HAMPSHIRE’S ONLY NEWS SOURCE may 1, 2009 VOLUME Xi, ISSUE 5 the CLiMAX A representation of this year’s Div III work: a photograph from Jenn Kane’s From the Earth; a print from Diego Rodriguez-Warner’s Pessimism of the Intellect, Optimism of the Will; and Maggie Emerson in Teff Nichol’s play The Other Shore. A student’s Division III is the culmination of a year’s worth of hard work and dedication. It is a project that marks the end of a student’s time at Hampshire, and serves as a way for students to use, in one way or another, all that they have learned in Division I and II. While we tried our best to profile as many as we could, we regret that we could not showcase every graduating Division IIIs. The Climax would like to congratulate all the graduating Division III students on completing these final projects and wish them the best of luck in all their future endeavors. Nationalism treated as sacred Love, sex, and technology scott atherly joanna price By Kendell Richmond Staff Writer S cott Atherly arrived to Hampshire from Illinois in the fall of 2005. After a week of hiking with his orientation group, he settled into Dakin, took his hookah out to the gazebo and began blowing smoke rings. This is how he remembers his early days at Hampshire College. Over the past four years Scott has studied hard but also allowed his focus to extend beyond classes. His interest in politics led him to join Ron Paul’s campaign in New Hampshire in the 2008 election. As a starter for the Hampshire basketball team, he will be sorely missed by his teammates next year. He is also one of the defending champions for the 3–on–3 tournament. “I don’t have a specific favorite Hampshire memory; there are a ton of good ones, 
and I can’t really pick,” Scott said.

 “I’m ready to move on from Hampshire, but I can’t really imagine living without everyone I’ve gotten to know. It 
hasn’t fully sunk in yet.” he said. Last summer Scott joined his advisor Verna Turam on a field study trip to Turkey. This influenced his Div III, titled Nationalism and the Experience of the Sacred in the US and Turkey, which argues that Nationalism is treated as something sacred. “The nation is an object
 of worship in modern national societies. Nationalism can be viewed as a continuity of religion in certain ways.” Next year Scott will go McGill for grad school to study sociology. ~tree~ By Yonatan Schechter Staff Writer J oanna Price’s Div III, entitled A Case Study on the Application of Mass Opinion on the Individual Experience: the Effects of Technology on the Individual Experience of Love looks at the effect of a group identity such as the internet or media on the individual experience. She states, “The way to examine this is by looking at how individuals incorporate this [the group identity in question] into their every-day life.” She felt that any individual experience could be studied in this way, but her focus was on modern technology’s effect on the individual aspects of love and sex. Joanna found that there were three ways effects that could be How to make Enfield social and sustainable applied to other cases of the group/individual relationship. The first is the recognition of cultural context, e.g. identifying what is going on. The next way to understand the relationship between group identity and individual experience is to separate emotional reactions from individual thought. Finally, the third way to try and understand this relationship is that by accepting group opinions as true, we turn something that is not “real” into a hyper-real monster. To explain this last method Joanna says that we have to understand that social-construct is imaginary. Joanna thinks that the applications to the individual are at least as important as the information itself and tried to write her Division III with that thoughtprocess in mind. ~tree~ tobin porter-brown By Eddy Mulhern News Editor T obin Porter-Brown’s project will not just be printed and placed in a library of many to be forgotten. Rather, his architectural design is part of a scheme to make the Enfield mods more sustainable and livable. His final poster, on display as of April 21, quoted the following statement from Hampshire’s founding document, The Making of a College. “The Campus design should express in every possible way the distinctive social and educational character of Hampshire College.” Porter-Brown’s Div III takes on the project of the Enfield Solar Greenhouse and the Enfield neighborhood as a method of Showcasing Sustainability (the title of his project) and improving its social space. “Most people [in Enfield] sit on their back steps,” he said, instead of congregating in a central social space as was originally intended. As Porter-Brown said, the Greenhouse was both a public space and “attached to our living room” before it was taken down last summer due to structural problems it had caused in the attached Mod 46. Porter-Brown’s model would leave the Greenhouse more ostensibly open to the Hampshire community, placing it “close to the apple orchard, close to Enfield, and with enough sunlight for a greenhouse.” However, responsibility for maintaining the greenhouse would still fall to the residents of the Greenhouse mod. Porter-Brown’s design includes a barbeque pit and a brick oven, in addition to a social space on the patio that features solar panels so students could plug in their computers. The Greenhouse would grow kitchen herbs and fig trees. It would house annual garden beds and would use aquaponic systems, just to name a few features. Porter-Brown’s Div III is not just his vision, however, because the Greenhouse may be constructed this summer or next fall thanks to donations from particularly generous alums, $7,000 from students, and $25,000 from Community Council. Blueprints from an architect will arrive soon and will then be presented to trustees and upper-level members of the administration. Porter-Brown noted that “at this point the college doesn’t know how to deal with studentinitiated projects.” He said that this summer would be a good time to build, as contractors are giving an average of 15% discounts because of the economic climate. ~tree~ 2 div iii the climax ted day & cameron vokey By Henry Parr Managing Editor I llustrating, among other things, the tense and painful relationship that artists have with their art, the art world, and themselves, Terrible Beauty from Mr. Plurality was an experiment in theatre that served as the centerpiece for Ted Day and Cameron Vokey’s respective Division IIIs. Matthew, the protagonist, is an unsuccessful artist who lives in the art gallery owned by his brother, Mark. Fed up with Matthew’s poor reception into the art world, Mark convinces Matthew to fake his own death. Matthew continues to produce art, including a number of videos that cue the audience into his artistic process and complicated relationship with Mark. The play’s production was highly collaborative. While Day and Vokey wrote the script over the summer of 2008, they had the scene, set, costume, lighting, and sound designers contribute to the play’s production, from casting calls to direction. Day and Vokey had particularly good synergy by the end of the production. “After 6 months of working together [we] becourtesy of zack shepard came like one voice, I could totally trust Ted in his Jake Mazonson in Terrible Beauty from Mr. Plurality. decisions.” Cameron’s Div III, entitled Writing to Inform Design Day was more focused on playwriting. After writand Multimedia was “a focus on narrative and multi- ing Terrible Beauty from Mr. Plurality, Day looked to media and how they can connect with one another.” change the script so that it was an open-ended text, This was done his involvement in three projects, The “an open piece of work that could constantly be addWilson and Alva Show, Terrible Beauty From Mr. Plu- ed on to. The play, isolated, is a typical narrative but rality, and Zack Shepard’s Division III. In each project I was looking for a database structure…I wrote five Vokey has strived to “make multimedia an integral plays that were there to inform people about the charpart of a narrative or story without seeming like it’s acters they’re basically just vignettes from the characunconnected” making