in fact an environmentally degraded one. So, too, are the West Highlands. All of which makes me think of Vermont and a startling statistic I was told by a professor. In 1900 farmland covered 80 percent of Vermont, forest 20 percent. By 2003 the numbers had reversed: forest 80 percent, farmland 20 percent. To think that Vermont's woods, so characteristic of the state, were reclaimed from pastureland. Vermont has always seemed so "natural" to me, so "untouched."The next time you cross a stonewall crumbling in the middle of the woods, stop and consider why it is there; consider how different New England must once have looked. Of the Peloponnese, West Highlands and New England, I cannot say which is most pristine, least touched. It all makes me wonder if I have ever seen a true "wilderness," or if all the locales of my life are, in some respect, semi-"wastelands."
(10/23/03 12:00am)
Author: Kelsey Rinehart "Stop the tire fire!" was the message of the Oct. 15 public forum aimed at preventing the International Paper Co. (IPC) of Ticonderoga, N.Y., from using tires as a fuel source in its mill boilers. "We are here tonight because we don't want to breathe the smoke of burning tires," said environmental advocate for Vermont Public Interest Research Group (VPIRG) Ben Davis, who moderated the night's discussion.The forum was held in response to IPC's request to the New York Department of Environmental Conservation (DEC) to conduct a test burn of tire-derived fuel (TDF). In a letter expressing IPC's intention, IPC Mill Manager Chris Mallon stated, "During the 30-day trial, we will maintain compliance with all permit limits." The letter, which is also signed by Lawrence B. Phillips, IPC's environmental scientist, continues, "In addition, we will monitor TDF usage and will limit our TDF firing to a maximum of three tons per hour, as metered into the bark feeder in the wood yard." If granted a permit to use TDF, IPC would shred tires into three-quarter-inch strips after removing 95 percent of the metal in the tires.At the forum, dozens of Addison County residents, including State Senators Gerry Gossens and Claire Ayer of Addison County and State Legislator Steve Maier of Middlebury, listened to three panelists and two representatives of IPC assess the tire-burning issue. Panelists included former University of Vermont professor Jean Richardson, who has done extensive research on dioxin (a potent carcinogen released during tire burning) and other pollutants, Middlebury physician Jack Mayer and David Higbee of the New York-based organization Environmental Advocates. Speaking on behalf of IPC, Mallon and Manager of Technical Services Jay Wilson also gave statements.Mallon began by arguing, "The mill [IPC] is interested in doing this for economic reasons." He noted that fuel prices have skyrocketed recently, although he was also quick to mention that the mill was not asking for regulatory relief. Mallon explained that IPC seeks to conduct a 30-day test during which the boilers would be stocked with up to 73 tons of tires per day. If these tests are successful, IPC would then replace five to 10 percent of its boiler fuel with "tire-derived fuel" (TDF). Mallon further contended that the burning is actually an environmentally friendly way to dispose of unwanted tire piles, a claim that he defended by citing the Environmental Protection Agency's (EPA) approval of the tire burning and its use at plants around the country. "We expect no adverse effects," he concluded.Wilson echoed these sentiments, noting that the Ticonderoga facility has a long history of environmental compliance with local, state and national regulations. Wilson said that IPC uses "state-of-the-art combustion control" and "continuous emissions monitors that operate 24 hours a day, seven days a week." He said that these environmentally aware practices would still hold true in the experimental tire burn, when IPC would precisely identify every chemical compound being produced.In opposition to the IPC representatives, the VPIRG stated, "The incineration of tires emits toxic heavy metals including mercury, lead, chromium, beryllium, cadmium and arsenic." VPIRG further noted that the burning also releases dioxin, which the EPA has recognized as the most potent man-made carcinogen known.Higbee also responded to the IPC statements, first noting that there is a minimum of 33 millionstires in New York. As for these tires catching on fire, Higbee cautioned, "it's not if but when," since the tires often end up in hazardous and unmonitored