Vol. 7, No. 19, April 25, 1958

•Crease Ball Will Open a Big Spring Weekend of Events Next Friday Evening •Fraternity Social Events •Open House and Jazz Concert at the Law Club Will Wrap Up the Crease Ball Weekend •Entries in the Contest to Identify the 18 Silhouettes •Election of Jerry Libin as Editor-in-Chief of the Michigan Law Review •Freshman Class Picnic •Report of the Scholarship Award Committee •Senior Case Club Judges for 1958-59 •Recipients of Prize Awards •Rene David, Professor of Comparative Civil Law at the University of Paris •Professional Fraternity Softball League •Twenty Top Freshman Case Club Participants for the Year •At the Flick

The contributions of Tommy Pederson (1920-1998) to trombone performance and literature in the twentieth century : a lecture recital and document

"Tommy Pederson (1920-1998) was a twentieth century trombonist and composer whose legacy continues through his many compositions and recordings. Although Pederson's life affected many in the trombone community, articles and other materials that describe his contributions are difficult to locate. A studio musician who often has been described as the "foremost authority on the art of playing the trombone," Pederson has been heard on countless soundtracks and recordings. Born August 15, 1920, Pullman Gerald "Tommy" Pederson started playing the trombone at age 13 and began his musical career as a member of Orrin Tucker's touring band in 1940. In 1946, Pederson relocated permanently in Los Angeles, where he continued his career as a big band performer. After 1948, Pederson worked as a freelance studio trombonist for over twenty years on radio and televisions shows, movies, and records, rejecting a career in any one motion picture staff orchestra because this would have limited his ability to freelance. Pederson was not only a performer, but also a composer and arranger. His compositional career produced a catalogue of works totaling over three hundred titles including works for solo trombone and trombone ensemble. Six compositions are examined in this document, including Wines and Chimes, Silhouettes, Waltz of the Dirty Shirts, The Prince of Attica, She Has Gone, and I've Been Working on the Trombone. Pederson's works feature compositional devices that are reflective of both his studio playing and elements of jazz. In addition, many of his works incorporate a uniqueness achieved through the whimsical treatment of a familiar melody. Pederson was fortunate during his career to have a testing ground for his compositions in Hoyt's Garage, a group that featured the most successful Los Angeles studio musicians of the time. Several of the performers collaborated with Pederson to produce recording projects that feature his compositions and arrangements. Remembered as a trombonist and composer, Pederson's albums and compositions document his substantial and varied contributions to trombone performance and literature. Highlighted by many performances with well known singers and instrumentalists, Pederson's legacy is an unmatched quantity of literature for the trombone."--Abstract from author supplied metadata

The Cosmological Liveliness of Terril Calder\u27s The Lodge: Animating Our Relations and Unsettling Our Cinematic Spaces

I first saw Métis artist Terril Calder\u27s 2014 stop-frame feature, The Lodge, an independently made, relatively small- budget film, at its premiere at the ImagineNative Film + Media Arts festival, held annually in Toronto, Canada. The feature-length animation played to a full house at the Light-box Theater downtown. Many were there to attend the five-day festival, which is dedicated to Indigenous media made by and for Indigenous people. Others were there because as members of Toronto\u27s general public they wanted to catch a movie during a night out in the city. Since then The Lodge has shown at various other independent venues. It isn\u27t what you might think of as commercial fare. Its audiences are not huge. However, for those who do view The Lodge, the film presents a creative space to rethink our sense of boundaries in a number of ways: boundaries between human/nonhuman, white/Indigenous, male/female, spectator/film-object. In this essay, I argue that the film is thus an invitation to question the naturalness of hegemonic identity assumptions that demarcate such boundaries. I interviewed Calder (via Skype and subsequent email correspondence) soon after I saw the film, and I situate a close textual analysis of the film within the context of her intent and the burgeoning scholarly dialogue between Indigenous studies and ecocritical studies. The scholarly dialogue, as Joni Adamson and I write in the introduction to our recent anthology, Ecocriticism and Indigenous Studies: Conversations from Earth to Cosmos (2016), argues for clear sighted understandings of multi-faceted human/more-than-human relationships that exist outside of binaries imposed by Western notions of progress . Similarly, Steven Loft, coeditor of Coded Territories: Tracing Indigenous Pathways in New Media Art, writes of an Indigenous media cosmology that is replete with life and spirit, inclusive of beings, thought, prophecy, and the underlying connectedness of all things and that is not predicated on Western foundations of thought (xvi). Calder extends such Indigenous worldviews of connectedness to cinema and animation in particular

Medical Literary Messenger (Vol. 3, No. 2, Spring/Summer 2016)