less of spectacle and more of ters future or past.” These vignettes would make the literary experience more full, and help the producan interactive give and take. Looking for a connection between narrative the- tion of the performance. Day went further with this ater and video art makes perfect sense for Vokey, who idea when he wrote a script with the help of Vokey spent much of his Division I doing video, and all of and used graphic novel illustrations. This sort of mixhis Division II doing playwriting and producing. “In ing media works well with Day’s academic progresmy Div III I went back and tried to connect them to- sion that began with film and moved more towards gether because I had done video work and had done acting and then writing. Both Vokey and Day expect to continue their work theater, and I wanted to make them come together.” Day had a similar goal for his Div III entitled Col- playwriting, acting, and making video art, and plan laborative Dramatic Writing and Multimedia Integration. on and starting their own collective arts group, based which also was based around the production of Ter- in New York City, with a few other Hampshire alums. rible Beauty from Mr. Plurality. Unlike Vokey, however, ~tree~ THE CLIMAX Staff Writers Managing Editor Editorial Board Kate Abbey-Lambertz Dan Clarendon Jean Dupenloup Andrew Fulmer Ben Kudler Eddy Mulhern Josh Schneider Hampshire College 893 West St. Amherst, MA 01002 climax.hampshire.edu [email protected] Copy Editors Kate Abbey-Lambertz Photo Editor Maia Campbell Layout Editor Julia Partington Kate Abbey-Lambertz Dan Clarendon Layout Staff Kendell Richmond CO2 loves to party cameron peebles Terrible Beauty from Mr. Plurality Henry Parr volume Xi, issue 5 Dan Clarendon Catharine Smith Kelly Wehrle denouement editors Jordan DeBor Josh Schneider Aleksi Ahonen Ben Beach Sam Bortle Sam Butterfield Colin Carr Alejandra Cuellar Chris McDonough Eric Peterson Keith Putnam Kendell Richmond Yonatan Schechter Molly Smith Kelly Wehrle Photographers Colleen Conley Ryan Mihaly Audrey Nefores Navit Reid Alex Vara The views expressed in The Climax do not necessarily reflect those of the paper, its staff, or Hampshire College. The Climax will gladly work with any interested writers and photographers and holds regular staff meetings open to all Hampshire students and faculty. Please direct any comments, questions, corrections, letters to the editors, or article submissions to [email protected]. The typeface family used in The Climax was designed by David Jonathan Ross (F03) as part of his Division III work in typography and type design. Copyright 2009 The Climax, all rights reserved. By Kendell Richmond Staff Writer I t is difficult to capture the person that is Cameron Peebles. A proud Vermontian, a chemist, a photographer, a flash running through the woods wearing an American flag cape and his signature hat—Cameron Peebles is all of this. First arriving to Hampshire College in the fall of 2005, he moved into J313, though this quirky kid quickly became an icon in the Hampshire community. Although he divided his academic time between the Film/Photo building and Cole, Cameron’s Div III focused in Chemistry. “Don’t get me wrong, CO2 loves to party, but it’s everywhere. Anthropogenic
 CO2 emissions are ridiculous. Our dependence on non-renewable energy sources
 is ridiculous. And that’s what this 
Division III is all about—the design and synthesis of a catalyst capable
 of inserting CO2 molecules into other substrates to make plastics, fuels, 
and many other resources. In this manner, we both reduce anthropogenic CO2
 emissions and encourage the use of renewable energies,” Cameron explains. Like C02, Cameron works hard—and parties just as hard. When asked about his favorite Hampshire memory, Cameron said, “Watching kids wander by me in the woods on keg
 hunt. It’s like that scene in The Patriot: Mel Gibson is holding an American 
flag and watching all these soldiers run past him to fend off the British. 
But I’m Mel Gibson and the soldiers are drunken, sloppy Hampshire kids like 
Zach Heine running past me into trees and streams.” Cameron’s advice for those remaining at Hampshire: “Do as many drugs as possible.” His plans for after graduation are still up in the air, though he has limited it to two choices. 1) Moving to Berkeley, CA to work at the LBNL (a government 
chemistry lab), or 2) Fishing the backwaters of Southern Montana and Eastern 
Canada. In closing, Cameron has this to say. “The Hampshire College Beer Pong Tournament of the World is coming up. Early 
May. Get a team ready and email cdp05.” Cameron Peebles, Renaissance man, is confident that he will take the belt again. ~tree~ tamara maurey Children learning independently By Molly Smith Staff Writer T amara Maurey’s Division III project, entitled The Role of SelfRegulation in the Elementary Classroom, focuses on determining strategies teachers can use to help Kindergarten–3rd Grade students learn to be responsible for their own education. According to Maurey, most self-regulation research has been done in secondary school, and most of the related research that is done in elementary settings focuses on children’s ability to sit still, be quiet in line, etc. At the secondary level, teachers already expect students to have a high level of responsibility in figuring out how to be independent learners. “I wanted to see what strategies teachers can incorporate in their instruction at the earlier grade level in order to prepare their students to take responsibility for their learning,” said Maurey. Given her interest in independent learning, it’s no surprise that she chose to attend Hampshire. The learning approach here makes it particularly necessary to be in control of one’s own education. “Students need to be self-regulated, especially in Division III.” Maurey’s project, through her personal observations and research, looks closely at how this drive for independence can be fostered in the earlier years of school. She has done several in-class observations of children at an elementary school in Amherst. Among the more successful strategies she has observed are those that encourage students to set goals for their learning and that help them to analyze their current learning approach. Teachers can help students to stream-line their own educations by giving them individualized suggestions and helping them to set personal learning goals. Hoping to be a teacher in the near future herself, these classroom observations have been beneficial not solely to Maurey’s Div III, but also to her personal teaching approach. “Being in the classroom has helped me to identify specific strategies I hope to incorporate into my practice next year when I have a classroom of my own.” ~tree~ div iii may 1, 2009 rami baglio Bear Attacking Girl and other works the climax 3 dooler campbell From freaky spacepods to Narnia By Kendell Richmond Staff Writer D ooler Campbell, a native of Asheville, North Carolina, spent many sunny days spotted smoking hookah outside, and it is one of the things they will miss most about Hampshire College. A transfer student, Dooler came to Hampshire in the fall of 2007 and their first memory of the school is seeing Greenwich and thinking, “I want to live there, in the freaky spacepods!” Sure enough, Dooler would live in Greenwich for three of her four semesters at Hampshire. Dooler’s Div III is entitled Nature and Development of Women’s Activism in 20th Century Iran, and was overseen by Burma Turam (chair) and Jutta Sperling (member). The project has helped lay out the path for Dooler’s next step in life. “I am going to Egypt,” Dooler said, “to study Arabic from September to May, then applying to grad schools.” Dooler’s favorite place on campus is “Narnia,” a combination of experiences that she listed enthusiastically, “Chilling by the Hampshire tree. Drag Ball. Hampshire Halloween 2008 [which was] pretty much perfect. Everything,” Although Dooler did not attend Hampshire all four years, she found a community here, and leaves the continuing students with this simple advice: “Support each other.” ~tree~ artwork by rami baglio By Kate Abbey-Lambertz Photo Editor R ami Baglio’s Division III show in painting, called See What You See: Exploring Archetypes consists of seven large oil paintings, grand images with women and beasts that exist somewhere between the real and the imaginary. “The archetypes are influenced by folklore and mythology. That’s what I read a lot of when I was growing up,” Rami said. “They’re not based on specific stories, but I want people to create their own narratives from the clues.” “There’s a lot in them that is relatable. I wanted to reach an audience outside of the artbarn; I was catering to non-artists.” Rami started Hampshire with the idea that she would major in languages, but realized that she liked learning them more than studying them. “I have a lot of interests and painting was the one I tried next, and I was kind of stuck with it by third year.” But it makes a lot of sense: “My sister Deva and I would always do artwork when we were little and make up stories as we go and tell them to each other.” Deva and Rami share an alternate world, even talking to each other in their own secret language. Sometimes Rami still seems to be living in fantasy world she creates, and to this day she tells herself stories to get into her paintings. “At the beginning of the year, finally I was just like I have to paint the first thing that came into my head, which was Bear Attacking Girl…and I was like how the hell am I going to paint that? That became one of my goals, to paint whatever scene I want to paint, screw how difficult it is.” Rami talks about sometimes feeling pressure from her committee to do other kinds of work. “It built me a lot of self-assurance in the end, by sometimes being like no, thanks for the advice, but my way is just as valid.” While she hasn’t always been confident in her work, Rami has always been strong: in her first year she was a founding member of the Warrior Society. “There was a memorable battle that got it started—I was wrestling Keith, really holding my own. When we finally went crashing to the floor, I landed on my ankle and we had to call the EMTs and Health Services said it was probably fractured, but they just gave me an air cast and a cane. So Keith carried me around for the next three days because he felt bad... and he was like, I get to escort a lady around.” While Rami might sound flippant when she describes her work of “striving to create wacky images,” she had strong ideals about creating art. “Painting and art, to me, are supposed to be free,” she said forcefully. Her epic paintings come from a personal place: she’s a warrior, an adventurer in her own rich imaginative world, and a little wacky herself. ~tree~ White Zombie: a love story at heart justin mest Eating locally, acting globally By Dan Clarendon Layout Editor A s Justin Mest discovered, not all colleges let one pursue academic interests en masse like Hampshire does. After transferring here, Mest found himself free to study his passions. He could focus his studies food and agriculture, from more than just a scientific perspective, while also continuing hobbies like painting and sculpting. “Nobody really gave me a hassle for wanting to study lots of topics,” he said. For his Div III, Mest conducted a nutritional and comparative economic analysis of eating a local-foods diet. “I’ve been into local foods, agriculture, and food politics for a while. I wanted to see if I could eat a local-foods diet from a more scientific basis.” Mest spent the year collecting and preserving vegetables from local farms while meticulously keeping track of his diet—what he was eating, how much it cost, how much of it he ate, and how it was prepared. He then input the information into the computer application FoodPro for nutritional analysis. Mest also compared his intake against comparable food available at large-scale grocery stores, the weekly spending of an average consumer (as detailed in the 2007 Consumer Expenditure Survey done by the Department of Labor), and the food plans proposed for each economic quartile by the USDA. The results, which he has self-published in handmade books, were surprising in a number of way—in particular, the amount of money he saved by buying locally. What Mest will miss most about his time at Hampshire is living in such an accepting community. He advises students to not be afraid to study something weird. “Just do it. This is one of the few places where you can.” ~tree~ vincent nero By Josh Schneider Arts & Entertainment Editor F ilmmaker Vincent Nero’s Division III project is a remake of the 1932 horror film White Zombie. The original film starred Bella Legosi, of Dracula fame, and is often considered to be a primary touchstone in the genesis of the zombie film genre. Considered out of context, the original White Zombie is something of a forgotten gem, owing in no small part to Legosi’s classic performance. Although the zombie genre has been the fodder for low-budget B-movies, recent blockbuster zombie films have reinstituted the horror staple. Nero, a New Jersey native, raised fifteen thousand dollars in pre-production to fund his film. The movie is a true Hampshire product, featuring Hampshire student actors and the children of Professor Christopher Cox as zombies. In postproduction, the film utilized HELGA, a Hampshire made production management opensource software system. Although the film promises terror, Nero’s adaptation is more then the average bloodbath. The film’s website (whitezombiethemovie.com) describes the story as “the Gothic tale of Jordan, a young lady on the path to adulthood, who runs away with her equally as young fiancé in order to get married, but when the road gets bumpy and they are stranded in a desolate village, they rely on a rich man whose broken heart is mended at the sight of Jordan. Foolishly in love, he will do anything to keep Jordan for his own, even turn her into a zombie. It may be a zombie movie, but it’s a love story at heart.” When asked as to his most beloved Hampshire memory, Nero responded, “I rang the bell my second year. My friend Zardon, who recently graduated, was a tour guide, and this one time he saw me passing the library and asked me to ring the bell. I thought he just wanted to show the tour group what Div IIIs did when they pass. Apparently, he was trying to demonstrate the fear that students have for the urban legend of not being able to pass if you ring the bell early, a superstition that no one told me about until after I had already rung the bell. All seems to be going well for me, now. I can only hope that I don’t get struck by lightning right before my final meeting.” ~tree~ 4 the climax DIV III rebecca buckleystein Bodies, stories, violence, power, change, voice, silence, stillness, birth, space, memory, kindness, and more kate abbey-lambertz/the climax Rebecca Buckleystein sat and typed in this space as a performance art piece during her show’s opening. By Josh Schneider Arts & Entertainment Editor R ebecca Buckleystein describes her Div III, Embodiment of Story: An Artistic Exploration of Stories of Trauma and Birth Stories as Formative Agents of Identity, Power, and Metamorphosis, as “a project exploring bodies, stories, violence, power, change, voice, silence, motion, stillness, birth, space, memory, kindness, etc. Through the process of Div III I’ve tried to explore the relationships between hardship and re-emergence—what it means to be a site of oppression and how to digest that oppression in a way that creates power.” A child of Long Island, Buckleystein’s earliest ideas of Hampshire are from a somewhat forgotten and underrated SNL classic sketch, “Jarret’s Room.” The sketch stars Jimmy Fallon as a white dude with dreads hosting a webshow from his dorm room (which, by the way, is about ten times the size of an actual Hampshire dorm). Jarret and his friends played by Horatio Sanz and occasional guest hosts depict a typical yet not un-funny Hampshire cliché of pot-smoking hippies goofing off around the clock. “At the chipper age of 16 I thought to myself, I’ve got to go there!” Says Buckleystein, “little did I know that I actually had to do work?! Talk about false advertising.” Buckleystein’s favorite memories revolve around her friends and loved ones. “I think my favorite memories are all the dance parties I’ve had with friends…meeting my partner Sasha