piles. He warned of the severe water and air pollution caused by these accidental tire blazes and suggested the solution of turning tire piles into material for roadbeds, as has been done in Maine. Higbee said that the belief that tires burn so hot that they destroy all pollutants is a fallacy and claimed, "There is no such thing as 'destroy.' When you burn tires, you get energy and pollution." He argued that no level of emissions was acceptable, for once IPC is given a permit, "the plant will have an appetite for burning tires."Richardson, who lives about 27 miles downwind from IPC, stated that such a complex mix of pollutants in emissions not only affects air quality, but also "rains down onto plants and is consumed by animals and people." The pollutants permeate the land and water, infecting fish, produce, livestock and milk with chemicals. Challenging IPC's claims, Richardson said she didn't believe that IPC's boilers were "state-of-the-art." She further noted that the EPA had found that a Wisconsin paper mill, which had tested tires as a fuel source, had actually seen great increases in pollutant levels. "Do we want to be guinea pigs for a test?" Richardson questioned angrily. "Burning tires will allow them to save money, but at what health cost?"Moyer, a Middlebury-based pediatrician, further focused on possible health risks by highlighting the specific effects of toxins on children, pointing out that the EPA regulations are based on adult exposure. Moyer said that Persistent Organic Pollutants (POPs), many of which are carcinogens, tend to accumulate in breast milk. He noted that during early stages of development, children's DNA is more receptive to carcinogens, and that pollutants can stay in children's bodies longer.The panelists' presentations were followed by questions from the audience, most of which reflected an acute concern. Sen. Gossens asked, "Are you going to test because of the EPA, or to make people feel better? Why a test?" The IPC representatives responded, "We are testing for a long, long list of toxins. We're going to test with the best science there is." They emphasized, however, that they didn't believe the tests would show that these pollutants would be beyond regulation level, and that they were confident that the TDF would be used in the future.However, Jason Gibbs, spokesman for Douglas, stated, "The governor believes that, at a time when states in the East are working to combat air pollution caused by plants in the Midwest, the last thing Vermont needs is a neighbor from across the lake to contribute to that problem."Community residents also strongly voiced their concerns. John Bruckner of Shoreham, who can see the mill from his house, commented that the stench of the fumes that IPC already generates is appalling. "The odor is almost bad enough to cause dry heaves - and that's without burning tires," Bruckner said. "It's disgusting, and you want to throw tires on top of that." For the past two weeks, fellow Shoreham resident Michelle Eagan has been circulating a petition asking for Vermont authorities to intervene in the New York permitting process that would allow IPC to burn tires, and told those at the forum that she had already gathered 80 signatures.Despite the IPC's efforts through the forum to reassure the surrounding community of their safety of the tire-burning practices, Davis is now putting together a letter addressed to the governor, which, he says, "will be signed by many elected officials, groups and citizens." Davis' basic demand is that "the governor should do everything in his power to ensure that there will be no harm to human health and the environment before the test burn takes place. That means mobilizing the Health Deptartment, the Agriculture Deptartment, the Attorney General's Office and the DEC to all weigh in and sign off that Vermonters are safe from the effects of burning tires." Davis said VPIRG has "a very specific list of demands we will insist be met before any burning takes place."The forum was followed by a protest march across the Champlain Bridge on Saturday morning. The VPIRG organized the march, which attracted about 50 people of all ages. Walkers carried signs bearing messages varying from "No Tire Fire" to "Where's the Health Dept.?" and "Where's
Jim Douglas?" Clearly, residents of Vermont feel very strongly about the IPC's tire-burning plans. It appears that the IPC will continue to face strong community opposition should the mill decide to go ahead with adopting the new tire-burning methods.
(05/07/03 12:00am)
Author: Elizabeth Braunstein Last weekend, the Addison County Humane Society (ACHS) held its first adopt-a-thon, an event conducted annually by the National Humane Society to promote cat and dog adoption. The 24-year-old non-profit organization maintains a mission of being "dedicated to fostering the humane treatment of animals in Addison County," said ACHS Shelter Manager Sara Kurtz. Primarily, the Humane Society operates a shelter at which stray animals are cared for until a new family can be found for them. "We try and match up an animal with the family as best as we can. If a family comes in and says they work all the time, a puppy may not be the best option. In the end, we make the match for both the needs of the animal and family," said Kurtz. Additionally, the shelter refuses to euthanize animals that are not adopted, which has led, in particular, to an overabundance of cats at the shelter. Kurtz explained, "Our capacity for cats is around 20 but we have somewhere around 60 cats and some have been here for a while." This past weekend, only eight animals were adopted. "Come and adopt," Kurtz stressed, revealing the most effective way members of the community could help out.As part of the adoption procedure, the ACHS requires new families to spay or neuter their new pet. The procedure is part of the adoption cost and families can have it done with their veterinarians for a reduced fee. This simple procedure is strongly recommended by the ACHS for all animals in order to reduce the population of homeless animals in the community.The ACHS also promotes animal welfare, provides community resources and enhances the connection between people and animals. Programs range from animal welfare educational programs to teaching children at school how to properly take care of their pets. The ACHS also responds to complaints of cruelty and neglect within the Addison County community.Because the ACHS is a non-profit organization, the shelter relies heavily on volunteers, especially from Middlebury College, and private and member donations. With a total of 400 members reached this past December, its new goal is to reach 450 members by December 2003. Local businesses also contribute to the success of the ACHS by donating shares of their profits. Neil and Ottos' Pizza donates proceeds from one nights' sales each month to the shelter while Middlebury Discount Beverage collects empty bottles and donates the returned deposits to the ACHS. Volunteer opportunities for students at the shelter include working at the front desk, collecting and distributing "Dog Banks" around the community, posting flyers, taking pets to nursing homes and hospitals for pet therapy, training dogs and picking up and delivering cat and dog food. "It's a lot of fun. I take the dogs on walks and play with the cats and kittens, giving the animals attention as they wait to find a new home," said first-year Sam Padgett, a regular volunteer.Upcoming events include the ACHS Annual Dinner at the Vergennes Opera House on June 1, a tag sale on June 7, Woofstock on August 23 and the Annual ACHS Membership meeting on September 15. To volunteer, become a member or get more information about adoption, contact the Addison County Humane Society at (802) 388-1100 or visit its Web site at www.addisonhumane.org.
(05/07/03 12:00am)
Author: Meghan Keenan Last weekend marked the eighth annual Consortium for Computer Sciences in Colleges (CCSCNE) Northeast Region at Rhode Island College in Providence, RI. The goal of the CCSCNE is to "bring together faculty, staff and students from academic institutions from around the Northeast for the exchange of ideas and information concerning undergraduate computer education." The two-day event centered on various activities designed to discuss helpful teaching techniques, as well as to give students hands-on experience and provide them with the opportunity to present their work. The various events included a programming competition, poster presentations and talks by prominent leaders in the field. Middlebury College was represented in both the programming competition and poster presentations. Team Captain Maksims Ovsjanikovs '05 of Latvia, Yunpeng Li '05 of China and Dimitar Koparov '03 of Bulgaria participated as one of 31 three-person teams in the competition. Assistant Professor of Mathematics Frank Swenton advised the team. Competing against schools such as Colby College, Connecticut College, Providence College and Wellesley College, the competition presented five programming problems and allowed three hours for teams to complete them. The method used to solve each problem was not taken into consideration - only the solution created was e-mailed to judges in an adjoining room for verification. The team to correctly solve the most number of problems in the shortest amount of time was deemed the winner. In a close victory over Connecticut College, in which Koparov observed the team did not perform "to the best of their abilities," Middlebury narrowly won the competition, taking home the first prize of $300. Middlebury has competed in a number of computer programming competitions such as this one in past years and has shown that it possesses a strong program that can contend with the best other colleges have to offer. For example, the College has competed many times in the ACM (Association for Computing Machinery) International Collegiate Programming Competition, which attracts many of the most widely known and respected colleges from around the world. Competing on the regional level against teams such as the Massachusetts Institute of Technology (MIT) and Harvard University, Middlebury has even outscored the MIT team in the past. Programming team member Ovsjanikovs competed in the ACM competition last year as a one-man team and still managed to place sixth among many other extremely accomplished three-man teams. Koparov believes this year's programming team showed much potential and hopes the tradition will continue every year. Jiaxin Fu '03 represented Middlebury College in the poster presentations with his poster entitled "Polygon Placement Algorithms for Convex Polygon and Simple Polygons." Advised by Associate Professor of Computer Science Matt Dickerson, Fu joined in the presentation of nearly 50 posters covering topics in all areas in both math and computer science.The competition also featured internationally recognized guest speaker John H. Conway, the John von Neumann Distinguished Professor of Mathematics at Princeton University. Conway is well known for his many publications aimed at research and amateur mathematicians and his development of the Game of Life theory. His presentation at the conference, entitled "How to Beat Children at Their Own Games," offered a comprehensible, yet in no way trivialized, view of the mathematics involved in children's games. For many attending the conference, this presentation capped off as the most notable event of the weekend. Linda Stern, professor of computer science at the University of Melbourne, Australia, served as the other guest speaker with her presentation on "Multimedia in the Classroom: Visualizing, Animating and Conceptualizing." This talk emphasized the benefits and challenges arising from the use of multimedia animations in augmenting student's education of programs and algorithms. Overall, the weekend was a great success and offered proof that Middlebury students can hold their own in the computer science and mathematics areas. The participants look forward to future competitions and encourage others to join the team as a way to explore their talents under pressure.
(05/07/03 12:00am)
Author: Daryn Cambridge and Peter Simon YESOn April 28-30, Middlebury College Activities Board, the Department of Sociology, the Department of Political Science and the Program in Film and Media Culture screened Michael Moore's documentary, "Bowling for Columbine." It was one of the most widely attended events on this campus and one of the most magnificent displays of community attendance during my four years at Middlebury.I was one of over a hundred people turned away at the first showing due to a packed Dana Auditorium. I was pleased to find out that it would be screened again the following evening. When I showed up early the next night, again there was a crowd of people waiting to enter. Fearing I would be denied entry once again, the packed crowds and long lines were initially a cause for frustration. Despite the circumstances, though, my strongest sentiments were actually of a positive nature. Seeing groups of people migrate to Dana Auditorium with a shared desire to view Moore's film communicated to me the concerns people had with the workings of American society and their desire to inquire into the problems that for many Americans are unavoidable - whether it's gun violence, racism, media manipulation, welfare, corporate greed, militarism or a variety of other pertinent issues.During a lazy day in Border's Books on Church Street - a few weeks after the attacks of Sept. 11 had triggered unprecedented displays of patriotism and support for the president - I stumbled across a book called "Stupid White Men." On the cover was a portly, scruffy-necked man in jeans and a baseball cap, wielding the Washington Monument in one hand while looming like a giant over a table where corporate-fashioned, old, white, men were seated. I began flipping through the pages. I was shocked when, what I then considered, "anti-American" sentiment began to spill from the pages. What was this book all about? How could someone be criticizing our government during a time that required our support? Out of curiosity though, I kept flipping. I looked around to see if I was receiving any evil looks, shifted my weight from one foot to the other, and situated myself in a comfortable reading stance. Slowly but surely, my flipping became reading.I later purchased "Stupid White Men" and read it cover-to-cover, all the while laughing as well as throwing my hands up in dismay. This is the powerful response that Michael Moore can create for anyone who encounters his work. The first time I saw "Bowling For Columbine" I sat alongside my parents in a small theater in Northern Virginia.The