Exposure / Dan Campion -- The Second Floor Shop B / Hil Scott -- Incubator Memory / Meridian Johnson -- Take Me to Richmond / Derick Nelson Jenkins -- Destination Unknown / Derick Nelson Jenkins -- Symmetry / Derick Nelson Jenkins -- The Aide / Erika D. Price -- Subconscious / David Yoffe -- What My Uncle is Thinking / Tamsyn Brennan -- Progression / E. F. Schraeder -- Waiting / Justin Nicholes -- Only 1,482 Steps From the Massey Cancer Center Entrance / Dodge Havens -- At Hardy-Owen Funeral Home, Conveniently Located on Dixie Highway / Monique Kluczykowski -- After the Diagnosis / Chelsea Krieg -- A Journey of a Thousand Steps / Leslie Bobb -- Average Worries / John Davis Jr -- Cadavers / Cheyenne Marco -- Ribosome and Friends / Hil Scott -- Matrix B / Hil Scott -- Chicago Portrait no. 37: Herpes in the Botanical Garden / Erika D. Price -- Dhyanam (Meditation) / Priyadarshini Komala -- Miscarriage / Sarah Gane Burton -- Intern Year / Megan Coe -- Waiting Room (Pulse) / Stephen C. Middleton -- Steady My Heart / Emily Lasinsky -- Into the ER, We Rush / Susan April -- Flow / Derick Nelson Jenkins

The Unconventional World of Dani

Curtis, GregoryLiberal Art

Spartan Daily, February 28, 2017

Volume 148, Issue 14https://scholarworks.sjsu.edu/spartan_daily_2017/1013/thumbnail.jp

Stepping in the Full-Colored Body of the Other : An Alternative Way of Writing in Toni Morrison’s Paradise

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Principal Patterns on Graphs: Discovering Coherent Structures in Datasets

Graphs are now ubiquitous in almost every field of research. Recently, new research areas devoted to the analysis of graphs and data associated to their vertices have emerged. Focusing on dynamical processes, we propose a fast, robust and scalable framework for retrieving and analyzing recurring patterns of activity on graphs. Our method relies on a novel type of multilayer graph that encodes the spreading or propagation of events between successive time steps. We demonstrate the versatility of our method by applying it on three different real-world examples. Firstly, we study how rumor spreads on a social network. Secondly, we reveal congestion patterns of pedestrians in a train station. Finally, we show how patterns of audio playlists can be used in a recommender system. In each example, relevant information previously hidden in the data is extracted in a very efficient manner, emphasizing the scalability of our method. With a parallel implementation scaling linearly with the size of the dataset, our framework easily handles millions of nodes on a single commodity server

Más allá de la literatura: el legado musical y visual de Toni Morrison para las artistas negras

The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.El objetivo de este artículo es analizar la influencia de Toni Morrison en la música y las artes visuales, hasta ahora poco estudiada. En 1994, Morrison fundó el Atelier en la Universidad de Princeton, un programa interdisciplinar para apoyar las artes y fomentar colaboraciones entre artistas y estudiantes de distintas disciplinas. Asimismo, Morrison demostró su maestría en géneros literarios y artísticos muy diversos que incluyen la autoría de novelas, relatos, libros infantiles, crítica literaria, canciones, además de los guiones de un musical y una obra de teatro. Teniendo en cuenta esta relación interdisciplinar de la propia autora con su obra, la primera parte del artículo explora las respuestas musicales a la producción artística de Morrison, con especial énfasis en las mujeres negras; ejemplos de ello son la rapera Akua Naru, la cantante de neo-soul India Arie y la vocalista y compositora Janelle Monáe. La manera en que Morrison representa en su obra la complejidad de las relaciones interseccionales entre el género, la raza y la clase social a lo largo de la historia de Estados Unidos también ha inspirado a artistas visuales. En este sentido, la segunda parte del artículo analiza las creaciones de las artistas afroestadounidenses Kara Walker, Lorna Simpson y Amy Sherald. La forma en que Morrison ha sido capaz de articular la diversidad de identidades afrodescendientes también produce una respuesta creativa al otro lado del Atlántico a través de Lubaina Himid, artista africana afincada en Gran Bretaña y primera mujer negra en ganar el prestigioso Premio Turner en 2017.This work was supported by the international projects ‘Bodies in Transit 2’ (FFI2017-84555-C2-2-P) and ‘Embodiments, Genders and Difference: Cultural Practices of Violence and Discrimination’ (Ref. 1252965, Junta de Andalucía/FEDER). Dr. Cobo-Piñero is also a member of the Centre of Contemporary Thinking and Innovation for Social Development (COIDESO, Universidad de Huelva, Spain)