Bush, and finding a great group of friends who are as viciously satirical as I am.” “I also really like dorm rooms, I have lots of memories of seven or eight people trying to squeeze together in single dorm rooms to hang out because there was no common space…whoever chose to build dorm rooms the size of a shoe-box was really smart…it provides an immediate feeling of closeness between any two people in one room.” Buckleystein advises matriculating Hampshire students to chill out. “[Don’t] stress too much, I spent so much time stressing and I regret all that, especially now as I am about to enter into the world during the middle of an economic recession with a circular diploma, a 0.00 GPA, and 0.00 credits…it seems silly to stress for a bunch of zeros and circles.” ~tree~ An architectural rendering of Tobin Porter-Brown’s plan for a new greenhouse. See page 1 for full story. volume Xi, issue 5 Nick francomano Translating Borges By Kendell Richmond Staff Writer T his is the best goddamn school in the United States of America, and the United States of America is the best goddamn country in the world. Nowhere else could my dreams be possible,” Nick Francomano said with enthusiasm. Nick’s Div III, Translating Borges, was inspired by his “recalcitrant Catholicism and the work of Borges.” The project has two components. “I composed an essay on the theme of translation, particularly regarding how Borges references translations in his own work and uses translation as the form for many of his short stories,” he said. Nick also wrote a screenplay based on Borges short story “Emma Zunz.” He considers it to be a translation of the original story in the way that it is an interpretation of Borges’s work, one that “deals more particularly with the rape.” He explains: “It’s a buddy cop movie. Two detectives with contrasting personalities foil the efforts of smugglers, with heavy overtones of early childhood sexual trauma.” Borges is considered to be one of the main contributors to the Latin American literary movement of Magical Realism, though after working with Borges’s literature for a year Nick has formed his own opinion on the subject. “I would argue that Borges does not fall within the genre of magic realism. Furthermore, that the genre is an invention of publishers and ladies’ book clubs who feel they need to experience some sort of magic in their lives,” Nick said. While most of his peers are struggling to figure out their next step after graduation, Nick is a man with a vision. “I would like to sell [the screenplay] and become rich and famous. Win the Oscars for the best-adopted screenplay and gloat to all those who didn’t believe in me.” Continuing, Nick said, “I’d like to have a family, own a significant amount of land, and have a large dog, an Irish Wolf Hound.” ~tree~ Staging Euripides Brennin Weiswerda By Sophia Hoffenberg Staff Writer M y favorite Hampshire moment is the entirety of my Div III,” Brennin Weiswerda said. “I found this Ancient Greek tragedy called The Suppliant Women, by Euripides, and I fell in love with it. I translated portions of it from Ancient Greek into English—I know a little Ancient Greek because I took classes at Amherst [College], and then I adapted the rest of it from available English versions to create my own performative script. I wrote it last fall, and then I spent this semester directing it.” Following the first three weekend performances of her play she said: “Seeing my play go up and realizing that this is the culmination of all of the work that I’ve done over the last four years—seeing it all come to fruition—was like a dream come true. My play really represents not only who I am, but the work that I want to do. The �why?’ of my Div III is very Hampshire: I’m just trying to change the world. Theater is a place where I feel like I can have a conversation with my community and my society about the world that we live in and theater is a place where I have developed my voice. It’s great that we have the privilege to do theater.” So what is there for a theater-loving, starfish-adoring, Div III student to do after graduation? In Bren’s case, “For next year, I’m looking at a lot of internships with various theater companies that will pay me and provide housing. After that, I’m going to go to grad school; I’m hoping to get a PhD in performance studies, directing, dramaturgy…I really love school and I love researching and writing papers and talking about how cool theater is, so I think teaching would be a good place for me to end up. But in the meantime, I would like to do a lot of theater.” ~tree~ Div iii may 1, 2009 the climax 5 Apples and Whales The controversy of cochlear implants Juliana Frick laura Vitkus By Josh Schneider Arts & Entertainment Editor A By Alejandra Cuellar Staff Writer J courtesy of juliana frick uliana Frick’s performance Apples and Whales began with the violent rupture of a green apple into two equal sides, one side containing a sleeping boy and the other an attentive girl. The show moved forward in three sections with an impressive group of musicians, who sometimes stood in the four corners of the room creating an acoustic surround sound, a narration of three different characters, and video footage projected on a hanging translucent sheet. Juliana’s creative process is clearly reflected in the performance. The fragmented time she lived through while experiencing loss served as the driving force behind the construction of Apples and Whales. From an exposure to mixed media in her first year at Hampshire, Juliana realized the possibilities in defying the standard forms of composition. She found expression through these different forms of art as complementary to her different ideas about loss and division. “It can be any division,” she said. An audience can understand it as any rupture that occurs in human experience, but for her, the division happened first between two sides of her person—the artistic and the hyper analytical selves. It is also the division between memory and fantasy, and the ways these merge together. Juliana constructed the show based on dreams and daytime hallucinations, or rather the moments in waking life that spoke to her in some way. The more she worked on her show, the more she understood the meanings of these fragments of her life. At the end of the show the two broken sides are sewn together in reconciliation with a needle and a red thread, a reminder of that initial rupture that cannot be forgotten. ~tree~ ccording to Laura Vitkus’s abstract, her Division III “explores the potential impact that cochlear implants could have on the future of Deaf culture and American Sign Language. Laura explores the technology and science behind cochlear implants. She identifies the best candidates for implants and explains how and why it isn’t appropriate for everyone. She also describes the benefits and the risks involved and illustrates the post-operative training process. “There is a great deal of controversy around cochlear implants within both the deaf and hearing communities. The deaf “aren’t broken, so don’t fix them,” and the hearing can’t imagine a world without sound. The educational impacts implants have are intriguing, as is the cultural shift in identity.” Vitkus asks, “How do implants affect identity and how has this controversy shaped acceptance from the hearing and deaf communities individually? How might cochlear implants create change in Deaf Culture and American Sign Language?” samuel zucker Tourism in Costa Rica: a complex issue By Eric Peterson Staff Writer S amuel Zucker first became interested in Costa Rica during a semester spent abroad in his junior year—but it didn’t turn into a Div III for a while: “Last summer I wasn’t sure what I wanted to do, so I sat down and wrote out every class that I had really enjoyed, what I had enjoyed about them, and what projects could be done about them.” Samuel, an NS student, had previously studied tourism and conservation—energy sources and the interplay between culture and the environment. So Samuel searched around the school and, using grants from SS and NS, developed a program of study including a six-week trip to Costa Rica starting in Jan Term. While in Costa Rica, Samuel lived “in an apartment in Manuel Antonio, interviewing tourists, locals, and government officials, trying to construct a history of the town and a sense for the current dependency of the area on tourism.” This reporter was also in Costa Rica over Jan Term and can vouch for the fact that tourists and Dole are huge factors in the economy down there. “Trying to create a picture of the town through case study” took a lot of footwork. After actually living on-site, Samuel experienced a change of perspective: “I realized that my conclusions at the end were that tourism is complex and sort of vague as far as being negative or positive. I expected to have a really negative view, going in… I wish I had read more before the project.” The experience has lead to a summer job—Samuel will be going back down to Costa Rica to lead a student group with younger kids. Overall, Samuel feels like it worked out well: “People always told me that it would come together, and it did.” ~tree~ jesse sanes Ecological problems are social problems By Kendell Richmond Staff Writer J A Northampton native, Vitkus has valiantly given her last 13 years in employment at Hampshire College and plans to continue to work in the Dean of Students office in the immediate future. Her earliest memories of Hampshire College are of ear-catching anecdotes. “I was first in college in the late 80s. Friends of mine used to talk about parties at Hampshire with cool bands playing here. That was back when Bob Dylan’s son was a student.” Offering guidance to current or future students, Vitkus offers a story of success through perseverance. “When I first started talking about applying to Hampshire, I had another staff person tell me how hard it is to graduate from Hampshire as a full-time working mother. Nobody’s done it in over ten years. But, four very short semesters later here I am. But, I’m also one of those people that if you tell me I can’t do something, I’m just going to prove you wrong. I have to say, I kicked ass! It was a blast.” As further advice, Vitkus quotes a former Dean, “Don’t let crazy people make you crazy.” ~tree~ esse Sanes felt at home at Hampshire the very first time he visited the campus. So much so that he skipped out on the rest of his senior year East Coast college tour to spend a week hanging out in Merrill. Although Merrill made quite the impression on him, when Jesse arrived at Hampshire the following year he was placed in Dakin. Over the past year Jessie has been working with Bob Rakoff and Betsy Hartmann on his Div III titled Addressing Global Warming. “In my Div III, I looked at a bunch of cost-benefit analyses performed on the impacts of global and tried to apply the lessons from what they did wrong to market-based policies that would reduce pollution emissions and also have a larger progressive effect on social organizations,” Jessie said. He continued to explain what he found wrong with the analyses he looked at. They made lives in the global south worth less than those in the global north, the loss of species or ice caps were not viewed as a cost, etc. “I also wrote a brief history of global warming as a social and political issue,” Jessie said. Jesse has several possible plans for the future. “Lab jobs, pre-med post-bac program, urban farming,” he lists. In closing Jessie wants to tell the Hampshire community to “do your homework on time,” and “FREE THE L(A)ND.” owen watson Telling the under-told stories By Henry Parr Managing Editor I n his four years at Hampshire College, Owen Watson has played a number of different roles. He is part of the band The Faculty, an avid baseball fan, and a core member of the Hampshire soccer team. Academically, he has been similarly diverse, moving from music to literature to architecture and, at long last, to American studies and creative writing. His Division III, Collective Memory and the American Experience: A Novella, is a ninety-page fiction piece that takes place in October 1975 and tracks the relationship between the protagonist, Jack, and his sister as they come to terms with their late father and his past. This narrative is coupled by an abstract conversation between Jack and his father in a bare, white room. In the process of writing, Watson found the story working around the idea of collective American memory. “It started out as a children’s story and then a thing about post-apocalyptic American, and then it really turned into trying understand ideas of collective American memory: the notion that we all carry memories, whether they are interpreted through media or YouTube, of really classic or huge events that are portrayed as historic. It also turned into an outlet for storytelling of under-told stories of my parents’ experiences with their parents and the late 60s and 70s. There are echoes of my dad’s time in the army during Vietnam and his relationship with his father.” Ultimately the work tried to portray how these collective stories or memories can lack a degree of sincerity. As Watson stated, “sometimes under-told stories are more indicative of who we are as people rather than the stories that we tell all the time.” Though Watson has moved around academically, American studies has always been a constant theme in his studies and time here at Hampshire. After Hampshire, he intends on working for City Year or some other AmeriCorps program before he pursues graduate studies in public policy or law. ~tree~ 6 the climax Div iii Catharine Smith Jenn Kane Gas, Grass, Ass & Brass: Waterbury, 1968 From the Earth By Eric Peterson Staff Writer U nlike most of the photo students vagranting outside Film/Photo, Jenn Kane does not, has not, and will probably never smoke. Tobacco, that is. But she probably knows more about the cancerstick than you. For the past year she has been photographing, oserving, and generally hanging out on a tobacco farm in Southwick, Masssachusetts. It’s one of those places you pass along 91 without realizing it, but the Connecticut River Valley is home to one of the most historically-prominent tobacco-growing areas in the US. Also invisible are the people who work here: at this farm, it’s migrant Jamaican workers. Kane, a pre-med student turned photo concentrator from New Mexico, came to know the farm through first working with the Brightwood Health Center in Springfield last summer. Brightwood provides free healthcare for mainly undocumented workers who would otherwise go without. While initially interested in doing a traditional medical ethnography of the clinic, Kane instead became interested in how the migrant workers found themselves in this position in the first place: “My Div III situates these tobacco farmworkers in a social and political context. It addresses what social/political reasons caused the farmworkers to come here,” she said. Her artist statement reads: “Standing in the harshly lit tobacco barn, I watch as the farmworkers heave up massive green leaves into the rafters. These fleshy plants physically overtake the men, engulfing their bodies. Later… buyers will consume the cigars; their bodies becoming enveloped in tobacco smoke.” Using photography, her ethnography illustrates the metaphors that for Kane make sense Natalie Milllis By Kendell Richmond Staff Writer C courtesy of Jenn Kane of the disparate maps of people and goods over time and space, in this case linking the men of Jamaica with the anonymous smoker maybe a few—or a few hundred—miles away. They show tracks in the mud, bodies amongst the plant stalks, and the broader seasonal changes upon which the life of the tobacco, and thus these men coming from thousands of miles to harvest them, are dependent. In both Kane’s written and visual accounts of this place, the seemingly anecdotal moment gives view of a larger horizon of interactions: “ All of these forces play off of each other to form a web of connection, each connection showing a part of the whole.” Jenn Kane’s photographs and writings will be on view May 4 through 6 in the College Library Gallery. ~tree~ Medicine, Biopolitics, and Native Bodies on the Reservation By Josh Schneider Arts & Entertainment Edtor P retentious, right?” Asks Millis of her Div III title, The Doctor’s Long Shadow: Medicine, Manifest Destiny, and Women’s Bodies on the Reservation. To the contrary, Millis, an