The process of keeping up to date is sometimes a difficult one for me, especially regarding the blog posts for this class. Every time I have attempted to publish a post I have felt distracted by the next class lecture and/or the reading for same. There are so many elements to this course that sometimes it makes my head hurt. When I saw Prince’s work “Peace of Mind” I liked the piece at first glance that I then decided to spend some of my “free time”
The following are some common examples of excuses I have heard or seen for being a casual observer of racism and other discrimination: as a person who has never experienced slavery, I don’t have the emotional range to sympathize with enslaved people or even their descendants. I will never be prejudiced against in ways that they have experienced their entire lives, so how can I possibly relate? Oh, that was a long time ago. I don’t care because I don’t know…Continue reading “Looking for Empathy”
Last semester, I worked as an undergraduate lab instructor in the physics department for Dr. McLean’s “The Science of Sound” course. I thoroughly enjoyed working in this position and feel that I learned a great deal from it, not only about the science of sound but about myself, as well. While working as a lab instructor for this lab granted me new skills and a passion for instructing, it also, unexpectedly, left me with tools I can now use to enrich my interpretations of Steve Prince’s art.
For example, when I look at Prince’s piece, “Requiem for Brother John,” I am instantly drawn to what I perceive to be sound waves emanating from the trumpet in the background. These waves remind me of my time spent working in the Science of Sound Lab and of the hours I spent grading students’ drawn representations of waves for accuracy (not artistry, though some of the waves were drawn with obvious skill and flair). Notably, the waves appear curved upon their immediate exit from the trumpet and then straighten out when they reach the left-hand corner of work, as waves do upon propagating far enough out.
Spirituals and the Nationalistic Music of The United States
Alongside the early stages of the development of Western music in the Americas during the late 1800s came the global desire to establish national boundaries; music was one particular area where countries wanted to display their national pride and establish their nationality. The Americas, particularly the United States, was at an awkward stage in the development of its own nationalistic music, as it was not clearly established what “American music” was at this point. Eventually, a composer from Prague alongside the National Conservatory of Music, founded by Jeannette Meyers Thurber, in the United States would help push the majority of the country see that “American music” was to be built off the country’s foundation: the music and rhythms of the indigenous people and African Americans.
By the late 19th century, when the United States was trying to establish its own music, European music had already been established in the several countries, making the creation of their nationalistic music simple and original. American music, however, was in its early stages of development, leaving the people of the United States reliant on the more established European classical music (Grout, 2019). The study of music was also extremely dependent on European music; people from the United States started traveling to Europe in order to study music there—after placing European music at the center of music, many people then tried to imitate this music and during the era where national boundaries were rising attempted label it as America’s nationalistic music, in spite of the music that already existed in the United States.Continue reading “Spirituals and the Nationalistic Music of the United States”
Upon learning that Mark Broomfield was attending one of our classes, I was excited because of my personal connection to dance. I have been dancing for years now and since being a student at Geneseo have not had a chance to take one of his classes yet; therefore, I was anxious to see what he would teach us and how it would connect to Steve Prince’s art. We spent this class period moving around which is expected, but something one of my peers brought up inspired me to think about our everyday comfortability. In discussing the stereotypical feminine and masculine dance phrases/poses, Dr. Broomfield challenged us to push against these stereotypes. In order to accomplish this my group decided that half of us would repeat the same sequence of the stereotyped feminine and masculine moves, and the other half would mirror the same moves but modify them to fit the other gender. The point of this exercise for me meant fighting stereotypes and becoming comfortable with being uncomfortable.Continue reading “Who’s Your Audience?”
Alexis Banaszak, Kazon Robinson, Madison Jackson, Mary Rutigliano, Joo Hee Park, Melisha-Li Gatlin, Devin Hogan, and Cindy Castillo
Sustainability is a definition that is not fully set in stone. In fact, the term sustainability has no self-sustained answer because of its wide and various meanings. Every person interprets sustainability differently. For some, sustainability is a matter of maintaining something to a certain level. For others, sustainability is focused on the environment and fighting for conservation matters. Generally speaking, sustainability is structured by three pillars: environmental, economical, and social and that we need all three pillars to aim for sustainability. Our group first searched the definition of sustainability and decided the definition with the best fit is from the website YadaDrop. The website defines social sustainability as “an ethical responsibility to do something about human inequality, social injustice, and poverty.” This definition strongly resembles Prince’s compositions and content. Over the entire semester our class has been filled with intellectual curiosity about what Prince tries to unpack in his work. From the pieces we have examined in class, our group agreed that there is a both/and with simplicity on the surface and multiple meanings upon analyzation.
By Liv Binda, Sarah Bracy, Claire Corbeaux, Lindsey Kriaris, Noah Mazer, Sarah-Anne Michel, and Morgan Torre
Sustainability is a frequently used buzzword, defined as “a socio-ecological process characterized by the pursuit of a common ideal.” Almost every day, efforts are made to conserve resources on a global scale, as well as on local ones. SUNY Geneseo, for example, demonstrates a commitment to environmental sustainability through initiatives such as composting programs, hosting a campus beautification event, giving out Campus Sustainability Leadership Awards, holding exhibits that feature art that deals with issues of ecological sustainability, and launching a campus sustainability month.
In class recently, we started looking at sustainability from a wider perspective and began investigating and incorporating the three pillars of sustainability: economy, society, and the environment. The United Nations recognizes another pillar that exists outside of, yet interacts with, these canonical pillars. In our estimation, the pillar of cultural sustainability is equally as important as the other three, but is often underrepresented and rarely discussed. Indeed, Geneseo often fails to consider this fourth pillar and the role it plays on-campus: a recent email about the Sustainability Leadership Awards explicitly referred to “the three pillars of sustainability (economic, social, and environmental)”.
By Amina Diakite, Niamh McCrohan, Abby Ritz, Corinne Scanlon, Abbie Sorrell, Brian Vargas, Brooke Ward, and Helen Warfle
Sustainability is the balance of three systems: the economy, society, and the environment. The idea of sustainability is that you need to meet the needs of people at present without compromising a possible future for other generations. The Urban Garden piece created by Steve Prince and the students and faculty at SUNY Geneseo is an example of society trying to gain such a balance. In this piece, we brainstormed about the three systems under sustainability and how they can intertwine with one another to either create enormous huge problems that we should be addressing or successes that we appreciate. One half of the Urban Garden showed the unsustainable aspects of how we currently live; but the positive half showed hope—the seeds for how balance can be restored. Continue reading “A Look Into Sustainability In Art”
All those who have the ability to learn and experience are capable of progress; all humans have the potential to experience. In the same respect that progress is possible because all humans can learn and experience, the state and pace of progress may often depend on the environment in which one is able to learn and experience. Because of the environment one must live in, they may not be able to focus completely on their forward experiencing of life in the way they desire. Similarly, those who can enable themselves to experience may face rapid progress in their own work—that being said, I personally do not believe that an individual is completely bounded by the environment they are born into or must live in; people can have the will to overcome their respective environments. Continue reading “Thoughts On Progress I”
I’m in Lydia Kertz’s class ENGL 466: Medieval Romance and Its Afterlives, and have found that studying the often-derided genre has developed my analysis of power and legislation of institutions that we still experience today, namely marriage, as well as how an upper class exacts power through its connections across sectors. Continue reading “What the Middle Ages is teaching me about how the rich relate”