Faculty Celebration of Major Works Magazine 2023

Center for Humanities & the Arts

FACULTY CELEBRATION

of Major Works 2023


FACULTY CELEBRATION OF

MAJOR WORKS

2023

Contents

Director’s Letter .................................... 6

Aun Hasan Ali ....................................... 7

Loriliai Biernacki .................................... 9

Julie Carr .............................................. 11

Anya Cloud and Tara Knight .................... 13

Brianne Cohen ...................................... 15

Brianne Cohen and Erin Espelie ............... 17

Bud Coleman ........................................ 19

Emmanuel David and Yumi Janairo Roth ... 21

Kim Dickey ........................................... 23

Elspeth Dusinberre ................................ 25

Kevin Hoth ........................................... 27

Daniel Jacobson .................................... 29

Thomas Pegelow Kaplan ......................... 31

Marina Kassianidou ................................ 33

Joseph Labrecque .................................. 35

Jeanne Liotta ........................................ 37

Beth Osnes ........................................... 39

Phaedra C. Pezzullo ................................ 41

Matthew Polis ........................................ 43

Takács Quartet ...................................... 45

Robert Shay .......................................... 47

Núria Silleras-Fernadez ........................... 49

Jeremy L. Smith .................................... 51

Kristie Soares ...................................... 53

Annika Socolofsky ................................ 55

Sarah Stanford-McIntyre ....................... 57

Ted Striphas ........................................ 59

Brian Talbot .......................................... 61

Anna Tsouhlarakis ................................. 63

Keith Waters ......................................... 65

4

ARTS AND HUMANITIES GIVE MEANING

ABOUT THE CHA

Established in 1997, the Center for Humanities & the Arts (CHA) attempts

to do for the humanities and arts what CU’s research institutes are doing

for the sciences: support faculty and graduate students in new research,

create collaborations across departments, incubate new forms of graduate

teaching and training, and reach out to the broader community.

VISION

The Center for Humanities & the Arts (CHA) promotes arts and humanities

by being a dynamic hub on campus for collaboration and innovation and

by creating connections with the Boulder community and beyond.

MISSION

The CHA fosters community, supports collaborations, and inspires

creativity and research while promoting equity, inclusion, and academic

excellence.

5

February 2024

Proud. This is how I feel when I look at the accomplishments of our talented and brilliant arts and

humanities faculty who have produced and published a major work in their area of specialty in the

calendar year 2023. I hope you also feel a sense of pride and a piquing of your intellectual curiosity when

you look through these pages. Each accomplishment represents the passions of the faculty who released

these works to the world.

I also see the years if not decades of research that each faculty engaged in. Research is not a word that

is most often associated with arts and humanities, but it underpins everything that artists and humanists

do. Research is the cornerstone of humanities and arts scholarship and creativity. Each faculty who has

produced a major work in 2023 conducted enormous research and expended incalculable labor to share

their knowledge with the world. I applaud my colleagues in arts and humanities and am proud that their

research is out in the world for all to see.

Sincerely,

Jennifer Ho

Director, Center for Humanities & the Arts

About the Director

The daughter of a refugee father from China and an immigrant

mother from Jamaica, Jennifer Ho is the director of the Center

for Humanities & the Arts at the University of Colorado Boulder,

where she also holds an appotintment as Professor of Ethnic

Studies. She is the past president of the Association for Asian

American Studies and the author of three scholarly monographs.

In addition to her academic work, Ho is active in community

engagement around issues of race and intersectionality, leading

workshops on anti-racism and how to talk about race in our

current political climate.

You can follow her on Twitter @drjenho.

6

Center for Humanities & the Arts • University of Colorado Boulder

Aun Hasan Ali

Assistant Professor

Religious Studies

College of Arts and Sciences

The School of Hillah and the Formation of

Twelver Shi’i Islamic Tradition

I.B. Tauris

Against the background of long-standing

narratives in which Twelver Shi’ism is viewed

as fundamentally authoritarian, The School

of Hillah and the Formation of Twelver Shi’i

Islamic Tradition builds upon recent scholarship

in the fields of Religious Studies, Anthropology,

and History to argue that Twelver Shi’ism is

better understood as a discursive tradition. At a

conceptual level, this solves the basic problem

of how to integrate the extraordinary diversity

of Twelver Shi’ism across time and space into

a single historical category without engaging

in a normative assessment of its underlying

essence. Furthermore, in light of this conception

of tradition, the School of Hillah stands out as a

seminal period in the archive of Twelver Shi’ism,

though it has seldom been recognized as such in

European-language scholarship.

Insofar as it gave birth to a conversation

that would prove capable of encompassing the

dynamism of Twelver Shi’ism, the School of

Hillah should be considered the formative period

of Twelver Shi’i tradition. Moreover, when the

tradition is conceptualized in this manner, it is

a bulwark against the very authoritarianism by

which Twelver Shi’ism has been characterized for

so long.

The School of Hillah and the Formation of Twelver

Shi’i Islamic Tradition book cover

Project website

https://www.bloomsbury.com/us/school-ofhillah-and-the-formation-of-twelver-shii-islamictradition-9780755639090/

“The School of Hillah constitutes a masterful

contribution to the field of Shi’i studies.”

- Andrew J. Newman

7

Aun Hasan Ali

Aun Hasan Ali joined the Department of Religious Studies in 2015. He received his PhD from

McGill University’s Institute of Islamic Studies. His research focuses on the intellectual history

of Twelver Shi’ism, particularly law and legal theory. His first book, The School of Hillah and

the Formation of Twelver Shi’i Islamic Tradition, builds upon recent scholarship in the fields

of Religious Studies and Anthropology to argue that Twelver Shi’ism is better understood as a

discursive tradition. At CU Boulder, Ali teaches Religious Dimensions of Human Experience, Islam,

The Quran, Sufism, and Fundamentalisms. In addition to intellectual history, he maintains an interest

in Urdu and Persian literature.

8 Center for Humanities & the Arts • University of Colorado Boulder

Loriliai Biernacki

Professor

Religious Studies


The Matter of Wonder: Abhinavagupta’s

Panentheism and the New Materialism

Oxford University Press

2023

The Matter of Wonder: Abhinavagupta’s

Panentheism and the New Materialism argues

that the writing of the 11th-century Indian

Hindu thinker Abhinavagupta offers a cogent

philosophical model that gives us new ways of

thinking about matter, particularly helpful for

our struggling contemporary world trapped in a

fraught, complicated relationship to nature and

the material world around us, as we head blindly

towards an unsustainable world.

What makes Abhinavagupta’s model so helpful

for us today, and for a New Materialist approach

to our world is Abhinavagupta’s Tantric capacity

to embrace both the materiality of the world and

the transcendence of matter, as a core reality

within matter, proposing a philosophy that finds

consciousness—a subjectivity at and as the very

heart of matter. Abhinavagupta proposes an

ontological subjectivity. The state or emotion of

wonder is how to access this phenomenologically.

With this he offers a solution to a familiar

conundrum, one we are still grappling with

today—that is: how does consciousness, which

is so unlike matter, how does it actually connect

to the materiality of our world? In familar 21stcentury

terms, how does mind connect to body?

This book brings this question to bear in

comparative fashion on contemporary issues:

our current concerns around what is sentient—

animals? viruses? artificial intelligence?—set

in relation to Abhinavagupta’s articulation of

what gives rise to sentience through his use of

The Matter of Wonder book cover

the term vimarśa; our current conceptions

of information as data—articulated in

juxtaposition to Abhinavagupta’s theology

of mantra, mystic sound; examining

Abhinavagupta’s use of wonder (camatkāra)

as a philosophical concept, and how his

cosmological system (tattva) underwrites his

understanding of a foundational subjectivity.

Project website

https://global.oup.com/academic/product/the-matterof-wonder-9780197643075?cc=us&lang=en&

9

Loriliai Biernacki

Loriliai Biernacki is Professor of Religious Studies at the University of Colorado at Boulder.

Her research interests include medieval Sanskrit texts, the subtle body, Indian philosophy, New

Materialism, gender, and the interface between religion and science. She is currently working on

neuroscientific models of body-mind connection, including Integrated Information Theory. Her first

book, Renowned Goddess of Desire: Women, Sex and Speech in Tantra (Oxford, 2007) won the

Kayden Award in 2008. She is co-editor of God’s Body: Panentheism across the World’s Religious

Traditions (Oxford 2013). She recently published with Oxford University Press The Matter of

Wonder: Abhinavagupta’s Panentheism and New Materialism (Oxford 2023), on the writings of

the medieval Indian mystic and philosopher Abhinavagupta and their relevance for a contemporary

science and New Materialism.


Julie Carr

Professor

English


Mud, Blood, and Ghosts: Populism, Eugenics,

and Spiritualism in the American West

University of Nebraska Press

Populism has become a global movement

associated with nationalism and strong-man

politicians, but its root causes remain elusive.

Mud, Blood, and Ghosts exposes one deep root in

the soil of the American Great Plains. Julie Carr

traces her own family’s history through archival

documents to draw connections between U.S.

agrarian populism, spiritualism, and eugenics,

helping readers to understand populism’s tendency

toward racism and exclusion.

Carr follows the story of her great-grandfather

Omer Madison Kem, three-term Populist

representative from Nebraska, avid spiritualist,

and committed eugenicist, to explore persistent

themes in U.S. history: property, personhood,

exclusion, and belonging. While recent

books have taken seriously the experiences

of poor whites in rural America, they haven’t

traced the story to its origins. Carr connects

Kem’s journey with that of America’s white

establishment and its fury of nativism in

the 1920s. Presenting crucial narratives of

Indigenous resistance, interracial alliance and

betrayal, radical feminism, lifelong hauntings,

land policy, debt, shame, grief, and avarice

from the Gilded Age through the Progressive

Era, Carr asks whether we can embrace the

Populists’ profound hopes for a just economy

while rejecting the barriers they set up around

who was considered fully human, fully worthy

of this dreamed society.

Mud, Blood, & Ghosts book cover

11

Julie Carr

Project website

https://www.juliecarrpoet.com/mud-blood-and-ghosts

Podcast

https://www.youtube.com/watch?v=baAV5yRCqro

Video Interview

https://www.youtube.com/watch?v=0QKWu63Z8nk&ab_

channel=AprilInstitute

Julie Carr is the author of 12 books of poetry and prose, including Climate, co-written with

Lisa Olstein (Essay Press 2022), Real Life: An Installation (Omindawn 2018), Objects from a

Borrowed Confession (Ahsahta 2017), and Someone Shot my Book (University of Michigan Press

2018). Earlier books include 100 Notes on Violence (Ahsahta 2010), RAG (Omnidawn, 2014), and

Think Tank (Solid Objects 2015). With Jeffrey Robinson she is the co-editor of Active Romanticism

(University of Alabama Press 2015). Her co-translation of Leslie Kaplan’s Excess-The Factory

was published by Commune Editions in 2018. Mud, Blood, and Ghosts: Populism, Eugenics, and

Spiritualism in the American West was published by the University of Nebraska Press in 2023. The

Underscore, a book of poems, is forthcoming from Omnidawn in 2024.

www.juliecarrpoet.com


Anya Cloud and Tara Knight

with Karen Schaffman

Assistant Professor

Dance


Associate Professor

Critical Media Practices

College of Media, Communication

and Information

Think Gravity Dance Tank: Celebrating &

Reckoning with Contact Improvisation and

Performance

Eight new dance films released online

Think Gravity Dance Tank: Celebrating

& Reckoning with Contact Improvisation

and Performance was an intergenerational

research gathering in Boulder, Colorado from

March 21-26, 2022. In 2023, Anya Cloud,

Tara Knight, and Karen Schaffman released

eight films documenting this research lab, and

additionally produced hours of audio interviews

exploring histories of this form of dance. This

project honors the 50th anniversary of contact

improvisation (CI) during a pivotal moment

in the context of COVID-19 and racial justice

uprisings. Considering the gravity of these times,

Think Gravity Dance Tank offered an embodied

exchange to recognize the intersection of our

bodies, ancestries, and identities as a mode of

mobilizing dance futurism in the realm of CI.

We asked: what is in-between and underneath

the reckoning and the celebrating?

CI is an evolving dance form that emerged

in the United States from the social, political,

and avant-garde movements in the late 1950s

and 1960s. Canonized as beginning in 1972,

CI has generally been historicized through a

lens of whiteness and heteronormativity that

is smoothed over by universal concepts of the

body. Think Gravity Dance Tank countered this

narrative and brought unspoken histories to the

forefront.

Think Gravity Dance Tank was conceived

Think Gravity Dance Tank documentation

13

Tara Knight and Anya Cloud

Think Gravity Dance Tank documentation

as a rhizomatic container. The lead artists were

asked to co-curate by inviting a collaborating

dance artist, someone engaged in the convergence

of CI practice with choreography, performance,

and dance activism, to be part of the week-long

gathering. Undergraduate dance artists were

invited as visionaries for the potential future of

the form. The local community was invited to

performances and selected open workshops. The

week included practice, dialogue, workshops, and

performances.

We welcome you to dive into these culminating

archives from the week-long gathering.

Project Website

https://www.thinkgravitydancetank.com/

Tara Knight is a filmmaker, animator, and media designer for live performance. Her broad range

of media practices includes animated shorts, dance collaborations, world-premiere projection

designs, visual reality, and media installations. Knight’s most recent animated film, Unsettled

(2018), screened at the Ottawa International Animation Festival, the Annecy International Animation

Festival, Animafest Zagreb, the Black Maria Film Festival, and beyond. Her Mikumentary series of

films have screened in institutions ranging from pop culture to fine arts, including: New York Comic

Con and animation festivals in Britain, Hong Kong, Mexico, and at the Mori Art Museum in Tokyo.

Current projects include Sound Planetarium, a multidisciplinary project to create an interactive,

data-driven virtual reality experience set to premiere at the American Astronomy Society in 2024.

Anya Cloud is a dancer, maker, teacher, activist, and collaborator. They believe in dancing with

the body they have, and as the person they are, in order to cultivate radical aliveness. Originally

from Alaska, they work nationally and internationally within the contexts of Contact Improvisation,

improvisation, experimental contemporary dance, and social somatics/Feldenkrais. Through queer,

feminist, and anti-racist perspectives Cloud’s research centers on activating new/old ecologies of

moving, making, being, and relating in intersectional ways.

Karen Schaffman earned a BA in Dance and Literature at UMASS Amherst, and an equivalent

degree in Experimental Dance at the European Dance Development Center (The Netherlands).

She completed a PhD in Critical Dance Studies at UC Riverside. In 2016, she completed a 4-year

certification in the Feldenkrais Method at the Feldenkrais Institute in San Diego. She discovered

dance on a community playground and then trained formally in jazz, modern dance and ballet.

Schaffman’s focus for the last several decades has been on somatics, perceptual improvisation,

contact improvisation, performance and cultural theory. She is currently the Program Director in

Dance at California State University, San Marcos.


Brianne Cohen

Assistant Professor

Art and Art History


Art, NoNvioleNce,

ANd PreveNtive

Publics iN

coNtemPorAry euroPe

briANNe coheN

Don’t Look Away: Art, Nonviolence, and

Preventive Publics in Contemporary Europe

Duke University Press

In Don’t Look Away Brianne Cohen considers

the role of contemporary art in developing a public

commitment to end structural violence in Europe.

Cohen focuses on art activism of the early twentyfirst

century that confronts the slow violence

perpetuated against precarious peoples.

Exploring the work of German filmmaker Harun

Farocki, Swiss artist Thomas Hirschhorn, and the

art collective Henry VIII’s Wives, Cohen argues

that their recursive art practices offer a more

sustained counter to the violence undergirding

the public sphere than do artworks premised on

immediate rupture. Their art reflects on a variety

of flashpoints of violence and vulnerability in

Europe, from the legacy of the Holocaust to

Islamophobia and rising anti-immigrant sentiment.

Because this violence has often cultivated fearbased

publics, Cohen contends that art must

foster ethical and civil relations between strangers

across physical and virtual borders. In contrast to

art-critical practices that privilege direct action

in contemporary art activism, Cohen advocates

for the imaginative, messier, often more elusive

potential of art to change mindsets and foster a

nonviolent social imaginary.

don’t

look

away

Don’t Look Away book cover

Project Website

https://www.dukeupress.edu/dont-look-away

15

Brianne Cohen

Brianne Cohen’s research and teaching focus on contemporary art, visual culture, and the

formation of critical publics in Southeast Asia and Europe. Her books include Don’t Look Away:

Art, Nonviolence, and Preventive Publics in Contemporary Europe (Duke, 2023) and the coedited

volumes, The Photofilmic: Entangled Images in Contemporary Art and Visual Culture

(Cornell, 2016) and Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects

(Amherst, 2023). The latter arises from her work as co-PI for the Mellon Sawyer Seminar, “Deep

Horizons: Making Visible an Unseen Spectrum of Ecological Casualties & Prospects” (2020-22),

which brought together diverse, interdisciplinary researchers and makers for conversations about

environmental futures, as they relate to art and visual culture, ecology, indigeneity, and climate

justice. She serves currently as field editor for contemporary art for caa.reviews and has published in

journals such as Art Journal, Representations, Afterimage, Journal of European Studies, Third Text,

and Image [&] Narrative.


Brianne Cohen and Erin Espelie

Assistant Professor

Art and Art History


Associate Professor

Cinema Studies & Moving

Image Arts


Deep Horizons: A Multisensory Archive of

Ecological Affects and Prospects

Amherst College Press

The specifics of ecological destruction often take

a cruel turn, affecting those who can least resist its

impacts and who are least responsible for it. Deep

Horizons: A Multisensory Archive of Ecological

Affects and Prospects gathers contributions from

multiple disciplines to investigate intersectional

questions of how the changing planet affects

specific peoples, communities, wildlife species,

and ecosystems in varying and inequitable ways.

A multisensory, artistic-archival supplement to

the University of Colorado Boulder’s 2020-2022

Mellon Sawyer Environmental Futures Project,

the volume enriches current conversations by

bridging the environmental humanities and affect

theory with insights from Native and Indigenous

philosophies. It highlights artistic practices that

make legible the long-term durational effects

of ecological catastrophe, inviting readers and

viewers to consider the emotional resonance of

poems, nonfiction texts, sound-texts, photographs,

and other artworks that grapple with the less

visible loss and prospects of environmental

transformation.

This multimodal, multisensorial volume

pushes the boundaries of scholarship with an

experimental, born-digital format that offers a set

of responses to collective traumas such as climate

change, environmental destruction, and settler

colonialism.

The artists and authors honor the specificity of

real historical and material injustices while also

reflecting the eclectic nature of assorted feelings

in response to them, working through them in

creative and border-crossing ways.

Deep Horizons book cover

Co-edited by Brianne Cohen, Erin

Espelie, and Bonnie Etherington, it includes

contributions from Robert Bailey, Nina Elder,

Erin Espelie, Hock E Aye Vi Edgar Heap of

Birds, Maya Livio, Erika Osborne, Craig

Santos Perez, Kim Tallbear, Julianne Warren,

and Kyle Powys White.

17

Brianne Cohen & Erin Espelie

Project Website

https://www.fulcrum.org/concern/monographs/db78tf916

Brianne Cohen’s research and teaching focus on contemporary art, visual culture, and the

formation of critical publics in Southeast Asia and Europe. Her books include Don’t Look Away:

Art, Nonviolence, and Preventive Publics in Contemporary Europe (Duke, 2023) and the co-edited

volumes, The Photofilmic: Entangled Images in Contemporary Art and Visual Culture (Cornell, 2016)

and Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects (Amherst, 2023).

The latter arises from her work as co-PI for the Mellon Sawyer Seminar, “Deep Horizons: Making

Visible an Unseen Spectrum of Ecological Casualties & Prospects” (2020-22), which brought together

diverse, interdisciplinary researchers and makers for conversations about environmental futures, as

they relate to art and visual culture, ecology, indigeneity, and climate justice. She serves currently as

field editor for contemporary art for caa.reviews and has published in journals such as Art Journal,

Representations, Afterimage, Journal of European Studies, Third Text, and Image [&] Narrative.

Erin Espelie is a filmmaker, writer, and editor. She’s an Associate Professor in Cinema Studies

& the Moving Image Arts and co-director of NEST (Nature, Environment, Science, & Technology)

Studio for the Arts at the University of Colorado Boulder.


Bud Coleman

Professor

Theatre & Dance


Working, the musical

Roe Green Theatre

University of Colorado Boulder

November 3-12

Working was first introduced to the world

in 1978 as a Broadway musical review. It is a

documentary musical. Documentary theatre

is theatre that uses preexisting documentary

material (such as newspapers, government reports,

interviews, journals and correspondences) as

source material for stories about real events and

people, frequently without altering the text in

performance. The Broadway premier of Working

only ran for 24 performances; people were not

ready for it ... yet. Working was too close to home;

unemployment was fluctuating between 6 and

8 percent the whole decade, the Vietnam War

had just come to a close (1975) and the Cold

War was still ever present. Historians would

later call this decade “the worst decade of most

industrialized countries, the worst economic

performance since the Great Depression.

Economic growth rates were considerably

lower than previous decades.” Entertainment

was for escapism and Working wanted

audiences to face the realities of their time.

Working may have not stayed long for its

original Broadway run but it flourished in

regional theatres. This revolutionary musical

then reinvented itself again by expanding on

Working, the musical performance documentation

19

Bud Coleman

the work (pun intended) with the localized

version of Working being licensed in 2019.

This version keeps the musical timeless by

adding new interviews to the already existing

script; the Boulder production included eight

interviews from workers in Colorado. The

localized version also features additional

songs from Lin-Manuel Miranda. Working

is still as relevant as ever, dare I say more

so; post-pandemic unemployment peaked at

14.7 percent, inflation is at an all time high

(remember when Girl Scout cookies were

$3.50) and many haven’t returned to the

workforce, opting for entrepreneurship and/or

gig work instead.

“This book, being about work, is, by its very

nature, about violence—the spirit as well as

to the body.” In rereading Terkel’s Working

(1974), I was struck by this first sentence of

his introduction. During his life, Terkel was

called “the Walt Whitman of the radio waves”

for the wide range of guests he interviewed on

his radio program. As he talked to hundreds

more for his book, Terkel not only found

plenty of Americans who were “singing”

about their work, he found plenty who were

moaning, screaming, or just too bone-tired

to say much. Unsurprisingly, lower-income

workers are more likely to experience poor

safety conditions at work, discrimination

and harassment (gender, race, age, gender

expression and sexual orientation), inadequate

health plans (if any are provided) and no paid

time off.

Human labor creates almost every object we

interact with during our day: the bed we sleep in,

the fruit we eat for breakfast (okay, the donut), the

transportation we ride, the fuel that propels that

conveyance, the clothes we wear, the water that

comes out of the faucet ... none of these things

exist without people’s labor. With this production,

we wanted to honor all of the folks – whatever

their involvement – who contributed to the

renovation of the Roe Green Theatre. During the

final number, “Something to Point To,” the names

of all the people who worked on the Roe Green

Theatre’s renovation were projected on a screen.