EMT from Lo Mejor, CO brings a focus to the oppressive qualities of the federally instituted Native American health care plan. In her own words, “It’s about the Indian Health Service, a federal system of clinics that give free health care to all enrolled Native American tribal members throughout the US. My project examines the colonial roots of this organization and how they have informed the modern Federal doctor-Indian patient relationship. Use of Foucault’s articulations of the physical manifestations of power was more or less obligatory, unfortunately… hence the title…” Recalling her earliest memories of Hampshire life, Millis relates stories of community and flavor. “Bumming a cigarette from Thanasi on the first day of orientation after realizing that I’d need to carry a variety of hot sauces in my bag to every meal in SAGA.” Millis looks back on her first year fondly, explaining, “There were a lot of good times in general.” As for advice to Hampshire students, Millis again urges community participation. “Drop your assumptions,” says Millis. “Reach out to your neighbors.” Community and peer cooperation fascinate Millis. When asked what the promising pre-med volume Xi, issue 5 student will miss most, she responded, “I always enjoyed the sociological lessons and political parables inherent in a 10-person mod whose common areas have deteriorated past the point of livability because all other modmates appear to have been raised by nannies or indulgent mothers who did all the cooking and cleaning for them, and are thus devoid of any inclination to do these things themselves. The constant possibility of conversation and/or adventure at any time of day or night. The particular camaraderie of misery that develops during the epic hard times.” After school, Millis has big plans to hike the Appalachian Trail from Virginia to Georgia. She then plans to take up residence with her sister, find work as an EMT, and raise money for medschool applications and MCAT prep classes. On a closing note, Millis offered her views on Hampshire. “If this place is going to go anywhere, students need to step up to challenge themselves, their peers, and the administration EVERY DAY. To lose the bullshit and work towards making this place an effective platform for useful knowledge, discourse, and social change in all of its manifestations…But bad jokes like that aside, I sincerely think the school should be moved somewhere that doesn’t have so many unfortunate characteristics, such as horrific weather approx. 80% of the time, proximity to Amherst College, and regional cuisine that appears to be completely devoid of flavor.” ~tree~ atharine Smith has already participated in Commencement, though it wasn’t her year quite yet. “One of our A3 group was graduating (in 2006), and somehow the rest of A3 ended up walking in with them. Nobody noticed as we posed for pictures, or waved to parents, but the jig was up when the graduates began to file into their seats. That’s when we, the interlopers, had to run away. Smooth,” Catherine remembers. Catherine’s Div III, titled Gas, Grass, Ass, & Brass: Waterbury, 1968, is the first 100 pages of a 250-page historical fiction novel set in a fictionalized version of Waterbury, CT in 1968.  The city, formerly the brass capitol of the manufacturing world, is on the decline as the national economy moves away from heavy industry.  “The central character, Laurel, is the college-aged daughter of a watchmaker and the Board of Alderman’s first-elected female member.  Through the first few chapters, Laurel guides us through a city on the precipice of economic collapse, and she offers us a view of 1968 through the lens of a conservative community.  Sex, drugs, rock �n
roll, and homework!” Catharine expands. With an artistic passion that extends beyond the written word Catherine also illustrated the novel with a map of the city. Explaining the work she said, “[It’s] a mish-mash of the real Waterbury and the one I fictionalize, a snapshot of the city green at the peak of autumn, and an imaginary portrait of the Waterbury Watch Company,” While Catharine completed an ambitious Div III, some might still say she was lucky to graduate. “When I was a first year,” Catherine said “someone told me that the Div Free Bell was cursed.  If you ring the bell before you’re Div Free, the story goes, you’ll never graduate.  So what did I do?  I got drunk and rang it before the end of my first year.  I never touched it again, in the hopes that I’d live to see Commencement 2009.  And here I am, having passed Div
III, about to ring it for the second time.  I don’t suggest that anybody tempt fate…but when you do, it’s really satisfying when you win.”~tree~ Evan michael Ratzan Neuroaesthetic Psychotherapy and Biochemical Rhythmicity By Josh Schneider Arts & Entertainment Editor S cience concentrator Evan Michael Ratzan has studied alternative treatments for psychological and neurological disorders in both humans and lab rats. Ratzan elaborated on his Div III: “Traditional cultural rituals involving communal dance, music, and a shaman’s pharmacy have been gradually replaced by invasive treatments including pharmaceuticals, psychotherapy, surgery, electroshock therapy, and magnetic brain stimulation. My Division III investigates the efficacy of art and music psychotherapy for two specific sensory-motor disorders: Schizophrenia and Parkinson’s disease. I tested this in humans with an ERP computer task for healthy individuals. I also tested chemically lesioned (Parkinsonian) rats with,and without infrared phototherapy.” Hailing from Breckenridge, CO, Ratzan worked with faculty members Jane Couperus and Rayane Moreira to utilize Five College resources and explore alternate medical treatments for the neurological or psychological diseased. Ratzan lists Hampshire’s various resources such as the Lemelson Center, the Media Basement, IT, and the Chemistry Lab when describing what he will miss most about Hampshire life. While a meal in SAGA stands out in Ratzan’s mind as his earliest memories of the school, Ratzan’s favorite Hampshire destination is the cool shade of the field beneath the Hampshire Tree. Another Hamp institution, Hampshire Halloween, makes for Ratzen’s most beloved memory, specifically Halloween 2006. When asked for advice for Hampshire students, Ratzan urges for an early start. “Don’t do Div I or Div II, just do Div III when you first arrive.” ~tree~ may 1, 2009 Div iii the climax 7 Elena Petricone Zombie kittens, not zombie Nazis By Dan Clarendon Layout Editor A fter spending a few minutes trying to describe her Div III, Elena Petricone broke it down simply: “It’s really about zombies and kittens.” Her project, “Humans, Zombies, and Feline Familiars,” is composed of two parts: a novella called “Nine Lives” and a media studies paper entitled “Bringing Humans Back to Life: An Examination of the Film Fido.” The novella is comprised of intersecting stories, images, and characters revolving around a “corporeal assault” in the wake of a viral outbreak. The kittens are “cute yet sinister,” and the zombies have a dance number—and yes, “Thriller” was a source of inspiration. In regards to her interest in the subject matter, Petricone said, “I had always been interested in what is a source of anxiety and fear in particular cultural moments—in which monsters become popular, in what moment and why, what physicality they have, what anxieties they play on.” So why go the zombie route? “Zombies are experiencing a very large surge in popularity,” said Petricone. “I think that’s interesting because zombies are reduced to one drive. They’re often paired with a particular ideology, like zombie Nazis, for example.” Petricone found the guidance of her committee (Nell Arnold, Lise Sanders, and Susana Loza) to be invaluable. “Coming to Hampshire wasn’t just a positive experience because I was able to structure my education,” she said, “but because I also had faculty to guide me along the way and encourage that education.” She advises students to make the most of their four years at Hampshire and to take advantage of the services at the college. Though she’ll miss the “beautiful surroundings and the beautiful people,” Petricone plans on moving closer to Boston