whole audience fought to hold back tears as we all struggled to digest footage of distraught Columbine High Schoolers, the results of American-installed dictators, and ubiquitous forms of racism. Five minutes later we would be holding onto our popcorn as it shook with the strength our laughter. That is a Michael Moore experience.Many people criticize Moore for being misleading in his stories, annoying in his presentation and a big fat idiot. I, on the other hand, believe Moore embodies something that makes this country great: the freedom of speech. I admire his enduring desire to expose the problems he finds with his country. I do not agree with everything he says, but I do admire the way in which he embraces his American rights and citizenry. Some may remember Moore's controversial "We like non-fiction because we live in fictitious times" speech he delivered while accepting his Academy Award. In a post award-show press conference he was asked, "Why did you do what you did?" He responded, "I'm an American." The reporter then asked, "That's it?" Moore said, "That's a lot! I'm an American and you don't leave your citizenship when you enter the doors of the Kodak Theater. What's great about this country is that you're able to speak your mind and that's what I do in my film-making, I do that in my daily life, and I don't stop being who I am when I come into this ceremony."Every time Moore gets escorted out of a corporation's headquarters or receives a palm in the lens of his camera, he in turn triggers important debate among those who are exposed to the questions he raises. For that, I praise him as a modern "gadfly to the state."Daryn Cambridge '03 lays down funky beats out of Arlington, VA.NOThe first time I saw "Bowling for Columbine," in Paris in the fall, I enjoyed it. Bravo, Michael Moore, I said. I disagree with much of what you say, but I'll admit, you made a good film. But then I did a little research. I was certainly taken aback by many of the things Moore claimed to be true, and the film is very convincing. But it was so one-sided. What I found in several articles on the film shocked me. The film is still thought-provoking - only now the thought it provokes is how can an entire nation of audiences fall for this stuff?The problem isn't that Moore is just presenting one side of the issue. That much is obvious, and any politcally-based documentary might do the same. The problem is that Moore presents his side by deliberately attempting to deceive the viewer into believing things that are just not true. Charleton Heston did not rush to Colorado and Michigan to hold defiant gun-rallies in the wake of school shooting disasters at Columbine and Flint. The National Rifle Association (NRA) "rally" held in Denver was its annual meeting at a time and place that had been fixed years in advance. The NRA cancelled all scheduled events that week out of respect for the Columbine victims. All they held was the members' meeting. (The NRA, by the way, has 4 million members.)Moore uses clever editing to make Heston sound defiant. "From my cold dead hands!" was actually said about a year later in North Carolina. Heston said nothing of the sort in Denver. The rest of Heston's alleged speech is spliced together from various parts of his speech to make him sound defiant. This is the equivalent of a "non-fiction" writer quoting another author by taking bits and pieces of sentences written by that author, combining them and presenting them as the author's words. Eight months after Kayla Rolland's death in Flint, Michigan, Heston held an election rally, which had nothing to do with the incident or even guns. Moore mysteriously neglects to mention that the incident in Flint may have had more to do with the fact that the 6-year-old shooter was growing up in a crack-house than the fact that his mother had to work to earn welfare.This is just the beginning of the deception. There is an animated sequence suggesting a connection between the NRA and the KKK. In fact, the NRA was founded by former Union members after the Civil War; the KKK by Southern white supremacists. The groups were, from the start, vehemently opposed to one another and certainly never in cahoots, as depicted in the film. The United States, we're told, gave the Taliban $245 million in aid in the years leading up to September 11. The money was in fact humanitarian aid given through United Nations and governmental agencies. Moore even goes so far as to stage several scenes presented as having spontaneously happened, such as the opening scene of receiving a gun from a bank, and the final scene, depicting a morally righteous Moore holding a picture of Kayla Rolland, while Heston is allegedly walking away from him. You get the picture. This is just scratching the surface. It's impossible, in this amount of space, to describe every trick Moore used to make his often-baseless points. The filmmaker's deceptions won't bother many of you. I just hope that those of the same political orientation as Mr. Moore don't place politics above truth.Peter Simon is a psychology major and French minor from New York, N.Y.