Project Website

https://cupresents.org/performance/2889/cu-theatre/workinga-musical/

Bud Coleman is the Roe Green Endowed Chair in Theatre, the Associate Dean of Faculty

Success in the College of Arts & Sciences, and former chair of the Department of Theatre and

Dance. A former dancer with Les Ballets Trockadero de Monte Carlo, Fort Worth Ballet, and Ballet

Austin, Bud has directed and choreographed many musicals and operas. In 2008, he directed and

choreographed Stephen Sondheim’s musical Company in Vladivostok, Russia, was selected to

be a 2009-10 Fulbright Lecturer in Japan, and staged the Thai premiere of Fiddler on the Roof in

Bangkok in 2017. Publications include Women in American Musical Theatre and Backstage Pass: A

Survey of American Musical Theatre (with Pamyla Stiehl), and numerous articles.


Emmanuel David and Yumi Janairo Roth

Associate Professor

Women & Gender Studies


Professor

Art and Art History


We Are Coming

“Cowboy” Museum of Contemporary Art, Denver

“We Are Coming” Eagle Theater at Vidiots and the Autry

Museum of American West, Los Angeles, CA

Over two years ago, Roth and David began

their collaboration, We Are Coming, after finding

traces of unnamed Filipino performers in Buffalo

Bill’s Wild West. The artists are now installing the

names of Filipino performers on theatre marquees

in communities large and small, invoking the

movements of the Buffalo Bill’s Wild West

traveling show.

The project uses the same language—“I

Am Coming”—that William “Buffalo Bill”

Cody used on posters announcing his show’s

arrival. However, Roth and David transform

this language into “We Are Coming” and

“We Are Coming” at Eagle Theater at Vidiots, Los Angeles, CA

21

Emmanuel David and Yumi Janairo Roth

feature the names of the Filipino Rough Riders

who joined Cody’s show during the Philippine-

American War between 1899-1900.

Project Website

https://www.youtube.com/watch?v=7Dhxc0q9w1w

David and Roth helping to install letters on the

marquee. Photograph by Raul Rau.

Yumi Janairo Roth is a Professor of Sculpture and Post-Studio Practice in the Department of

Art and Art History and an artist whose practice includes projects built around social engagement

and site-specific installation. Roth has exhibited and participated in artist-in-residencies nationally

and internationally including GCAC, Santa Ana, CA; LMCC, NY; Lawndale Art Center, Houston;

Walker Art Center, Minneapolis, MN; Vargas Museum and Ayala Museum, Metro Manila,

Philippines; Frankfurter Kunstverein, Germany; Galerie Klatovy-Klenová, Czech Republic.

Emmanuel David is an interdisciplinary scholar whose work highlights the intersections of

gender, sexuality, and globalization, especially in the racialized contexts of US-Philippine relations.

He was trained as a sociologist and ethnographer, and his research has focused on global call centers,

beauty pageants, and contemporary art, dance, and performance. He is an Associate Professor in the

Department of Women and Gender Studies.

Since 2021 Roth and David have been developing a project that unearths the forgotten stories of

Filipinos in Wild West shows including their collaborative installation “We Are Coming.”


Kim Dickey

Professor

Art and Art History


Sixth Sense

“Auguries” Solo Exhibition

Denver, CO

October 26 - December 30, 2023

Robischon Gallery

The main gallery wall features an elaborately

constructed six-by-nine foot wall sculpture. “Sixth

Sense” is based on the series of six tapestries in

the Cluny Museum in Paris each demonstrating

one of the five senses with an additional tapestry

on desire. I ‘restitched’ these six images into my

own collage of an idealized landscape where

I’ve removed all the human figures. What is

left, and now foregrounded, are the flora and

fauna, the action that is taking place in the

background, the hidden and unobserved, the

backdrop to our lives for which these tapestries

served. I hoped to create an empty stage while

highlighting the action in this red field and blue

island, as both a beautiful backdrop of millefleur

(a thousand flowers) and an alarming,

fiery landscape strewn with cut flowers held in

suspension.

The structure is aluminum clad with

majolica-glazed terracotta quatrefoil which

evoke both leaf and flower, and like pixels,

“Sixth Sense” at the artist’s Auguries solo exhibition at Robishcon Gallery in Denver

23

Kim Dickey

comprises a whole image while existing as

individual still-life paintings. “Sixth Sense”

is painted to a projection (a layered subject of

the work, too) of the final image in raw glaze,

removed, fired, and remounted permanently. The

six aluminum panels are assembled into one form

with the over nine-thousand ceramic elements

placed individually and took three years to

complete.

“Sixth-Sense” artwork detail

Kim Dickey, Associate Chair of Art and Art History, holds a BFA from Rhode Island School of

Design and MFA from New York State College of Ceramics at Alfred University. Dickey’s work is

in the permanent collections of the Metropolitan Museum of Art, New York, NY, Crystal Bridges

Museum of American Art, Bentonville, Arkansas; the ASU Ceramics Research Center, Tempe, AZ;

the Everson Museum, Syracuse, NY; Museum of Contemporary Art, Honolulu, HI; Museum of

Contemporary Art, Denver, CO; Museum of Fine Arts, Houston, TX; and Memorial Sloan Kettering

Cancer Center, New York, along with many private and corporate collections. Her numerous

exhibitions include a mid-career retrospective at the Museum of Contemporary Art, Denver, CO;

the Metropolitan Museum of Art, New York, NY; MASS MoCA, North Adams, MA; the Museum

of Arts and Design, NY; and the Denver Botanic Gardens, among others. She has also participated

in invitationals in Australia, Germany, Japan, Korea, Sweden, Taiwan, the United Kingdom, and

the United States. She has had solo shows in New York, Los Angeles, Kansas City, and Denver and

shown with galleries such as Garth Clark, Jack Tilton, Pierogi, White Columns, and Sherry Leedy.

Dickey is represented by Robischon Gallery in Denver, CO.

www.kimdickeystudio.com


Elspeth Dusinberre

Professor

T

Classics

his volume contains the excavation report for 12 cremation burials from the Phrygian site of

Gordion in central Anatolia. These tombs, dating from the later 7th century to the third quarter

of the 6th century BCE, were excavated by the Penn Museum between 1950 and 1969, and by

the Germans Alfred and Gustav Körte in 1900. The processes for interment through construction

of tumulus and cremation procedure are detailed, followed by an analysis of associated finds.

Two tumuli of the Hellenistic period, both covering stone chambers with inhumation burials,

are included in an appendix. Further appendices discuss specific materials excavated from the

cremations. A discussion of the contemporary inhumation and cremation tumulus burials at Gordion

in the Phrygian period, highlighting their continuities and significant differences, forms part of the

conclusion, as does discussion of sociocultural developments at Gordion between ca. 650–525

BCE as illuminated by the mortuary remains. The tumuli afford insights into questions related to

gender, religion, adult/child identity, trade, social status, ethnicity, transcultural affiliations, ceramic

developments, jewelry manufacture, high-status artifact display (including ivory), feasting behaviors,

animal sacrifice, hero cult, and widespread “killing” of artifacts associated with the cremation burials.


The Gordion Excavations, 1950-1973: Final

Reports Volume II. The Lesser Phrygian Tumuli

Part II: The Cremations

This publication of Gordion’s tumuli makes available the elite cremation burials of the later Middle

and early Late Phrygian (Achaemenid) periods, including the two Körte tumuli, and provides a

complete assemblage of the cremation tumuli at Gordion. They afford remarkable insights into life,

death, and an elaborate system of value at Gordion during this most turbulent century.

The material was excavated by Professor Rodney Young’s team between 1950 and 1973 and is fully

presented here for the first time. Ongoing research in the decades following Young’s excavations

has led to a more refined understanding of Gordion’s archaeological contexts and chronology, and,

consequently, we are now able to view the Lydian ceramic corpus within a more secure stratigraphic

framework than would have been the case if the material had been published shortly after the

excavations.

University Ellen of L. Pennsylvania Kohler was Executive Editor of Museum Gordion Publications of from Archaeology 1977–1987 and the Archivist and for

the Gordion Project Archives at the Penn Museum from 1987–2005.

Anthropology Press

Elspeth R. M. Dusinberre is Professor of Distinction in the Department of Classics at the University of

Colorado Boulder.

This book (co-authored with Ellen L. Kohler†)

offers the excavation report for 12 cremation

burials situated under tumuli (burial mounds)

from the Phrygian site of Gordion in central

Anatolia, excavated by the University Museum of

Front Cover Image: TumA 1, Gold bracelet with lion’s head terminals (photo by Gebhard Bieg).

Back Cover Image: Tumulus E under excavation, 1951. G-386.

the University of Pennsylvania between 1950 and

1973. These tombs, dating from the later seventh

Penn Museum

Philadelphia

www.penn.museum

Cover design: Ardeth P. Anderson

ISBN 978-1-949057-15-7

century to the third quarter of the 6th century

BCE, afford remarkable new insights into life,

death, and an elaborate system of value at Gordion

during a most turbulent century.

The book details processes for interment through

construction of tumulus and cremation procedure,

along with analysis of associated finds. Discussion

includes consideration of all contemporary

inhumation and cremation tumulus burials at

Gordion in the Phrygian period, highlighting

their continuities and significant differences as

well as sociocultural developments at Gordion.

Appendices publish two Hellenistic inhumation

burials and discuss specific artifacts excavated

from the cremation burials. The tumuli afford

insights into questions related to gender, religion,

adult/child identity, trade, social status, ethnicity,

transcultural affiliations, ceramic developments,

jewelry manufacture, high-status artifact display

(including ivory), feasting behaviors, animal

sacrifice, hero cult, and widespread “killing” of

artifacts associated with the cremation burials.

Publication costs were subvented by grants from

CU’s Kayden Research Award, the Loeb Classical

Library Foundation, and the Archaeological

Institute of America.

Kohler & Dusinberre

The Gordion Excavations, 1950–1973:

Final Reports Volume II (Part II: Cremations), Text

THE GORDION EXCAVATIONS,

1950-1973:

FINAL REPORTS VOLUME II

The Lesser Phrygian Tumuli Part II:

The Cremations, Text

Ellen L. Kohler and

Elspeth R. M. Dusinberre

The Gordion Excavations book cover

Project website

https://site.pennpress.org/aaa-2021/9781949057157/

the-gordion-excavations-1950-1973/

25

Elspeth Dusinberre

Elspeth Dusinberre (Ph.D. Michigan 1997), Professor of Distinction, is interested in cultural

interactions in Anatolia, particularly in the ways in which the Achaemenid Persian Empire (ca.

550-330 BCE) affected local social structures and in the give-and-take between Achaemenid

and other cultures. Her first book, Aspects of Empire in Achaemenid Sardis (Cambridge 2003),

examines such issues from the vantage of the Lydian capital. Her second book is a diachronic

excavation monograph, Gordion Seals and Sealings: Individuals and Society (Philadelphia 2005).

Dusinberre’s third book, Empire, Authority, and Autonomy in Achaemenid Anatolia (Cambridge

2013), considers all of Anatolia under Persian rule and proposes a new model for understanding

imperialism; it was recognized by the James R. Wiseman Award from the Archaeological Institute of

America in 2015. Her numerous articles have appeared in various venues, including the American

Journal of Archaeology, Ars Orientalis, the Annals of the American Schools of Oriental Research,

and Anatolian Studies. She is currently studying the seal impressions on the Aramaic tablets of the

Persepolis Fortification Archive (dating ca. 500 BCE), and the cremation burials from Gordion, in

addition to other projects at Gordion and Sardis. She has worked at Sardis, Gordion, and Kerkenes

Dağ in Turkey, as well as at sites elsewhere in the eastern Mediterranean.

