Guide to the Linfield College Photograph Collection

This collection contains photographs, glass lantern and plastic slides, and film negatives depicting the many-layered facets of life at Linfield College on its McMinnville and Portland campuses. The photography features (without limit to): students, faculty and staff, commencements, guest speakers and performers, buildings, activities and clubs, athletics, the arts (studio and performance), residence life, social, and study scenes

She inches glass to break: conversations between friends

She inches glass to break: conversations between friends is a project that aims to manifest, through research and practice, my own feminist language within the videos I have produced in my final year of my Masters of Fine Arts. My feminist language is Australian and intersectional, invested in combating sexism, racism and in deepening language and representation around sexuality in relation to Asian women. This project discusses my video She inches glass to break (2018) in length, which created intersectional feminist dialogue in response to feminist filmmaker Ulrike Ottinger’s film Ticket of No Return (1979) and Breakfast at Tiffany’s (1961). Additionally, given this project’s investment in language, this body of work is influenced both by aspects of psychoanalysis – in which speech is central to a “therapeutic action” – and by feminist linguistics in which linguistic analysis reveals some of the mechanisms through which language constrains, coerces and represents women, men and non-binary people in oppressive ways

Guide to the Linfield College Photograph Collection

This collection contains photographs, glass lantern and plastic slides, and film negatives depicting the many-layered facets of life at Linfield College on its McMinnville and Portland campuses. The photography features (without limit to): students, faculty and staff, commencements, guest speakers and performers, buildings, activities and clubs, athletics, the arts (studio and performance), residence life, social, and study scenes

LES ENFANTS TERRIBLES. A dance-opera spectacle based on the story by Jean Cocteau. Adapted by Phillip Glass and Susan Marshall. Presented by the Arts Festival of Atlanta. Robert Ferst Center for the Performing Arts, Georgia Institute of Technology, Atlant

LES ENFANTS TERRIBLES. A dance-opera spectacle based on the story by Jean Cocteau. Adapted by Phillip Glass and Susan Marshall. Presented by the Arts Festival of Atlanta. Robert Ferst Center for the Performing Arts, Georgia Institute of Technology, Atlant

Contours of Inclusion: Inclusive Arts Teaching and Learning

The purpose of this publication is to share models and case examples of the process of inclusive arts curriculum design and evaluation. The first section explains the conceptual and curriculum frameworks that were used in the analysis and generation of the featured case studies (i.e. Understanding by Design, Differentiated Instruction, and Universal Design for Learning). Data for the cases studies was collected from three urban sites (i.e. Los Angeles, San Francisco, and Boston) and included participant observations, student and teacher interviews, curriculum documentation, digital documentation of student learning, and transcripts from discussion forum and teleconference discussions from a professional learning community.The initial case studies by Glass and Barnum use the curricular frameworks to analyze and understand what inclusive practices look like in two case studies of arts-in-education programs that included students with disabilities. The second set of precedent case studies by Kronenberg and Blair, and Jenkins and Agois Hurel uses the frameworks to explain their process of including students by providing flexible arts learning options to support student learning of content standards. Both sets of case studies illuminate curricular design decisions and instructional strategies that supported the active engagement and learning of students with disabilities in educational settings shared with their peers. The second set of cases also illustrate the reflective process of using frameworks like Universal Design for Learning (UDL) to guide curricular design, responsive instructional differentiation, and the use of the arts as a rich, meaningful, and engaging option to support learning. Appended are curriculum design and evaluation tools. (Individual chapters contain references.

Before and Beyond the Bachelor Machine

This paper will examine the importance of Marcel Duchamp’s La Machine Célibataire (The Bachelor) on Art and Technology in the 20th and 21st centurie

Chaotic Journey

Artist Statement My art is about seeking answers to personal conflicts while telling a story of a chaotic journey. I reflect on everyday moments and my thoughts as I discover ways to make sense of situations and life. I do this by creating textural, vibrantly colored, and gestural surfaces that emulate the powerful waters of the seas. I want to reveal an emotionally driven and process-oriented experience to the viewer. While creating, I do not maintain full control of the media and let the process become part of the work. I aggressively layer thick paint, glass, and mixed media. I spontaneously apply spirals and swirls of vibrant color that undulate and rotate like waves of an ocean. The spirals and swirls are a recurring motif in my work. These forms are ancient symbols of evolution, growth, and change and reflect the examination of my life. The colors and marks represent the turbulent and constant chaos of life

Lust

2 Samuel 11:2-5, Matthew 5:27-3

A Philip Glass Retrospective: Paul Barnes, piano, December 3, 2016

This is the concert program of the A Philip Glass Retrospective: Paul Barnes, piano performance on Saturday, December 3, 2016 at 4:30 p.m., at the Marshall Room, 855 Commonwealth Avenue. Works performed were the following by Philip Glass: Etudes 6, 8, 11, 16, 18 and 20 from "The Complete Piano Etudes," II. Conclusion from "Satyagraha" from "Trilogy Sonata" (arranged by Paul Barnes), II. Orphée's Bedroom and IV. Orphée and the Princess from "Orphée Suite for Piano" (arranged by P. Barnes), and III. The Land from Piano Concerto No. 2 (After Lewis and Clark) (arranged by P. Barnes). Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Brass Ensemble, April 23, 2013

This is the concert program of the Boston University Brass Ensemble performance on Tuesday, April 23, 2013 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Fanfare to La Peri by Paul Dukas, "Contrapunctuc IX" from The Art of Fugue by Johann Sebastian Bach, Spiral/Perpetually Modulating Canon ("a 2. Per tonos") from A Musical Offering by Johann Sebastian Bach, Être ou ne pas être by Henri Tomasi, Du Style by Theo Charlier, Brass Sextet in Eb minor, Op. 30 by Oskar Böhme, Susato Suite for Brass Choir by Tielman Susato, Quintet for Brass Op. 73 by Malcolm Arnold, Ola, o che bon eccho! by Orlando di Lasso, Bruckner Etude by Enrique Crespo, Sextet by Philip Glass, "The Dance - Allegretto Giocoso" from Three Bavarian Dances by Edward Elgar, Canzon in Double Echo by Giovanni Gabrieli, and Lauda Jerusalem by Gabriel Diaz. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund