Milestone - 1986

https://encompass.eku.edu/yearbooks/1070/thumbnail.jp

The Trail, 2005-09-23

https://soundideas.pugetsound.edu/thetrail_all/2869/thumbnail.jp

Otter Realm, March 16, 1999, Vol. 4 No. 10

Basketball Team Ends Cinderella Season -- CSUMB Residents Headed for Another Rent Increase -- Partners in Clime: The Bureau of Land Management & CSUMB -- Women Majority at CSUMB -- Students Participate in Panetta Lecture Series -- Five Under $5 -- The Multi-Cultural Feminist Club Takes Flight -- Consuming Fat -- Orcas Love Otters (For Lunch) -- Multi-Cultural Comedy Night Celebrates Diversity -- Women\u27s History Month Celebrated -- Dee Dee\u27s World Class Jazz Ignites World Theatre -- The History of St. Patrick\u27s Day -- Women\u27s History: How Much Do You Know? -- CSUMB to Study @ Sea this Summer -- Vista Recruits Members -- Elementary Students Introduced to Nature -- Women\u27s Rugby Struggling to Field Full Team -- Whiteness Studies May Be the Greatest Attempt at Healing -- Invasion of Privacy?https://digitalcommons.csumb.edu/otterrealm/1038/thumbnail.jp

Because I am Not Here, Selected Second Life-Based Art Case Studies. Subjectivity, Autoempathy and Virtual World Aesthetics

Second Life is a virtual world accessible through the Internet in which users create objects and spaces, and interact socially through 3D avatars. Certain artists use the platform as a medium for art creation, using the aesthetic, spatial, temporal and technological features of SL as raw material. Code and scripts applied to animate and manipulate objects, avatars and spaces are important in this sense. These artists, their avatars and artwork in SL are at the centre of my research questions: what does virtual existence mean and what is its purpose when stemming from aesthetic exchange in SL? Through a qualitative research method mixing distribute aesthetics, digital art and media theories, the goal is to examine aesthetic exchange in the virtual: subjectivity and identity and their possible shifting patterns as reflected in avatar-artists. A theoretical and methodological emphasis from a media studies perspective is applied to digital media and networks, contributing to the reshaping of our epistemologies of these media, in contrast to the traditional emphasis on communicational aspects. Four case studies, discourse and text analysis, as well as interviews in-world and via email, plus observation while immersed in SL, are used in the collection of data, experiences, objects and narratives from avatars Eva and Franco Mattes, Gazira Babeli, Bryn Oh and China Tracy. The findings confirm the role that aesthetic exchange in virtual worlds has in the rearrangement of ideas and epistemologies on the virtual and networked self. This is reflected by the fact that the artists examined—whether in SL or AL—create and embody avatars from a liminal (ambiguous) modality of identity, subjectivity and interaction. Mythopoeia (narrative creation) and experiencing oneself as ‘another’ through multiplied identity and subjectivity are the outcomes of code performance and machinima (films created in-world). They constitute a modus operandi (syntax) in which episteme, techne and embodiment work in symbiosis with those of the machine, affected by the synthetic nature of code and liminality in SL. The combined perspective from media studies and distribute aesthetics proves to be an effective method for studying these subjects, contributing to the discussion of contemporary virtual worlds and art theories

The Critical Eye: Re-Viewing 1970s Television

In my dissertation entitled “The Critical Eye: Re-Viewing 1970s Television,” I argue that TV scholars would benefit greatly by engaging in a more nuanced consideration of the television critic’s industrial position as a key figure of negotiation. As such, critical discourse has often been taken for granted in scholarship without attention to how this discourse may obscure contradictions implicit within the TV industry and the critic’s own identity as both an insider and an outsider to the television business. My dissertation brings the critic to the fore, employing the critic as a lens through which I view television aesthetics, media policy, and technology. This study is grounded in the disciplines of television studies, media industries studies, new media studies, and cultural studies. Yet because the critic’s writing reflects the totality of television as an entertainment and public service medium, the significance of this study expands beyond disciplinary concerns to a reconsideration of the impact of television upon American culture. This project offers a history of the television critic during the 1970s, a decade in which the field of criticism professionalized and expanded dramatically. Methodologically, I am incorporating three approaches, including historical research of the 1970s television industry, textual analysis of critical writing, and interviews with critics working during that decade. I’ve identified the 1970s for a variety of reasons, including its parallels with today’s significant technological and industrial transformations. My central texts will be the industry trade publications, Variety and Broadcasting, and national daily newspapers including the New York Times, Los Angeles Times, Washington Post, and Chicago Tribune. Viewing TV criticism as a profession, a historical source, and a site of scholarly analysis, this project offers a series of interventions, including a consideration of how critical writing may serve as a primary source for historians and how television studies has overlooked the significance of the critic as an object of analysis in his/her own right