Professor Dusinberre teaches primarily Greek and Near Eastern archaeology at CU Boulder. She

is a President’s Teaching Scholar and has been awarded twelve University of Colorado teaching

awards.


Kevin Hoth

Lecturer



and Information

Plane of Action

Boulder Museum of Contemporary Art

September 29, 2022 - February 19, 2023

“Plane of Action” explores how Kevin Hoth and

George P. Perez glitch, deconstruct, and rebuild

machine and hand-altered photographs. These

artists distort the legibility of imagery sourced

from personal collections, archives, and social

media by weaving, collaging, cutting, and even

burning their materials. These interventions cause

the original pictures to lose most of their clarity

and undergo an aesthetic reconstruction. The

artworks resemble degraded, digital distortions or

freeze-frames on momentary glitches, illustrating

how the artists balance the slow, methodical

processes of weaving and collaging with the

aesthetics of new media and fast technology.

Hoth aims to expand the definition and

possibilities of the photographic medium.

In his Freshly Shredded Flowers series, he

deconstructs Polaroids by running pairs of instant

film compositions through a paper shredder

and then repairing or “healing” the images by

collaging them to form a new photo object. Hoth

thoughtfully engages the macro- and microscopic

vantage points of his work by exhibiting the

intimately scaled, serrated originals alongside

large-scale prints that magnify the destruction

within each image.

“Plane of Action” features “The Light and

The Dark,” Hoth’s new site-specific work that

stems from his continued exploration of cutting

and burning instant film. With each incision, he

creates a cobalt blue mark against the white of

the unexposed film frame. Hoth refers to these

“Plane of Action” exhibition documentation

marks as “alternate timelines” or “branches”

that grow, bloom, and extend beyond the single

frame and into its neighboring counterpart.

“The Light and The Dark” resembles a

rhizomatic, natural system, such as roots or a

set of wings, and references a source of life

and interconnectivity. The artist says, “I see

this as an invitation or a reminder for us to

connect on a more regular basis with what we

see as a source of creative energy, whatever

that means for the viewer.”

27

Kevin Hoth

Project Website

https://www.bmoca.org/past-exhibitions-2022/plane-of-action

Kevin Hoth is an artist and educator based in Boulder, Colorado. Kevin teaches media production

courses as a lecturer in the Department of Critical Media Practices. He received his Masters of Fine

Art at the University of Washington, Seattle with a focus in Photography and Digital Video. He

fragments and recombines photographic vantage points and momentary captures. In his landscape

work, he uses a mirror to move beyond the traditional singular vantage point to merge spaces incamera.

In his instant film assemblage work, he physically disrupts the developing image, using

destruction to evoke loss and process grief while creating entry points where ruptured timelines

may come together. This work also explores image disruption as a transgressive, healing, and

synthesizing process. In his most recent work, he uses digital retouching tools naively to critique

how algorithms distort our sense of self and place in the world. His work has been shown nationally

and internationally at many institutions including The Houston Center for Photography, The Boulder

Museum of Contemporary Art, The Institute of Photographic Studies of Catalonia, Colorado

Photographic Arts Center, The Center for Creative Photography, and The Rhode Island Center for

Photography. His work is represented by Walker Fine Art in Denver, Colorado.

www.kevinhoth.com


Daniel Jacobson

Professor

Philosophy


Rational Sentimentalism



Justin D’Arms & Daniel Jacobson

Rational Sentimentalism develops a novel

theory of the sentimental values. These values,

which include the funny, the disgusting, and

the shameful, are profoundly important because

they set standards for emotional responses that

are part of our shared human nature. Yet moral

philosophers have neglected them relative to their

prominent role in human mental life.

The theory is sentimentalist because it holds

that these values are emotion-dependent, contrary

to some prominent accounts of the funny and

the disgusting. Its rational aspect arises from its

insistence that the shameful (for example) is not

whatever elicits shame but what makes shame

fitting. Shameful traits provide reasons to be

ashamed that do not depend on whether one is

disposed to be ashamed of them. Furthermore,

these reasons to be ashamed transmit to reasons to

act as shame dictates: to conceal.

Sentimentalism requires a compatible theory

of emotion and emotional fittingness. This book

explicates a motivational theory of emotion that

explains the peculiarities of emotional motivation

as other theories cannot. It argues that a class

of emotions are psychological kinds with a

similar goal across cultures despite differences

in their elicitors. It then develops an account of

fittingness that helps to differentiate reasons of fit,

which bear on the sentimental values, from other

considerations for or against having an emotion.

Rational Sentimentalism book cover

and with morality, but nevertheless provide

practical reasons that apply to humans - if not

to all rational agents.

Project Website

https://global.oup.com/academic/product/rationalsentimentalism-9780199256402?q=D%27Arms&lang=

en&cc=us#

Significant and controversial conclusions emerge

from this theory of rational sentimentalism.

Sentimental values conflict with one another,

29

Daniel Jacobson

Daniel Jacobson, Bruce D. Benson Professor of Philosophy, works on a range of topics in ethics,

moral psychology, aesthetics, and the moral and political philosophy of J. S. Mill. He has published

extensively on issues concerning sentimentalism, the philosophy of emotion, and freedom of

speech. Jacobson has held fellowships from the National Endowment for the Humanities, American

Council of Learned Societies, and the Princeton University Center for Human Values. He founded

the Freedom and Flourishing Project, which is dedicated to exploring and developing the classical

liberal tradition, defending freedom of speech, and increasing political diversity in academia.

He is currently working on a book manuscript that attempts to solve the central problem in Mill

scholarship: how to reconcile Mill’s commitments to liberty and utility.


Thomas Pegelow Kaplan

Professor

History & Jewish Studies


Polizei und Holocaust:

Eine Generation nach Christopher Brownings

Ordinary Men

Brill Publishers

2023

How did “ordinary men” become mass

murderers? The debate about the perpetrators

of the Holocaust was fundamentally reshaped

by Christopher Browning’s “Ordinary Men“.

Controversies over collaboration, space, and

gender dynamics are hardly topics exclusively

debated in Germany, but more intensely debated

across the European continent, Israel and the US

than ever before.

Browning’s impulse was not only focused on

historical research, but also on debates about

responsibility in the present. The analysis of

democratic collapse can be the starting point for

processes of recognition of such vulnerabilities

today.

Resisting Persecution:

Jews and Their Petitions during the Holocaust

Revised Paperback edition

Since antiquity, European Jewish diaspora

communities have used formal appeals to secular

and religious authorities to secure favors or

protection. Such petitioning took on particular

significance in modern dictatorships, often as

the only tool left for voicing political opposition.

During the Holocaust, tens of thousands of

European Jews turned to individual and collective

petitions in the face of state-sponsored violence.

Polizei und Holocaust book cover

This volume offers the first extensive analysis

of petitions authored by Jews in nations ruled

by the Nazis and their allies. It demonstrates

their underappreciated value as a historical

source and reveals the many attempts

of European Jews to resist intensifying

persecution and actively struggle for survival.

“In exploring how persecuted Jews

petitioned Nazi officials—and, in some cases,

Jewish leaders—for justice, rights, and mercy,

editors Wolf Gruner and Thomas Pegelow

Kaplan have initiated a thought-provoking and

entirely new approach to Holocaust Studies”

(Marion Kaplan, New York University).

31

Thomas Pegelow Kaplan

Project website

https://brill.com/display/title/60015

https://www.berghahnbooks.com/title/KaplanResisting

Resisting Persecution book cover

Thomas Pegelow Kaplan is the Louis P. Singer Endowed Chair in Jewish History, Professor

of History, and Interim Director of the Program in Jewish Studies at the University of Colorado

Boulder. He is the author of The Language of Nazi Genocide (2009) and The German-Jewish

Press and Journalism Beyond Borders, 1933-1943 (2023, in Hebrew) as well as the co-editor of

Beyond ‘Ordinary Men’: Christopher R. Browning and Holocaust Historiography (2019), Resisting

Persecution: Jews and Their Petitions during the Holocaust (2020), and Police and Holocaust

(2023, in German).


Marina Kassianidou

Assistant Professor

Art and Art History


We are no longer beings but sensations

DXIX Projects

K102A Office, Visual Arts Building

Department of Art and Art History

Colorado State University, Fort Collins, Colorado

April 6 - September 30, 2023

“We are no longer beings but sensations”

is a solo exhibition project by artist Marina

Kassianidou. This project is a site-responsive

installation of works that fit within and are framed

by existing elements in the space of the K102A

Office. The works primarily include paintings and

collages on patterned fabrics, engineered wood,

and wood-patterned vinyl. These mass-produced

surfaces are commonly found in domestic spaces,

forming part of the constructed interior

landscapes in which we exist.

Due to the artist’s process of working and

her sometimes small and subtle gestures,

confusion arises between the printed images,

the collaged marks, the natural marks, and

the painted marks. The works sometimes

emerge as paintings, sometimes as collages,

and sometimes as readymade fabrics or as

pieces of wood. They, thus, challenge the

viewers’ eyes, asking them to pay attention to

seemingly straightforward materials. Marina’s

interventions turn these materials into objects

of study and visual excavation, bringing them

to the foreground while uncovering their

“We are no longer beings but sensations” at DXIX Projects

33

Marina Kassianidou

complexity and contradictions. She aims for

a gradual shift in perception, an increase in

awareness and sensitization that partially turns

these materials and the space itself into a field

of sensations.

Marina’s interventions provoke a resignification

of their surrounding built

environment. Her interventions perform as

arrows that point at this specific site (the

office environment) enhancing aesthetic

agencies latent in its everyday functional

appearance. As a result of this process, the

everyday office work environment becomes

the subject of careful aesthetic consideration

and observation. Ordinary details from walls,

windows, carpet, shelf, table, chairs, outlets,

sideboards, surfaces, textures, colors, now

become remarkable formal events surfacing

from the realm of the uneventful, barely

visible mundane, and presenting themselves

to the viewer as a baroque ensemble of visual

experiences. Marina’s work seems to be

aligned with those poetics of “the endotic.”

The endotic is an artistic or literary practice

that focuses on the ordinary as opposed to the

extraordinary. However, in an interesting plot

twist, the ordinary or minor in Marina’s work

is rich and exuberant.

The exhibition is accompanied by a small online

and physical publication with a text by Maria

Petrides.

Project Website

https://issuu.com/dxixprojects/docs/we_are_no_longer_

beings_booklet_embedded

Marina Kassianidou was born in Limassol, Cyprus and currently lives and works between

Limassol and Boulder, Colorado, USA. She has a B.A. in Studio Art from Stanford University, an

M.A. in Fine Art from Central Saint Martins College of Art and Design, and a Ph.D. in Fine Art from

Chelsea College of Arts, London, UK. Her work has been exhibited internationally at spaces such as

the House of Cyprus (Athens, Greece), Nicosia Municipal Arts Center NiMAC (Nicosia, Cyprus),

Thkio Ppalies (Nicosia, Cyprus), The Center for Drawing (London, UK), Tenderpixel Gallery

(London, UK), North Branch Projects (Chicago, Illinois), Yes Ma’am Projects (Denver, Colorado),

Lane Meyer Projects (Denver, Colorado), and Rule Gallery (Marfa, Texas). She has been awarded

fellowships at the Ragdale Foundation, Residencia Internacional de Arte Can Serrat, Ox-Bow School

of Art, and The Studios at MASS MoCA, among others. She is a recipient of the 2016 Joan Mitchell

Foundation Painters and Sculptors Grant.

www.marinakassianidou.com


Joseph Labrecque

Assistant Teaching Professor

Advertising, Public Relations

& Media Design


and Information

A Guide to UX Design and Development:

Developer’s Journey Through the UX Process

Apress

Gain a thorough understanding of the two pillars

of any User Experience project: the mission and

the process. The mission is to keep the user in

mind at each step or milestone as the developer

progresses through the project. The process is how

that mission is accomplished through collaboration

and the use of research, design and development

technologies. This book walks you through a

developer’s journey through the UX process, from

start to finish.