to pursue a writing internship and an MFA in fiction. ~tree~ No Escape: A father’s legacy sanju Sebastian By Keith Putnam Staff Writer Alright, so just start telling about your Div III. My dad died almost two years ago. I made a film about the relationship my father and I had. This film has been a way for me to grieve over my dad’s death. So how did you get the idea for your project? Oh, wait… Well, Subhash Sebastian died February 6, 2007. That kinda sucked. All right, all right. My bad. Okay, tell me about India. I went to India to make the film. Well, the film was really an excuse to go back to India. My dad left me a lot of money when he died, so the money was there, and I knew it wouldn’t be a problem. So yes, I wanted to make the film, but I really wanted to go back to India and reconnect with the place, you know? “Discover your roots”—type shit. And it just wasn’t that… it wasn’t that at all. I got there and, well, India kind of kicked me in the face. It was just glaring how out of place I was over there. Yup, so that was India. Tell me about the film. I got back, and I had all this footage, so I just started cutting it together. I hadn’t thought out how the film was going to be made at all. At first, I was really lost. Eventually I just picked a clip I thought was kind of interesting and just played it over and over again. Then, at one point, I just started talking at the screen. Shit just started like coming Flarnie nonemaker out. This was at three in the morning. Then I was like, “Oh, shit, that’s kinda interesting.” So I turned on my tape recorder, and that’s where the film began. And that’s basically the style of the film. It’s me analyzing my relationship with my father interspersed with interviews from family members and friends. Oh yeah, I didn’t talk about this at all: there are no people in the film. That’s kind of important actually. Except for the baby footage. Yeah, except for the home video footage. So that was intentional. Without faces for the voices, it forces people to take what they’re hearing—the information and the ideas—at face value, without any prejudice about how the person looks or whatever, and so that’s the first thing they engage with. And on top of that, these places are important because this is the only thing left of my dad: the places where he lived and the places he visited. Tell me about doing the music. Well, I could have used more time to get the music together. I got my final edit done kind of late in the process, so the time I should have been spending with the music was time in which I was still finishing my edit. So the music was kind of rushed. But that being said, I am pretty happy with the music. It was all in the style that I had been intending to use, but I just wish that after recording all the music I could have gone back and edited the film to the music instead of me editing the music to the film. And after graduation? Tahoe, bitches. ~tree~ courtesy of icanhascheezburger.com Maryette Haggerty-Perrault Bringing the Outdoors In & the Indoors Out By Eric Peterson Staff Writer Y ou could say Maryette Haggerty-Perrault came to Hampshire for its really great sports program. “I thought the Div III at Hampshire was NCAA Division III sports… that’s how I initially came across the college, I wanted to play college volleyball and swim.” You can blame Google for that. Haggerty always thought she would transfer but, now upon finishing her Division III, said, “I’ve have come to realize that I was meant to be here for some as-of-yet undiscovered reason, but I’ve certainly been able to take advantage of learning opportunities that I never would have had elsewhere.” Among them were the semester she spent in Cuba working with the city planning office of Havana, getting trained in Autocad at The New York Institute for Architecture & Urban Design, and spending her final year working on comprehensive redesigns of the Ford Foundaton Building in New York and the Hampshire campus’s own Longsworth Arts Village. Undoubtedly, if you’ve ever walked through the later, you know it certainly needs redesigning: “My ultimate goal for the site was to put the space to good use: improve conditions of the site, thus increasing community usage; allow for more interaction between the arts housed in the Village, by bringing the program of the building interiors outside as well as creating an outdoor classroom & precedent for a minimal impact, low cost eco-friendly redesign.” By creating outdoor spaces for the arts contained in the individual buildings, as well as upgrading the roof canopy overhead (a flat room which, forever the butt of the most infamous of modern architecture’s criticism, is always leaking) she united her interests in engineering and the social uses of outdoor spaces. Maryette heads off this summer to do a fellowship at the National Institute of Standards & Technology but leaves Hampshire students with this parting advice: “I’d say that taking advantage of Hampshire’s unique learning experiences (and exchange programs in particular) is the best thing you can do.” “I guess I’ve finally stepped up to the �make your education your own’ challenge,” she almost begrudgingly admits. ~tree~ Guiding the Development of Creativity By Kendell Richmond Staff Writer knit group of friends has made college what it is to Flarnie. From evening spent on layout in the publications office to “raising Elder Gods from their watery tombs,” she has had uring my tour of Hampshire the guide started a wide variety of experiences over the past four years. When asked what she will miss most about Hampshire singing the theme song to �Captain Planet,” Flarnie Nonemaker said. This was her first impression of Hamp- College, she responded, “My 10 favorite people.” Flarnie worked with Jana Silver and Melissa Burch on shire College, and four years later the school has lived up her Div III entitled Guiding the Development of Creativity. “I to her expectations. An active member of Excaliber and The Omen, her tight- took two high-level courses in Art and Education in the D fall while doing a part-time internship with a local Art Education Specialist.  In the Spring I began a full-time Art Education internship,” she explained. “I hope to be the first Hampshire College student to graduate with an Art Education License,” Flarnie said. As she prepares to set of on her next new adventure, Flarnie has two things to say to the Hampshire Community. “Stay off my Lawn.” And as always, “Submit to The Omen.” ~tree~ 8 Div iii the climax volume Xi, issue 5 Janet Armour-Jones Crafting light for theatre and cinema By Josh Schneider Arts & Entertainment Editor J anet  Armour-Jones’s Div III project entitled LIGHT BRITE: The Power of Light Across Mediums evokes the childhood toy and the sense of playfulness Armour-Jones brings to the craft of light design. LIGHT BRITE considers lighting design from the specific, although not exclusive, angle of theater and the cinema. Armour-Jones has already amassed an impressive resume, working on various Hampshire theatrical productions such as The Wilson and Alva Show! and The Last Stop Between Us. Armour-Jones also did projection design for the production of Bind Their Wombs as well as producing her own short film, That Vast Obscurity Beyond the City, based on F. Scott Fitzgeralds’s The Great Gatsby. The film was conceived as a visual narrative, and focused mainly on the cinematography of light design. In recounting Hampshire memories, Armour-Jones remembers a visit on Accepted Students Day. Walking in the Dakin quad and “having a guy with a pink puppet come up to me and say �Go tooooo Haaaampshire!” Armour-Jones took that puppet’s advice and recalls dear memories of Hampshire hospitality. Her first vivid memory of life at Hampshire was “being late for my orientation group because I either read the sheet wrong, or I forgot to change my watch, so I walked in right after everyone had done introductions. So they did it again for me, and no one forgot my name that day.” Spending her first year in a Merrill basement double, Armour-Jones says she’ll miss “the people” at Hampshire the most. She cites the Prescott fire escapes as a favorite place on campus. By way of advice to current students, Armour-Jones suggests