(05/07/03 12:00am)
Author: Venessa Wong Maryleen Emeric '03 opened last Wednesday's Jazz Cabaret with an animated rendition of "Teach Me Tonight," captivating the attention of an intimate audience seated around candlelit tables by Rehearsals CafÈ. Emeric was one of eight performers at the event. The calm, cultured atmosphere their voices generated transformed the Center for the Arts into the perfect venue for lovers of late night jazz. The other performers were Padma Govindan '05, Alexander Rossmiller '04, exchange student Lucie Greene, Retta Leaphart '06, Yigit Irde '05 on drums, Christopher Lizotte '06 on sax, Colin Meltzer '05 on sax, and alumnis Jeff Vallone on bass. They experimented both playfully and proficiently in genres ranging from ballads to blues. The musicians all acted with an air of casualness and individuality, incorporating gesture and expression into their pieces and offering a fresh perspective on musical performance, which often suffer an overstaged, artificial and stiff texture. Says Govindan, who's upbeat delivery of "I Can't Take You Nowhere" sent the audience into a head-bopping, toe-tapping whirl, "Jazz is by nature fluid, and requires a lot of imagination. This is not to say that classical music does not require the same level of creativity and demand innovation, particularly with regards to interpretation, but that demand is very different in nature from jazz.""My favorite thing about jazz is the feeling I get every time I sing," says Emeric. "No matter whatever else is going on my life or how much I have to do, when I am singing jazz and concentrating on the aesthetic beauty of creating my own music - all the other stuff just melts away!"The Cabaret was a means of collaboratively showcasing the talents the students generated over the semester through private lessons with Dick Forman, a member of the Music Department's Applied Faculty. "It's important for people who study the performing arts to have a chance to perform. Jazz in the practice room is only a hint of what can be created with a band in front of an audience."Greene, who is studying at the College on exchange from England, says, "My only outlet [in England] was getting up in jazz bars occasionally and singing a number or two, so when I came to Middlebury on exchange and saw there were lessons I jumped at the chance. There isn't really much in England in the way of Jazz education, or opportunities to sing Jazz unless you commit entirely to a Music Degree. I think a lot of good singers don't end up doing it because there is so little opportunity."The performances were an impressive displayed these musicians' command of technique and musical freedom and offered a revitalizing vibe to Middlebury College arts.
(04/23/03 12:00am)
Author: Alison Damick On Monday, Dana Auditorium was abuzz as students filed in, laughing and shaking the spring rainfall out of their hair and off of their jackets. The screening scheduled that night was, "Five Short Films on Women and Prison," with an introduction before and discussion after by producer Alexandra Juhasz, associate professor of media history and theory, Video Production/post-production and Women's Studies at Pitzer College. The general ease in the room, the carefree lounging and laughing and simple chatter that filled the room in the minutes before the screening began were a stark and telling contrast to the lives of the women about to be viewed. Nor was the poignancy lost on the audience - when the lights came up after the film, the silence and perhaps confusion, in the air was palpable.Juhasz, self-described "activist video-maker," was a soft-spoken woman, at ease with her subject on an academic and artistic level. She said very little to introduce her film, describing briefly how she contacted five of her former students and/or colleagues, who then contacted their colleagues and eventually came up with a team of 15 people who created five short (approximately three-five minute) films about their visions on women's prison rights. She said, "I use television to make anti-television. I tap into its power, but I use it in different ways." She offered a few cautionary words regarding the viewing of her film: "Be equally as engaged in the poetic, artistic collaborative project as with the content ... Think about why this doesn't look like normal documentaries and how we wanted to communicate this issue to you ... and how we didn't want to communicate it." She then took her seat, allowing the film to speak primarily for itself.And speak it did, at times loudly, at times softly and in many languages that were not always easy to translate. The first segment of the film was titled "A Gram o' Pussy," by Scarlot Harlot, and detailed the representation of Duran Ruiz by a 20/20 show featuring her and her connection to drugs and prostitution, in addition to her experiences since being released from prison for those same offenses. Ruiz was loud, articulate and very frank about her anger with a system that she believes not only does not work, but also does not leave options for women after they are released from prison, except the same conditions that led to their incarceration. She also attacks the way the media portrayed her and continues to portray women in her position, a