A Guide to UX Design and Development

concentrates on the intersection of what is called

“DesignOps” and “DevOps.” That intersection is

where collaboration between all members of the

team, including stakeholders and clients, occurs

and neither DesignOps nor DevOps can go beyond

being considered just buzzwords if they instead

silo design and development. To highlight the UX

Mission and illustrate the responsibility developers

also hold for the user experience, authors Tom

Green and Joseph Labrecque take you through a

hypothetical project involving the development of

a parking app for a municipal parking authority.

As the book progresses, they concentrate on the

developer’s journey through the whole project

from discovery to product release. In this journey,

you will see how developers can make an impact

and contribute to the user experience.

This will include such topics as why there is a

need for both a user journey map and a technical

journey map. The authors explain why prototyping

A Guide to UX Design and Development book cover

is not as complicated as it is made out to be

because it is simply an early low-cost and

disposable minimal viable product that gives

the developer a deep understanding of the

project’s intent in support of the UX Mission.

You will also explore the creation and use of

design systems and why the developer’s role is

just as important as the people who create the

design system. The role and responsibility of

the developer in user testing is discussed in the

context of a variety of testing and assessment

methods conducted to achieve the UX mission.

Finally, you’ll gain an understanding of

how design and development deliverables are

negotiated, prepared and sent out for research

at each step of the process, and how the

developer is involved.

35

Joseph Labrecque

Project Website

https://www.amazon.com/Guide-UX-Design-Development-

Developers-ebook/dp/B0C6FZHJBF?ref_=ast_author_

dp&dib=eyJ2IjoiMSJ9.FE1YgT8s_v

Mastering Adobe Animate 2023: A comprehensive

guide to designing modern, animated, and interactive

content using Animate, 3rd Ed - work published in

2023 by Joseph Labrecque.

Joseph Labrecque is a creative developer, designer, and educator with nearly two decades

of experience creating expressive web, desktop, and mobile solutions. He joined the University

of Colorado Boulder College of Media, Communication and Information as faculty with the

Department of Advertising, Public Relations and Media Design in Autumn 2019. His teaching

focuses on creative software, digital workflows, user interaction, and design principles and concepts.

Before joining the faculty at CU Boulder, he was associated with the University of Denver as adjunct

faculty and as a senior interactive software engineer, user interface developer, and digital media

designer.

Labrecque has authored a number of books and video course publications on design and

development technologies, tools, and concepts through publishers which include LinkedIn Learning,

Apress, Peachpit, Packt, and Adobe. He has spoken at large design and technology conferences

such as Adobe MAX and for a variety of smaller creative communities. He is also the founder of

Fractured Vision Media, LLC; a digital media production studio and distribution vehicle for a variety

of creative works.

Joseph is an Adobe Education Leader, Adobe Community Expert and member of Adobe Partners

by Design. He holds a bachelor’s degree in communication from Worcester State University and a

master’s degree in digital media studies from the University of Denver.


Jeanne Liotta

Professor

Cinema Studies & Moving

Image Arts


The Path of Totality Tour

ICA/Institue of Contemporary Arts, London England

The Horse Hospital, London England

University of Aberystwth, Wales

LaborBerlin, Berlin, Germany

Museo Nitsch, Napoli, Italy

ATOI ArtSpace, Bilbao, Pais Vasco

Laboratorio Audio Visual (LAV), Madrid Spain

ACME Estudios, Madrid Spain

Analogica Festival, Bolzano Italy

Braquage Officiel at Espace en Cours, Paris France

Theatre Municipial Berthelot, Montreuil Paris France

A European touring exhibition of Liotta’s

latest expanded cinema performance: 13

venues/ 10 cities/ 6 countries in over two and

a half months of her sabbatical. Including

uniquely curated film and video screenings, as

well as masterclasses and workshops at select

venues. “Path of Totality” is the title of the

artist’s live projector performance made for

handmade 16mm film loop, 16mm projector,

invented lenses, objects both concrete and

transparent and shadowplay. Essentially a

The artist performing in Madrid, Spain

37

Jeanne Liotta

series of light and dark gestures that activate

peripheral vision, the work was inspired by

the experience of a total solar eclipse. “Path of

Totality” is named for the described path of the

Moon’s shadow on the Earth’s surface during a

total solar eclipse. In August 2017, “The Great

American Eclipse”, the width of this path was only

about 70 miles wide, a narrow ribbon of moon

shadow travelling over 1000 mph across numerous

States. To render the feel of those specific and

ineffable light conditions, the artist replaces

the solar with the projection system in her own

“restaging” of the event, bringing the cosmic into

the confines of an exhibition space.

The Path of Totality performance documentation

“…The sky snapped over the sun like a lens

cover. The hatch in the brain slammed. Abruptly it

was dark night, on the land and in the sky. In the

night sky was a tiny ring of light. The hole where

the sun belongs is very small. A thin ring of light

marked its place. There was no sound. The eyes

dried, the arteries drained, the lungs hushed. There

was no world.”

Annie Dillard, Total Eclipse

from Teaching a Stone to Talk, 1982

Jeanne Liotta (NYC/Boulder) makes films and video, moving image installations, projector

performances and other lens based mediums operating at a lively intersection of art, science, &

natural philosophy. She has been making work for over 3 decades, including collaborations with

Bradley Eros and with the collaborative audiovisual group Optipus. Her signature 16mm film of

the night skies, “Observando El Cielo,” won many awards including the prestigious Tiger Award

at the Rotterdam International Film Festival, and was voted among the top ten films of the decade

by The Film Society of Lincoln Center. Her works have been seen at The Whitney Biennial, The

New York Film Festival, SFMOMA, CCCB, Centre George Pompidou, The Wexner Center for the

Arts, The Menil Collection Houston, The Museum of Contemporary Art Denver and other venues

around the world, and are in the collections of The Museum of Modern Art NY, The Vienna Film

Museum, Harvard and Duke Universities. Her films are distributed by Lightcone, Paris and her work

is represented by Microscope Gallery, NYC where she has had two solo exhibitions, “Break the Sky”

(2018) and “The World is a Picture of the World” (2021).

www.jeanneliotta.net


Beth Osnes

Professor

Theatre & Dance


The Butterfly Affect

Granary Theater at the University College of Cork, Ireland

April 5, 2023

University of Saint Andrews, Scotland

April 11, 2023

Boulder Open Space Mountain Parks Art Hike

July 9, 2023

Vancouver, BC Canada October 17, 2023

Butterfly Pavilion on January 27, 2024

“The Butterfly Affect” is a guided experience

to travel through a butterfly’s metamorphosis

from egg, caterpillar, chrysalis, to butterfly. It is

an invitation for homo sapiens to go inside and

contemplate growth within themselves—to emerge

transformed and ready to co-create an equitable,

survivable, and thrive-able world for life and

the eco-systems upon which life depends. Three

participants enter the experience at a time and

proceed from the first stage inside an egg, to the

second emerging as a caterpillar, the third stage

hanging within a chrysalis, and final emerging as

a butterfly. Participants are guided through the

stages, each as one of three different butterfly

species, Monarch, Blue Morpho, or Wester Tiger

Swallowtail. Participants are costumed for each

stage and guided through a moving embodiment

and thoughtful reflection of the transformation by

their host plant guides. Delving into the science

of a butterfly’s metamorphosis and embodying

each stage can allow the opportunity to focus

on something within the self that is yearning to

transform. It can expand perspectives, insights,

ideas, and feelings. It is an invitation for homo

sapiens who seek to transition from their current

state to a radically different one that is equitable,

“The Butterfly Affect” documentation

survivable, and thrive-able. While participants

go through, their host leaf takes photos of each

stage of their journey using the participant’s

own phone. Afterwards, each participant is

invited to post an insight felt through their

experience and a photo of themselves on

the Co-Becoming Gallery on “The Butterfly

Affect” website.

“The butterfly effect theory” posits that

a butterfly’s wing beating on one side of the

world can cause a tornado on the other side of

the world. Small changes can result in large

and distant consequences. “Effect” (noun)

is the change that has already happened.

“Affect” (verb) is the action that causes

change now. If climate is the aggregated effect

of weather patterns over time, many of us

united in action can change the climate. We

can reverse global warming. The beatings of

your wings and heart through “The Butterfly

Affect” can travel around the world to

create change within a person and the world.

Contemplation of a butterfly’s metamorphosis

contains useful truths, codes, and inspiration

39

Beth Osnes

us lighter, beautiful, and capable of new flight.

This performance experience is designed to

impress upon participants that they have within

them all that they need to be the change they

yearn for right now. For homo sapiens who seek

to transition from the current status quo to a

radically different one, humbly tracing the steps

of a butterfly’s transformation can guide this cobecoming.

Material explorations can be a way to

think through the body as a process of interspecies

exchange. This is not an attempt to mimic or

impersonate these various butterfly species, but

rather an assertion of our unity as part of the

same natural world in need of transformation

for continued survival. It is an opening to the

wisdom and guidance of species beyond our own.

This performance experience is designed to be a

contemplative and immersive invitation to reflect,

dream, and imagine.

Beth Osnes in “The Butterfly Affect”

for emergence that carries meaning for

this moment in multi-species evolutionary

history. An egg, a caterpillar, chrysalis, and

a butterfly are all created of the same matter

yet are capable of remarkable change from

one iteration to the next. This transformation

suggests that change needn’t be scary or

include deprivation, but, rather, could leave

Osnes views this performance experience as

moving beyond one-way, passive reception of

climate communication to joyful immersion.

Project Website

https://insidethegreenhouse.org/butterfly-affect

Beth Osnes, PhD, is a Professor of Theatre and Environmental Studies at the University of

Colorado and is active in applied performance and creative climate communication in order to coauthor

an equitable, survivable, and thrive-able future for life and the ecosystems upon which life

depends. Her recent collaboration, “Side by Side,” is an art-science approach to youth engagement

for climate communication in relationship with local birds, featuring award-winning films of largescale

bird puppets of numerous Colorado species (major funding through the National Science

Foundation 2023-2027). Her creative work “The Butterfly Affect,” a performance experience to

travel through a butterfly’s metamorphosis to receive guidance for change from the natural world.

She works on climate comedy through teaching and scholarship. Her books include Theatre for

Women’s Participation in Sustainable Development and Performance for Resilience: Engaging Youth

on Energy and Climate through Music, Movement, and Theatre. She is co-director of Inside the

Greenhouse and co-founder of SPEAK.

www.bethosnes.com


Phaedra C. Pezzullo

Associate Professor

Communication


and Information

Beyond Straw Men: Plastic Pollution, Impure

Politics, and Networked Culture of Care

University of California Press

Addressing plastics can feel overwhelming.

Guilt, shame, anger, hurt, fear, dismissiveness, and

despair abound. Beyond Straw Men moves beyond

“hot take” or straw man fallacies by illustrating

how affective counterpublics mobilized around

plastics reveal broader stories about environmental

justice and social change.

