Me And My Shadow

Illustration of man walking next to wall and looking at his shadowhttps://scholarsjunction.msstate.edu/cht-sheet-music/9401/thumbnail.jp

A Statement from the Defense

Because you promised to be with me even to the end of time. Because you told me to be still and know who you are. Because it was said you would lead me through the shadow of the valley of death and take away my fear, but I still have my fear. Because you promised me repose.https://digitalcommons.butler.edu/onearth/1027/thumbnail.jp

But, Father Wheeland, the Bible Lies!

In lieu of an abstract, below is the essay\u27s first paragraph. “Yea, though I walk through the valley of the shadow of death, I will fear no evil: For thou art with me…” We sit and recite these words that we know by heart, which seem to mean absolutely nothing to us right now. I look to my sister on my left; she looks back at me for reassurance. I give her a strong, stern look: We can do this. As the psalm, which does no justice in representing the reason we are here, is ending, my sister and I stand up in anticipation of Father Wheeland inviting us to the pulpit. He introduces us to all the people who already know us very well before stepping aside. My sister, although three years older, is just not strong enough to go first, so I step up

"Me and My Shadow CV"

What would my vita look like if it recorded not just the successes of my professional life but also the many, many rejections

The dream alchemy

I strive to record and express moments from within my dreams, in order to obviate their elusiveness. I am a spectator in my dreams and sometimes find myself seized by violent and terrific events. These dreams from my subconscious guide me to the part of myself which I do not always recognize in my consciousness. I wish to know where these contents come from, why I have these dreams, or if these dreams are referencing narratives from my personal experience. The contents of these dreams, as well as the act of reflecting on them, call out my shadow––the unconscious aspect of my personality which I tend to repress. As a jeweler, I bring this darkness back to reality and document it through my work. By carefully constructing my “silver drawings,” I transcribe the shadow into something tangible. Now I can always be mindful of my shadow

Makvala Kasrashvili, soprano and Liya Mogilevskaya, piano, March 28, 1988

This is the concert program of the Makvala Kasrashvili, soprano and Liya Mogilevskaya, piano performance on Monday, March 28, 1988 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Not a Word, My Friend by Pyotr Ilyich Tchaikovsky, Don't Ask! by P. I. Tchaikovsky, It Was Early Spring by P. I. Tchaikovsky, So What is There to Do? by P. I. Tchaikovsky, Tell Me of What, In the Shadow of the Branches by P. I. Tchaikovsky, To My Sorrow I Fell in Love by Sergei Rachmaninoff, A Dream by S. Rachmaninoff, A Passage from Musset by S. Rachmaninoff, The Lilac by S. Rachmaninoff, Everything Has Been Taken from Me by S. Rachmaninoff, Oh, I'm Sorrowful by S. Rachmaninoff, I Await You by S. Rachmaninoff, Where are you, little star? by Modest Mussorgsky, Hopak by M. Mussorgsky, Seven Spanish Folk Songs by Manuel de Falla, Mi chiamano Mimi from "La Bohème" by Giacomo Puccini, and Voi lo sapete from "Cavalleria Rusticana" by Pietro Mascagni. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Hammers and blind man’s sticks: re-examining the digital double

This presentation draws on my research in to technological embodiment as part of my PhD studies, which explores a phenomenon called the ‘digital double’ – a manipulable representation of the human body in a variety of performance and new media contexts. My research uses lived experience and autoethnographic writing as a methodology to document and reveal embodied knowledge of the interfaces of body, technology and self when technologically embodied through the digital double. This presentation gives an overview of my research alongside discussion of Me and My Shadow (2012), an interactive telematic and live motion-capture performance installation by sound and media artist Joseph Hyde. Using extracts from autoethnographic writing about my embodied experience of the installation as an audience member, I illustrate the theoretical and embodied bases of my research. My intention is to highlight flaws in current theorisations of the digital double and technological embodiment in this context, which stem from reliance on Merleau-Pontian philosophy of the body as the basis for the research area, and its inherent ‘somatophobia’ (Barbour, 2005). I argue that, through an embodied research methodology and consideration of somatic philosophy and dance scholarship, a more holistic understanding of technological embodiment can be reached

My Catalyst

Over the course of my internship and shadow program with Pepper Lawson Construction and Ziegler Cooper Architects, I was able to explore the various career paths involved in the design, construction, and civil engineering fields. My work on the construction site of a high-rise apartment building located in the heart of Houston, TX allowed me first-hand experience working and learning alongside project engineers, contractors, building developers, and the construction team. This project was the perfect confluence of my main areas of interest: structural, mechanical, civil, and environmental engineering, as well as architecture. My daily work consisted of on-site walk throughs, studying of project specific drawings, and meetings held between project executives and project management. Join me as I discuss my time spent on-site of The Catalyst, and showcase the transformation between in-progress project and finished product

Kathryn Huttunen Art399 Portfolio

Kate Huttunen Artist Statement. The overall themes and concepts of my work are my personal self-reflection and memories of black and white culture as an adopted woman of color as well as how society views me and how I view society. When I just began pursuing art I started with using digital media such as video and digital photography. Recently switching to spending more time painting I feel I can portray certain emotions better with that medium than with digital. With digital media, I’m focused on showing the failures, triumphs, and struggles that come with adoption as compared to painting I show more inclusive problems and themes such as the constant struggle black woman face with mass media and how they are portrayed through it. Many question’s I relive and ask myself are “Am I black enough to question this?” “Am I valid, are my opinions valid?” “Do I really sound or look like that?” “If I date someone will they like me for me and not for an exotic kink?”. My photography is more straightforward compared to my paintings in which many of them use surreal imagery and convey loss, yearning, and confusion. I like to make different textures with paint, thick mark making clashing with more smooth and thin mark-making as if two different worlds are coming together and trying to make unity out of all the chaos. A few artists from online media and shows have inspired me and have influenced my use of color, light, and shadow. I’ve looked at Rashid Johnson, Jenny Saville, Mickalene Thomas, and Francis Bacon for influence as well as Yinka Shonibare. Yink Shonibare is a big influence for me when I’m painting for texture and color and light and shadow as well as composition planning. I hope my thoughts, stories, and struggles show well through my artwork so people like me know that it’s okay to feel lost in a world that tells you to be in one group. Doing these personal themes in artwork is like a coping mechanism and a diary where I can put my energy onto the canvas and hope some can relate to these struggles and start a conversation about it so they can feel like they belong to a group or community.https://digitalcommons.murraystate.edu/art399/1116/thumbnail.jp