misrepresentation that she finds offensive, inaccurate, and dangerous.Next was "Sheltered" by Enid Baxter Blader. This film explored the effects of the cycle of continuously recurring incarceration when there is nowhere safe to go after release, using the case study of a childhood friend from a seemingly safe and innocent background. After this came "Unyielding Conditioning" by Sylvain White and Tamika Miller, an interview/candid observation study of former woman inmates that sketched portraits of the women behind the sentences.The fourth segment of the film was the only animated segment, the only segment with no speech and the only segment wherein the inside of a prison was actually depicted. By animator Joseph Saito and titled "Breathe," Juhasz described this film as "the break a regular documentary doesn't give you in the flow of information," a "space to think" and reflect on what you are seeing. "Breathe" was followed by the final segment, a piece by Irwin Swirnoff and Cheryl Dunye titled "Making the Invisible Invincible: A Look at Cheryl Dunye's 'Stranger Inside,'" creating a diary-like portrayal of her experiences directing her own film about a mother and daughter who meet in prison. It was everything you'd never expect from a conventional documentary. It was not straightforward, it didn't provide clarity or give direct facts and it certainly didn't have any discernable flow or congruity. And that, she told an inquiring audience afterwards, was exactly as intended. Most documentaries are made to reveal specific information about a subject, about bringing the intellectual distance between subject matter and audience closer. "This documentary is about affirming distance," Juhasz said. "It says you can't have this information - it's private, it's traumatic, it's mine."Discussion after the screening revolved primarily around the format of the films and its effectiveness, and while happy to help clarify certain aspects of the film, Juhasz seemed reluctant to put words into the subjects' mouths that weren't there in the film. "How do you portray something you've never experienced?" Juhasz returned to the audience, "Something that you know is wrong, that you'd like to change, but that you've never participated in? It's an important question for any socially progressive person." She explained that the film was meant to give these women, some of the women most rarely heard from in popular media, a chance to portray themselves and their experiences. "To have self-control and to choose which images of you are portrayed and how is a very great power few of us have and certainly most of these women rarely have," Juhasz asserted. She summed up the overall message of the film as, "These women are neither as you perhaps imagined them nor voiceless," and that "as long as we have a society that thinks the right idea is to punish, then the idea of a place that's more of a social service after prison will be hard to initiate."
(04/23/03 12:00am)
Author: Claire Bourne Last August, I fell in love.This wasn't a passing crush. No, this was the real thing. It all began one Sunday morning, a few days before I was due to depart for my long-anticipated semester in Paris. I was scouring the Short Hills Mall for some last-minute items, my head aching from the high-pitched squeal of the fluorescent lights that retailers insist on installing in their establishments, when a calming, translucent glow caught the corner of my eye. I suppose you could say that I had seen the light. I turned and walked over the bleached wooden floor and past the well-groomed, black-clad salespeople. There, in the middle of the modish, spacious Apple store, I beheld Macintosh's sleek titanium PowerBook for the first time. Yes, I had seen the television advertisements. And yes, they were successfully convincing me that I didn't need "the blue screen of death" in my life anymore. So, with my two-and-a-half-year-old Sony Viao on its deathbed, I decided to take the plunge and welcome a Mac into my world.I was not alone. Although the number of Middlebury College students who own Macintosh computers has remained steady over the past few years, the dynamic image of Apple's new models has made them stand out in the sea of generic-looking PC's. Between 13 to 15 percent of the student body uses Macs, while over 100 faculty members own Apples.Those who have been loyal Apple fans for the majority of their computer-using days say they would never switch to Windows-operated machines. Those who have listened to CEO of Apple Steve Jobs and company's advice and taken "the leap of faith" are equally convinced of Macs' virtues. College Computing Support Specialist Mack Roark is a self-proclaimed convert. He used PC's throughout the 80s but began working on Macs in the early 90s when he attended graphic art school. Before this turning point, he says he thought Macs were "toys."The newest line of Apple computers boasts Mac OS X (pronounced oh-ess-ten), an operating system that "makes previous consumer systems, like Mac OS 9 and Windows Me, look like hand-cranked antiques," according to New York Times reporter David Pogue. The difference between Apple's 17-year-old OS 9 system and the newer, user-friendly system is, simply put, Unix - an wholly dependable operating system that renders the latest Macs virtually crashproof.Veiling the hard-to-use Unix system was all part of the plan. Instead of being confronted with a complicated interface (Pogue described using it as "about as much fun as eating sand"), clients are instead pleasantly greeted with a richly lucid, gently animated and accessible software overlay.Macs boast "something for everyone," according to Roark. "Computers are as individual as the people that use them," and Mac users, he maintains, "tend to be more loyal to their computers" and "see them as more than just tools to access things."Computer science major Christopher Shubert '05 cites his PowerMac's reliability and power as reasons for sticking with the Apple brand ever since he began using computers. "It's more comfortable," he says.Despite new Macs' modernized features - protected memory and multitasking, among them - some PC users will never consider replacing their IBM-compatible machines with Apples. Crampus Editor Gregory Eriksen '04 says there is "no way" he would ever switch. When he stepped up to the humor magazine's top post, he was upset to learn that The Middlebury Campus, whose office The Crampus uses to produce its publication, had recently acquired a number of new PowerMac G4s. Although the machines have been "a source of major frustration," Eriksen admits that he is getting better at navigating the machines' idiosyncrasies. "We're on a speaking basis," he affirms.Eriksen took his opinion of Apple's recent advertising campaign all the way to the pages of The Crampus' latest issue, a spoof on Time Magazine entitled Slime. The one-page ad parody depicts McMurphy, the mischievous protagonist of the film adaptation of Ken Kesey's "One Flew Over the Cuckoo's Nest," as one of the "everyday people" Apple employed to describe to the television-watching world the merits of crossing over from PC's to Macs. "The ads were basically saying that you had to be really dumb not to be able to use a PC," Eriksen explains, "but Macs are a pain to use in their own right."Despite the existing "cold war" - Eriksen's tongue-in-cheek description of the conflict between Mac and PC users - few can dispute the aesthetic appeal of the chic titanium PowerBooks, the compact white iMacs and the curvaceous PowerMacs. "They look sexy," says Roark. "When the titanium model came out, people went nuts." There is just something undeniably satisfying about owning a "snazzy, cool, hot-looking" laptop (to borrow Roark's terminology). I will confess that I judged the book by its cover on that fateful day in late August. But I am generally a good judge of character and I don't plan of falling out of love any time soon.
(04/16/03 12:00am)
Author: Edward Pickering Elspeth Huxley's "The Flame Trees of Thika: Memories of an African Childhood" brings to mind a book previously reviewed in this column, "My Family and Other Animals" by Gerald Durrell. In content and sensibility, the two books mirror one another. For readers looking for nonfiction writing of the highest caliber, evocative and exotic, these books form an ideal set. Durrell recounts his childhood on the Greek isle of Cos. Elspeth Huxley recalls growing up on a coffee plantation in Kenya during the First World War.To call Elspeth's memoir "a powerful evocation of time and place" might sound trite, for the phrase is worn out, overused. Yet, it accurately describes the book. Descriptive passages, diffuse and brilliant as the African sunlight, illuminate the pages. For sheer splendor of writing Elspeth's work surpasses, albeit narrowly, Durrell's more innocently delightful memoir. If Durrell's account can be likened to mischievous romp through olive groves, Elspeth's might be likened to a circumspect walk through tall savanna grass. In Kenya, however, those grasses might conceal a lion or leopard.Young Elspeth arrived in British ruled Kenya in 1913 with her mother and father, who had determined to carve out a living as coffee planters. They began with nothing more than a land deed and devoted the sequent years to constructing and husbanding the plantation, all the while relying on the native Kikuyu people. The account of these years of toil and hardship, discovery and enlightenment is simply mesmerizing. A cultural Proteus, young Elspeth moves easily between the Kikuyu and colonial societies that bound her existence. The animals, the people, the sights and sounds of Africa rush upon her. An imperious intoxicant, the African landscape overwhelms the reader. Even when professing her inability to describe the scene, Huxley, a master writer, triumphs:"One cannot describe a smell because there are no words to do so in the English language, apart from those that place it in a very general category, like sweet or pungent. So I cannot characterize this, nor compare it with any other, but it was the smell of travel in those days, in fact the smell of Africa - dry, peppery yet rich and deep, with an undertone of native body smeared with fat and red ochre and giving out a ripe, partly rancid odour which nauseated some Europeans when they first encountered it but which I, for one, grew to enjoy. This was the smell of the Kikuyu."Africa provides the raw material; Huxley shapes it into a literary wonder.