Inspired by on- and offline organizing in the

Global South and the Global South of the North,

Phaedra C. Pezzullo engages public controversies

and policies through analysis of hashtag activism,

campaign materials, and podcast interviews with

headline-making advocates in Bangladesh, Kenya,

the United States, and Vietnam. She argues that

plastics have become an articulator of crisis and

an entry point into the contested environmental

politics of carbon-heavy masculinity, carceral

policies, planetary fatalism, eco-ableism,

greenwashing, marine life endangerment, pollution

colonialism, and waste imperialism. Attuned to

plastic attachments, Beyond Straw Men illustrates

how everyday people resist unsustainable patterns

of the plastics-industrial complex through

imperfect but impactful networked cultures of

care. The book is based, in part, on her podcast:

Communicating Care.

Beyond Straw Men book cover

Project Website

https://www.ucpress.edu/book/9780520393646/beyondstraw-men

“A revelatory and revolutionary meditation on

one of the most significant power struggles of our

time.” - Dr. David N. Pellow

41

Phaedra C. Pezzullo

Phaedra C. Pezzullo is an Associate Professor in the Department of Communication with

affiliations in Environmental Studies, Ethnic Studies, and Media Studies. She is founding co-editor

(with Salma Monani) of an award-winning University of California Press book series, Environmental

Communication, Power, and Culture, and Editor of the journal Environmental Communication. She

is founding Co-Director of C3BC (the Center for Creative Climate Communication & Behavior

Change) and the Just Transition Collaborative. Her first monograph, Toxic Tourism: Rhetorics of

Travel, Pollution and Environmental Justice (University of Alabama Press, 2007), won four awards;

she also has coedited Green Communication and China (MSU Press, 2020), coedited Environmental

Justice and Environmentalism (MIT Press, 2007) and edited Cultural Studies and the Environment,

Revisited (Routledge, 2010). Pezzullo lectures globally, including at the Grand amphithéâtre de la

Sorbonne, Université de Paris-Sorbonne, and Fudan University in Shanghai. Committed to public

engagement, she has partnered and consulted with many, including the American Bar Association,

the Sierra Club, and government planning departments. Pezzullo has dual citizenship in the US and

Italia.

https://phaedracpezzullo.com


Matthew Polis

Lecturer



and Information

A Filmmaker’s Guide to Sound Design

Routledge | Focal Press

This illuminating book offers a unique

view into the art of sound design and the post

production audio process. It was written for

filmmakers and designed to bridge the creative gap

between directors, producers and the artists, and

technicians who are responsible for creating the

full soundtrack.

It offers a cogent, clear, and practical overview

of sound design principles and practices, from

exploring the language and vocabulary of sound

to teaching readers how to work with sound

professionals and later to overseeing the edit, mix,

and finishing processes. In this book, Polis focuses

on creative and practical ways to utilize sound

in order to achieve the filmmaker’s vision and

elevate their films.

Balancing practical, experienced-based insight,

numerous examples, and unique concepts like

storyboarding for sound, A Filmmaker’s Guide

to Sound Design arms students, filmmakers, and

educators with the knowledge to creatively and

confidently navigate their film through the post

audio process.

A Filmmaker’s Guide to Sound Design book cover

Project Website

https://www.amazon.com/Filmmakers-Guide-Sound-

Design-Storytelling/dp/036724991X/

43

Matthew Polis

Matthew Polis is a sound designer, studio owner, and educator. His combined story-driven

approach to sound design and technical mastery in the mix room have earned him respect amongst

his peers in the world of film, TV, and commercial production with hundreds of credits to his name.

While in New York, Matthew spent 6 years as an adjunct professor at his alma mater, NYU Tisch

School of the Arts. During this time, he created post audio curricula for directors and producers. It

is from this material and lectures that the concept for this book was born. Matthew is currently an

Adjunct Professor at CU within the College of Media, Communication and Information.


Takács Quartet

Artist in Residence

Ralph E. and Barbara L. Christoffersen

Faculty Fellow

College of Music

Coleridge-Taylor Fantasiestücke and Dvořák

String Quartet Opus 106

Hyperion Records

The Takács Quartet’s 2023 CD release for

Hyperion Records features two works written

in the same year of 1895: the extraordinary but

infrequently recorded Fantasiestücke by Samuel

Coleridge-Taylor and Antonín Dvořák’s String

Quartet in G Major, Opus 106. Concluding the

disc is Dvořák’s Andante Appassionato, a short

stand-alone movement full of golden melodies

singing songs of longing and desire.

Gramophone Magazine describes this latest

2023 release: “The Takács Quartet are truly

impressive here – every micro-phrase, every note

is considered. Their sound draws you in from the

first moment. This is of course to do with their rich

and subtle playing, but also the fantastic recorded

balance. To simultaneously hear the separate parts

and the collective captured so beautifully is a treat

indeed! The Takács are all-in here – their sound is

not just orchestral, it’s psychological.” BBC Music

Magazine remarks “This album finds the quartet

in excellent shape, with their clarity of idea and

warmth of sound as strong as ever.”

Takács Quartet album cover

Project Website

https://www.hyperion-records.co.uk/dc.asp?dc=D_

CDA68413

https://www.hyperion-records.co.uk/a.asp?a=A1355

This CD is one of several innovative projects.

This season the ensemble is involved in the

commission and performances of a new work

“Flow” by the Nokuthula Endo Ngwenyama.

Plans for future seasons include new works written

for Takács by Gabriela Lena Frank and Clarice

Assad.

45

Takács Quartet

Takács Quartet members Richard O’Neill (viola), András Fejér (cello), Harumi Rhodes (violin), and Edward

Dusinberre (violin)

Recent winners of the Gramophone Classical Music Awards 2021, Chamber category, the worldrenowned

Takács Quartet is now entering its forty-ninth season. Edward Dusinberre, Harumi

Rhodes (violins), Richard O’Neill (viola) and András Fejér (cello) are excited about the 2023-2024

season that features varied projects including a new work written for them. Nokuthula Ngwenyama

composed “Flow” as celebration of the natural world. The work was commissioned by nine concert

presenters throughout the USA. September sees the release of a new recording of works by Samuel

Coleridge-Taylor and Dvořák for Hyperion Records, while later in the season the quartet will release

works by Schubert including his final quartet in G major.

As Associate Artists at London’s Wigmore Hall the Takács will perform four concerts featuring

works by Hough, Price, Janacek, Schubert and Beethoven. During the season the ensemble will

play at other prestigious European venues including Berlin, Geneva, Linz, Innsbruck, Cambridge

and St. Andrews. The group’s North American engagements include concerts in New York, Boston,

Philadelphia, Baltimore, Washington DC, Vancouver, Ann Arbor, Phoenix, Berkeley, Los Angeles,

Portland, Cleveland, Santa Fe and Stanford.

Based in Boulder at the University of Colorado, the members of the Takács Quartet are

Christoffersen Fellows. For the 23-24 season the quartet enter into a partnership with El Sistema

Colorado, working closely with its music education program in Denver. During the summer months

the Takács join the faculty at the Music Academy of the West, running an intensive quartet seminar.

https://www.takacsquartet.com/


Robert Shay

Professor

Musicology

College of Music

Henry Purcell: Dido and Aeneas

(a new critical edition)

Bärenreiter (Kassel, Germany)

Composer Henry Purcell and librettist Nahum

Tate created Dido and Aeneas — an operatic

retelling of Book IV of Virgil’s Aeneid — in

the 1680s. A single copy of an early printed

libretto survives; this must have been provided

at a performance of Dido in the late 1680s at

Josias and Frances Priest’s school for “Young

Gentlewomen” in Chelsea. In 1700 (more than

four years after Purcell’s death), Dido made its

professional debut at the Lincoln’s Inn Fields

Theatre, where it was integrated into a production

of Shakespeare’s Measure for Measure (as

documented in a printed wordbook), and there

were further revivals in 1704 (as advertised in the

London Daily Courant).

No extant manuscript scores or parts correspond

to Dido’s early performance history; only three

individual songs can be found in sources dating

from 1698 to c.1705. The next mention of Dido

comes seven decades later, in a 1774 concert

program printed for the Academy of Ancient

Music, a special title page emphasizing Dido’s

featured status. Someone connected with the

Academy must have located an early score,

which evidently went missing again. Curiously,

the Academy revered Purcell’s music yet had no

qualms about altering it, effecting to bring it in

line with contemporary musical tastes.

Several late eighteenth-century manuscripts

preserve the Academy’s adaptation of Dido.

Fortunately, though, three scribes preserved the

full measure of the work preserved in the early

score, retaining music cut by the Academy. Their

Purcell: Dido and Aeneas publication cover

scores, known today as the Tenbury, Nanki,

and Tatton Park manuscripts, provide the

foundation for the musical text of the opera.

In the annals of editing Dido, Tenbury

has been given pride of place due to its

replication of earlier notational conventions,

but a reassessment reveals scribal confusion

— its copyist may have been an apprentice

tasked with the job. Nanki has been seen as

the outlier, partially in line with the altered

Academy version, but it must be the forerunner

of that version, its copyist responsible for

updating the musical language. Only in the

case of Tatton Park do we know the copyist’s

identity, Philip Hayes, then one of England’s

most prominent musicians and its greatest

Purcell expert. The new edition of Dido is

the first to make Hayes’s score the copy-text.

Notably, Hayes took great care to display

Dido’s distinctive continuity, for example

47

Robert Shay

deploying single and double bars judiciously

to show where the music flows on and where

a short pause might be acceptable. This

guided the organization of the movements in

the new edition. He allowed minor melodic

and rhythmic variants to stand rather than

equalizing them (unlike the Nanki scribe and

later editors), understanding that this was

characteristic of Purcell’s music, and when he

did step in as editor he seems to have taken,

as musicologist Rebecca Herissone has put it,

a “non-interventionist approach” aiming “to

preserve the text intact.”

A goal of the new edition is to provide

a reading of Dido that allows Purcell’s

intentions — as understood by his advocate

Hayes — to shine through. Those familiar

with earlier editions will find several melodic

and rhythmic variants new, for example, the

close of Aeneas’s Act II recitative, at the

words “but with more ease could die,” where

a straight rhythm now follows asyncopated

one, Purcell possibly giving us a sense here of

Aeneas’s move from anguish to acceptance. In

the first of the sorceress and witches’ scenes,

the strings’ interjections appear in 6/8 time,

as indicated by Hayes. Earlier editors have

consistently provided triplets, but the incisive

duple character of 6/8 better represents the

intention here: the sorceress tells us that Dido

and Aeneas are “in chase,” and the strings are

mimicking hunting horns. These and other such

changes seek to remove an accumulated layer,

allowing performers and scholars to take a fresh

view of Purcell’s masterpiece.

Bärenreiter is one of the most prestigious

music publishers in the world, responsible for the

collected critical editions of Bach, Mozart, and

many other great composers. Their decision to

publish several of Purcell’s operas is an exciting

development, and Robert Shay could not be more

pleased to be serving as the editor for this series.

Project website

https://www.baerenreiter.com/en/shop/product/details/

BA8744/

Robert Shay is Professor of Musicology at the University of Colorado Boulder, where he

previously served as Dean of the College of Music from 2014 to 2020. He is co-author (with Robert

Thompson) of Purcell Manuscripts: The Principal Musical Sources (Cambridge University Press),

a recipient of the Music Library Association’s Vincent H. Duckles Award, given annually to “the

best book-length bibliography or other research tool in music.” Shay’s articles and reviews have

appeared in Early Music, Journal of Seventeenth-Century Music, Music & Letters, and Notes, and he

has contributed chapters to Purcell Studies and King Arthur in Music. His critical edition of Purcell’s

Dido and Aeneas was published by Bärenreiter in April 2023, and he has now embarked on a second

editorial project for the same publisher, Purcell’s King Arthur. Shay previously served as Professor

and Director of the School of Music at the University of Missouri; Vice President for Academic

Affairs and Dean of the Conservatory at the Longy School of Music, in Cambridge, Massachusetts;

and on the faculty of Lyon College, in Batesville, Arkansas. He holds a PhD in musicology from the

University of North Carolina at Chapel Hill.

48


Núria Silleras-Fernandez

Associate Professor

Spanish and Portuguese


The Politics of Emotion: Love, Grief, and

Madness in Medieval and Early Modern Iberia

Cornell University Press

The Politics of Emotion explores the intersection

of powerful emotional states—love, melancholy,

grief, and madness—with gender and political

power on the Iberian Peninsula from the Middle

Ages to the early modern period. Using an array

of sources—literary texts, medical treatises, and

archival documents—Núria Silleras-Fernandez

focuses on three royal women: Isabel of Portugal

(1428–1496), queen-consort of Castile; Isabel of

Aragon (1470–1498), queen-consort of Portugal;

and Juana of Castile (1479–1555), queen of

Castile and its empire. Each of these women was

perceived by their contemporaries as having gone

“mad” as a result of excessive grief, and all three

were related to Isabel the Catholic (1451–1504),

queen of Castile and a woman lauded in her time

as a paragon of reason.

Through the lives and experiences of these

royal women and the observations, judgments,

and machinations of their families, entourages,

and circles of writers, chronicles, courtiers,

moralists, and physicians in their orbits, Silleras-

Fernandez addresses critical questions about how

royal women in Iberia were expected to behave,

the affective standards to which they were held,

and how perceptions about their emotional states

influenced the way they were able to exercise

power. More broadly, The Politics of Emotion

details how the court cultures in medieval and

early modern Castile and Portugal contributed

to the development of new notions of emotional

excess and mental illness.

The Politics of Emotion book cover

Silleras-Fernandez third scholarly

monograph, The Politics of Emotion: Love,

Grief, and Madness in Medieval and Early

Modern Iberia is the winner of the 2023

Kayden Book Award.

Project Website

https://www.cornellpress.cornell.edu/

book/9781501773860/the-politics-ofemotion/#bookTabs=1

49

Núria Silleras-Fernandez

Núria Silleras-Fernandez is an Associate Professor at the Department of Spanish and Portuguese.

Her research focuses on cultural and intellectual history, gender, and literature in Medieval and

Early Modern Iberia and the Mediterranean. She is the author of three scholarly monographs, Power,

Piety, and Patronage in Late Medieval Queenship: Maria de Luna (Palgrave: 2008) and Chariots of

Ladies: Francesc Eiximenis and the Court Culture of Medieval and Early Modern Iberia (Cornell

UP: 2015), and The Politics of Emotion: Love, Grief, and Madness in Medieval and Early Modern

Iberia (Cornell UP: January 2024).

50


Jeremy L. Smith

Professor

Musicology

College of Music

Tallis and Byrd’s Cantiones sacrae (1575): A

Sacred Argument

Boydell & Brewer

Thomas Tallis’s and William Byrd’s Cantiones,

quae ab argumento sacrae vocantur (songs, which

by their argument are called sacred) of 1575 is one

of the first sets of sacred music printed in England.

It is widely recognized as a landmark achievement

in English music history.

Dedicated to Queen Elizabeth I to mark the

seventeenth year of her reign, each composer

contributed seventeen motets to the collection,

which proved to be greatly influential among

the era’s composers. But what did Tallis and

Byrd mean to convey by their use of the word

“argument” in their title?

The current view is that they treated their

project as an opportunity to pull together a grand

compendium of musical accomplishment that

drew on the past, but looked to the future, and

that the texts functioned as mere vehicles for

musical display. In contrast, this book claims that

these very texts were chosen by the composers

to develop a theme, or argument, on the topic of

sacred judgment. In offering a new interpretation

of the song collection Smith employs a carefully

constructed musical, literary, theological, and

political argumentation. The book will encourage

new ways of approaching and interpreting Tudor

and Elizabethan sacred music.

Tallis and Byrd’s Cantiones sacrae book cover

Project Website

https://boydellandbrewer.com/9781837650453/tallisand-byrds-icantiones-sacraei-1575/

51

Jeremy L. Smith

Jeremy L. Smith teaches Renaissance and Rock music at the University of Colorado Boulder.

His books include an edited volume for the Byrd Edition, a festschrift for William Prizer, a music

appreciation text, and three books on Elizabethan music history. He has also published articles on

Byrd, madrigals, Mary Queen of Scots, Carole King, and progressive rock. He is currently working

with Alexandra Siso on a book on the Oriana madrigal tradition.


Kristie Soares

Assistant Professor

Women & Gender Studies


Playful Protest: The Political Work of Joy in

Latinx Media

University of Illinois Press

2023

Playful Protest argues that joy is a politicized

form of pleasure that goes beyond gratification

to challenge norms of gender, sexuality,

race, and class. Kristie Soares focuses on the

diasporic popular culture of Puerto Rico and

Cuba to examine how music, public activist

demonstrations, social media, sitcoms, and other

areas of culture resist the dominant stories told

about Latinx joy.

As she shows, Latinx creators compose versions

of joy central to social and political struggle and

at odds with colonialist and imperialist narratives

that equate joy with political docility and a

lack of intelligence. Soares builds her analysis

around chapters that delve into gozando in salsa

music, precise joy among the New Young Lords

Party, choteo in the comedy ¿Qué Pasa U.S.A.?,

azúcar in the life and death of Celia Cruz, dale as

Pitbull’s signature affect, and Alexandria Ocasio-

Cortez’s use of silliness to take political violence

seriously.

Playful Protest book cover

Project website

https://www.press.uillinois.edu/books/?id=p087424

Playful Protest examines how Latinx creators

resist the idea that joy only exists outside politics

and activist struggle.


53

Kristie Soares

Kristie Soares is an Assistant Professor of Women & Gender Studies and Co-Director of LGBTQ

Studies at the University of Colorado Boulder. They are also a performance artist. Both their

research and their performance work explore queerness in Caribbean and Latinx communities.

Their research focuses on 19th-21st century Latinx media and literature, with a specialization

in queer Caribbean cultural production. Their book– Playful Protest: The Political Work of Joy in

Latinx Media (University of Illinois Press, 2023) – defines joy as a politicized form of pleasure, one

that not only produces gratification but also unsettles social norms of gender, sexuality, race, and

class. The book examines Puerto Rican and Cuban diasporic media from 1960-present. It contends

that when cultural producers insert joy into media texts—ranging from music, to public activist

demonstrations, to sitcoms—they resist the dominant stories told about Latinx joy over centuries of

colonialism and imperialism.

They are also currently working on an oral history project that explores the role of Latinx disc

jockeys in the development of disco and dance music in 1970s New York. This is part of a larger

book project entitled “Macho Man: Performances of Latinidad in the Disco Era.”

Their work has been published in Signs, Feminist Studies, Meridians, Frontiers, Letras Femeninas,

Revista de Estudios Hispánicos, Remezcla, LatinxSpaces, Latino Rebels, and The Los Angeles

Review of Books.

Like their research, their teaching draws heavily on queer and performance methodologies.

They encourage students to “try out” intellectual concepts using their bodies, through decolonial

pedagogies such as Spoken Word Poetry and Theatre of the Oppressed. They also facilitate

performance poetry workshops for schools and community organizations.

www.kristiesoares.com


Annika Socolofsky

Assistant Professor

Composition

College of Music

Don’t say a word

New Amsterdam Records, New York, NY

June 23, 2023

Album release performance at Sound Atlas

Festival in Calgary, AB, Canada on June 25, 2023

with Annika Socolofsky (voice) and Latitude 49

Lullabies have long been a safe space for women

to express themselves. But at the same time, these

relatively ancient texts often indoctrinate young

minds with outdated, sexist, and homophobic

‘moral’ codes. As I delve ever deeper into my

adulthood, I have found many of these lessons

have harmed me so deeply that I have no choice

but to rebel, to rage against the very words that

once soothed me.

In this raging rebellion against once-soothing

words, I wrote Don’t say a word, eight new

lullabies for my adult-self, cradle songs that assert

love long muffled: self-love, queer love, love for

my temper and tongue, and love for those who

have lighted my way.

This unapologetic profession of love and

vulnerability is something I have felt denied all

my life. And it’s time to reclaim it. These are love

songs for the self. These are my feminist ragerlullabies

for the new queer era.

Don’t say a word was commissioned in-part

by the Knoxville Symphony Orchestra, Carnegie

Mellon Contemporary Ensemble, Shepherdess

Duo, and Girlnoise and premiered by Latitude 49

and Annika at Princeton University’s Princeton

Sound Kitchen in October 2019.

Album Cover for I Tell You Me

Album artwork by Tara Knight

I Tell You Me

Carrier Records, New York, NY

September 8, 2023

Album release performance at Rayback

Collective in Boulder, CO on September 18,

2023 with Annika Socolofsky (voice) and ~Nois

My original 3-song cycle riffs on the old

nursery rhyme “sugar, spice, and everything

nice, that’s what little girls are made of,”

questioning gender roles and rejoicing in

the beauty of queer self-expression and

empowerment. The album turns this old

nursery rhyme on its head, asking “what are

little girls made of?” and channels feminist

rage and defiance at the double standards

placed on women and queers in our society.

In the spirit of individual expression, the song

cycle is followed by remixes of each song in

the cycle, each created by a different queer

artist: Phong Tran, Darian Donovan Thomas,

and No Plexus and celebrating their unique

voices through their own performances,

composing, and production.

55

Annika Socolofsky

attractive, I could get a boyfriend. If I just acted

like a woman, I wouldn’t cause so many problems.

If I would just change every fiber of my being, I’d

finally fit in.

For my entire life, I’ve been told who I ought to

be. But they never asked me who I was.

I Tell You Me was commissioned by ~Nois

Saxophone Quartet and premiered by ~Nois and

Annika at the 2021 Ear Taxi Festival in Chicago,

Illinois.

Project website

Album Cover for Don’t say a word

Album artwork by Xuan

For my entire life, I have been told I do my

gender wrong. For my entire life, I have been

told that if I tamed my curly hair, I would be

prettier. If I dressed like a girl, I wouldn’t be

thrown out of the girls’ bathroom. If I wore

different clothes, I would look more feminine.

If my muscles weren’t so strong, I’d be less

masculine. If I was less driven, I’d be more

likable. If I presented as more feminine,

I would be more attractive. If I was more

https://annikasocolofsky.bandcamp.com/album/dont-say-aword

https://annikasocolofsky.bandcamp.com/album/i-tell-you-me

Annika Socolofsky is a composer and avant folk vocalist who explores corners and colors of

the voice frequently deemed to be “untrained” and not “classical.” Described as “unbearably

moving” (Gramophone) and “just the right balance between edgy precision and freewheeling

exuberance” (The Guardian), her music erupts from the embodied power of the human voice and is

communicated through mediums ranging from orchestral andoperatic works to unaccompanied folk

ballads and unapologetically joyous Dolly Parton covers.

Annika is a recipient of the 2021 Gaudeamus Award, the 2019 Cortona Prize, grants from Harvard

University’s Fromm Foundation and the Barlow Endowment, as well as an ASCAP Morton Gould

Young Composers Award and a BMI Student Composer award. Her research focuses on the music

of Dolly Parton to create a pedagogical approach to composition that is inclusive of many vocal

timbres, inflections, and techniques, evading the age-old false dichotomy of straight tone vs. bel

canto vocal style. Annika plays a Norwegian hardanger d’amore 5x5 fiddle made by Salve Håkedal.

www.aksocolofsky.com


Sarah Stanford-McIntyre

Assistant Professor

Herbst Program for

Engineering, Ethics &

Society

College of Engineering & Applied

Sciences

American Energy Cinema

West Virginia University Press

American Energy Cinema explores how

Hollywood movies have portrayed energy from

the early film era to the present. Looking at

classics like Giant, Silkwood, There Will Be Blood,

and Matewan, and at quirkier fare like A Is for

Atom and Convoy, it argues that films have both

reflected existing beliefs and conjured new visions

for Americans about the role of energy in their

lives and their history.

The essays in this collection show how film

provides a unique and informative lens to

understand perceptions of energy production,

consumption, and infrastructure networks. By

placing films that prominently feature energy

within historical context and analyzing them

as historical objects, the contributing authors

demonstrate how energy systems of all kinds are

both integral to the daily life of Americans and

inextricable from larger societal changes and

global politics.

American Energy Cinema book cover

Project Website

https://wvupressonline.com/american-energy-cinema

57

Sarah Stanford-McIntyre

Sarah Stanford-McIntyre, PhD, is an historian of technology, labor, and the environment who

studies how technology shapes communities, builds social worlds, and changes environments. Her

book project, Natural Risk: An Environmental History of West Texas Oil and the Rise of Sunbelt

Texas (Columbia University Press), examines how oil workers in the West Texas Permian Basin

responded to industry hazards. She uses this analysis to track an environmental history of Texas

economic development and industrial deregulation.


Ted Striphas

Associate Professor

Media Studies


and Information

Algorithmic Culture Before the Internet

Columbia University Press

2023

Today, algorithms exercise outsize influence

on cultural decision-making, shaping and even

reshaping the concept of culture. How were

automated, computational processes empowered

to perform this work? What forces prompted the

emergence of algorithmic culture?

Algorithmic Culture Before the Internet is a

history of how culture and computation came

to be entangled. From Cambridge, England, to

Cambridge, Massachusetts, by way of medieval

Baghdad, this book pinpoints the critical junctures

at which algorithmic culture began to coalesce

in language long before it materialized in the

technological wizardry of Silicon Valley. Revising

and extending the methodology of “keywords,”

Ted Striphas examines changing concepts and

definitions of culture, including the development

of the field of cultural studies, and stresses

the importance of language in the history of

technology.

Offering historical and interdisciplinary

perspective on the relationship of culture and

computation, this book provides urgently needed

context for the algorithmic injustices that beset the

world today.

Algorithmic Culture Before the Internet book cover

Project Website

https://cup.columbia.edu/book/algorithmic-culturebefore-the-internet/9780231206693

59

Ted Striphas

Ted Striphas’ research examines the history, culture, and politics of technology, focusing on the

relationship between emergent technologies and patterns of social and linguistic change. Notable

publications include The Late Age of Print: Everyday Book Culture from Consumerism to Control

(Columbia University Press, 2009) and The Cultural Politics of COVID-19 (Routledge, 2022, coedited

with John Nguyen Erni). He is also co-editor of the field-defining journal, Cultural Studies.

Striphas is the department Chair of Media Studies in the College of Media, Communication and

Information at the University of Colorado Boulder.


Brian Talbot

Assistant Professor

Philosophy


The End of Epistemology As We Know It


Epistemology is the study of epistemic norms -

standards for evaluating belief and thought - and

is one of the central philosophical disciplines.

Epistemic norms should matter. In The End of

Epistemology As We Know It, I explore a range

of ways in which epistemic norms could matter,

and I show how epistemic norms as standardly

understood fall short for each way. I argue that we

can and should replace existing norms with norms

that matter more. These replacement norms will be

quite different from the norms standardly accepted

both in philosophy and in everyday life. And so

this book calls for a fundamental reworking of

theory and methodology in epistemology.

In the book, I consider the role epistemic norms

can and should play in evaluating and guiding

thought, in producing and explaining good action,

and in social and political coordination. The

epistemic norms as standardly understood both

inside and outside philosophy are poorly suited

for these roles, as they are not properly oriented

towards what genuinely matters to us in these

domains. I explain how epistemic norms that

genuinely matter will require new and surprising

notions of epistemic success, reason, and

justification. In fact, we may have to completely

revise our understanding of what we typically aim

at in thinking about the world.

The book opens the door for new projects in

epistemology. It reveals the need for new accounts

of epistemic goodness and rationality, and

illuminates how to pursue these in ways that are

genuinely attuned to what is worthwhile.

The End of Epistemology As We Know It book cover

Project Website

https://global.oup.com/academic/product/

the-end-of-epistemology-as-we-know-it-

9780197743638?cc=us&lang=en&

61

Brian Talbot

Brian Talbot joined the CU philosophy department in 2018. He has previously taught at

Washington University in St. Louis and California State University Los Angeles. Brian’s work is

on epistemology, ethics, and the philosophy of law. Brian’s non-philosophical interests include

drumming, composing electronic music, video games, and cooking.


Anna Tsouhlarakis

Assistant Professor

Art and Art History


Portrait of an Indigenous Womxn [Removed]

National Portrait Gallery

Washington, DC

The Missing and Murdered Indigenous Women’s

movement advocates for the end of violence

against Native women and brings attention to

the high rate of missing and murdered Native

women. Across the continent, missing posters

inundate Native communities and flood social

media. This epidemic has largely gone unnoticed

nationally and is even overlooked by state and

local governments. Many of the stories of these

women are still incomplete, full of unanswered

questions of their fate with little or no follow up

from authorities. These women led lives that were

meaningful and were community members and

family members.

While the women whose stories I am sharing

through “A Portrait of an Indigenous Womxn

[Removed]” are not directly related to me, they

are part of the larger Native community. As a

Native woman, I feel the responsibility and honor

to help give their story, their oral histories, a

louder voice. This project is not about my kinship

to them, though I do feel it, it is built on the

kinship between Native families and the kinship

and connection these women had with the people

and communities who loved them and want their

stories in the world.

“A Portrait of an Indigenous Womxn

[Removed]” included a beaded and framed

missing poster of an Indigenous woman that

is part of the current exhibition “Kinship” at

the National Portrait Gallery. It also includes

two performances that were done in May and

November of 2023 where the artist carried more

Portrait of an Indigenous Womxn [Removed]

performance documentation

framed missing posters of Native women

throughout the museum galleries and placed

them in meaningful locations. The project

culminated in a Study Day between the

National Portrait Gallery and the National

Museum of the American Indian on November

6th that brought academic, curators, and artists

together from across the country to discuss the

connections between art and the Missing and

Murdered Indigenous Women’s movement.

Indigenous Absurdities

Museum of Contemporary Art Denver

Anna Tsouhlarakis: Indigenous Absurdities

is an exhibition of new work by Boulderbased

artist and 2021 Creative Capital Grantee

Anna Tsouhlarakis. Centering Indigenous

knowledge systems and ways of teaching as

starting points, Tsouhlarakis’ work reframes

the discourse around the construction of

Native American identity. Through video,

performance, sculpture, photography, and

installation, Tsouhlarakis challenges and

expands the boundaries of aesthetic and

63

Anna Tsouhlarakis

Tsouhlarakis investigates the layering of truths

and histories within comical stories and jokes,

and how the anecdotes reflect Indigenous identity.

“Indian humor” is a colloquial name for Native

American jokes dealing with specific tribes,

families, and, occasionally, specific people.

Sourcing research from friends, family, and a

broad network of Native communities across the

US, Tsouhlarakis collects Indigenous jokes and

stories and deconstructs them only to reassemble

them as abstract drawings, video, and sculptures

that highlight newfound complexities and

understanding of Native American identity and

expression. Indigenous Absurdities features newly

commissioned works that are the culmination of

Tsouhlarakis’ 2021 Creative Capital Award. The

prestigious $50,000 annual award supports the

creation of groundbreaking, innovative projects to

a select group of artists.

SHE MUST BE A MATRIARCH, 2023. Featured in

Indigenous Absurdities.

conceptual expectations for Native artmaking

to reclaim and rewrite their definitions.

Whether situated in history or the present

day, jokes are rooted in truth. Amusing,

illogical, and sometimes ridiculous, they

reframe our understanding of the world

around us. In Indigenous Absurdities, Anna

Project Website

https://npg.si.edu/about-us/press-release/portrait-indigenous-womxnremoved-performance-anna-tsouhlarakis

https://creative-capital.org/projects/indigenous-absurdities/

Anna Tsouhlarakis received her BA from Dartmouth College with degrees in Native American

Studies and Studio Art, and her MFA from Yale University in Sculpture. Tsouhlarakis has

participated in various art residencies including Skowhegan School of Painting and Sculpture,

Yaddo, and was the Andrew W. Mellon Artist-in-Residence at Colorado College for the 2019-2020

academic year.

Tsouhlarakis’s work has been part of national and international exhibitions at venues such as

Crystal Bridges Museum of American Art; the Museum of Contemporary Native Arts; the Scottsdale

Museum of Contemporary Art; the National Museum of the American Indian; the National Portrait

Gallery; and a recent solo exhibition at MCA Denver. She is a Creative Capital Award recipient

for 2021. Other awards include fellowships from the Harpo Foundation, the Eiteljorg Museum, the

DC Commission on the Arts and Humanities, the Native Arts and Cultures Foundation, and most

recently, the Louis Comfort Tiffany Award. Tsouhlarakis is an Assistant Professor in the Art and Art

History Department at the University of Colorado Boulder. She is Greek, Creek, and an enrolled

member of the Navajo Nation.

www.naveeks.com


Keith Waters

Professor

Music Theory

College of Music

Night Songs

Doll Records

This duo CD is a jazz collaboration between

pianist Keith Waters and guitarist Scott Sawyer,

featuring eight original compositions and

two additional works. Both have performed

internationally with major jazz artists. Waters and

Sawyer have performed together for fifty years,

beginning as young teenagers in high school. The

CD, recorded in February 2023, was funded by

a grant from the Center for Humanities & the

Arts at the University of Colorado Boulder, as

well as another grant from Pathways to Jazz. It

was released in November 2023.

Project Website

http://www.keithwaters.net/nightsongs/

Night Songs CD cover

65

Keith Waters

Keith Waters has written award-winning books on jazz for Oxford University Press, as well as

numerous articles. As a jazz pianist, he has performed throughout the United States, Europe, Russia,

and South America and has appeared with many nationally-known jazz artists.

www.keithwaters.net



University of Colorado Boulder

280 UCB

Macky Auditorium 201

Boulder, CO 80309

Director

Jennifer Ho

Program Manager

Mariana Pereira Vieira

Events & Communication Coordinator

Diamond Darling

2023 Student Assistants

Nyssa Baca, Dylan Carpenter, and Megan King

www.colorado.edu/cha

Follow us: @CUBoulderCHA

Art, NoNvioleNce,

ANd PreveNtive

Publics iN

coNtemPorAry euroPe

briANNe coheN


Justin D’Arms & Daniel Jacobson

don’t

look

away

Faculty Celebration of Major Works Magazine 2023

Transform your PDFs into Flipbooks and boost your revenue!

Delete template?

Save as template ?