that you “get used to people not doing their part of projects, because everyone is so busy with their own thing.” This may sound pessimistic, but considering the communal nature of a theatrical production, Armour-Jones stresses the importance of self-motivation verses relying too heavily on other group members. “Do it yourself if you really care about it.” ~tree~ Measuring moose in the Pioneer Valley Dana Morrison By Eric Peterson Staff Writer A nimals are tricky. Discretion is the watchword for a healthy ecosystem, and so even seemingly conspicuous creatures—like the moose—can prove elusive. Our state is, in terms of evolutionary history, densely forested. A brief interlude due to human development caused Massachusetts to turn pastoral for about 150 years, but now the woods, and the moose that live in them, are making a comeback. In an attempt to figure out our moose situation and whether or not they’ll “pose threat to people or other wildlife,” Dana Morrison developed her Div III around tracking moose using their scat: a technique she learned in Africa, working on a project with large antelope during a semester abroad. It took a lot of scanning. To collect her data, Dana walked 200m transects through Cadwell Memorial Forest—a protected ar- ea in the Pioneer Valley suspected of harboring moose. So should we be bracing ourselves for an onslaught of moose? “So far I can definitively say… moose do inhabit the Cadwell. The total number of moose in the Cadwell is still being determined, but we know that during the winter at least two moose visited the Cadwell. [White tailed deer] are also present, in greater numbers, with at least five, perhaps more. Both moose and deer appear to prefer browsing on black birch trees, but as the two species vary in height, competition for this resource is essentially nonexistent.” Dana plans to make her career by studying animal behavior. She has recently been accepted to Washington State University, and will be attending in the fall to begin her masters in behavior, ecology and earth sciences. “In the end I hope to procure a teaching position at a university where I can teach and spend my summers conducting research.” ~tree~ courtesy of Janet Armour-Jones Britton Van Vleek Climbing buildings, taking soil samples, and ski suits from the 70s By Kendell Richmond Staff Writer on a trip to West Virginia, Britton has plenty of outrageous stories from the past four years. Britton didn’t just limit himusted yellow bikes,” Britton Van Vleek recalls as his first self to the climbers and has been memory of Hampshire. Many known to be easily persuaded inwho started college with Brit- to a game of beer pong, a hike in ton in the fall of 2005 remember the woods, or even a naked bike a quiet boy exploring the cam- ride. Academically Britton conpus by climbing up buildings— buildering to be exact. When he centrated in chemistry, working arrived at Hampshire he came closely with his chair Dulasiri armed with climbing shoes, Amarasiriwardena. His Div III is chalk, and a crash pad, immedi- titled Toxic Trace Metals Distriately connecting with the climb- bution in Soil and Humic Acid Molar Mass Fractions in a Shooting community. An active participant in the ing Soil. Britton explained the data he Hampshire College Climbing Coalition until the start of his Div used: “Sequential extraction and III, many of Britton’s more epic spectral analysis of trace metals adventures took place with these AG, AS, Cu, PB, SB, and Zn from comrades. Road trips, neon-col- various fractions of soil samored ski suits from the 70s, boul- ples taken from a Boy Scouts of dering, and even rolling his car America Shooting range. Analy- B sis of trace metals bound to soilderived humic acid (a component of the soil organic matter) from the same site. This information helps give insight as to the fate, transport and availability of said trace metals has impact on future assessment of the site for development and potential effects of public health.” When asked about his plans for after graduation, Britton replied: “I am taking time to work and to let the system work for me… Please contact me for my CV and cover letter.” “One day I want to wake up as early as Earl and Glenna Alderson,” he added. His parting advice for Hampshire students is, “Be good to each other. Tighter jeans will not make you a better man.” ~tree~ Jess Kim Redefining Mixedness By Carolyn Li Madeo Contributor J ess Kim’s Division III, Redefining Mixedness: In/authenticity in Mixed Identity, consists of a written dissertation and memoir, a community art gallery, and an art and writing event. The community art gallery Redefining Mixedness will be showing in the Cultural Center from April 22 to April 29. Jess’s Division III is based on an exploration of the personal, the theoretical and the communal, which her work balances in a perfect chorus. In the written section of Redefining Mixedness Jess strives to connect these different sections of her life and studies as they pertain both to herself and to the idea of mixedness, a term that for Jess is constantly changing. The art and writing event and community art gallery under the same name, were created by Jess to open a conversation on mixedness up to a larger community. Through her Division III, Jess has worked to create both a personal and community space, not simply to create or define a new term for mixedness. The first section of Jess’s written portion of her Division III is an oral history; this section is focused on her life before Hampshire, and specifically the type of language and vocabularies that she used to talk about herself then. Included in this section and throughout her Division III are poems that she wrote. Jess’s second written section is focused on her experiences at Hampshire, specifically how studying race theory changed the language that she used and how this language left little space for her to fit into. The final written section speaks back to the prior two sections as an intervention of mixedness and includes excerpts from her art and writing event. Ultimately, Redefining Mixedness is a multilayered Division III—one that uses personal mapping, community events and the sharing of stories to explore both language and space within mixedness. ~tree~ div iii may 1, 2009 Anna Leah Jacobson the climax andy berquist Exploring the Americanization of the Israeli-Palestinian conflict A connection between myths explained A H By Josh Schneider Arts & Entertainment Editor nna Leah Jacobson’s Division III The Promised City may best be described as an ethno-anthropological documentary film. Jacobson explains that the film is “A 45-minute documentary exploring the Americanization of the IsraeliPalestinian conflict. By traveling through Brooklyn and meeting Palestinians (immigrants and their children) living there, we examine the attitudes these new New Yorkers have encountered in the City. While filming over Christmas, Israel launched a 22-day bombing campaign on Gaza, killing 1,400 and igniting the countrymen in the US. Amid protest and boycotts, we learn a bit about the divide between citizenship and nationality. Overall, would they return (or “return”) if they could? Or are they settled where “the streets are paved with gold?” Jacobson worked with Bill Brand, Michelle Hardesty, and Jeff Wallen to complete this ambitious project. Jacobson’s earliest Hampshire memories include the “admit one” acceptance letters, coming to prospective students day on 4/20 and meeting someone in Saga who took the young Jacobson to a reggae show at UMass, and “moving into [her] first room (the A3 lounge) and accidentally dropping a beer on an intern from the balcony.” Oh college hi-jinks! They never get old. When asked to relate her favorite Hampshire memory, Jacobson responded, “Oh, Lord. My favorite is probably inaccessible due to brain damage.” Keeping up with the work hard, play hard spirit, Jacobson advises Hampshire students to “grab every opportunity you can. There’s time for fun and work, trust me. Sleep when you graduate (or Sundays).” When asked as to her favorite locales on Hampshire campus Jacobson gave a seasonal sampler. “The bench by the Red Barn in fall, the media basement in winter, the window in spring… and the acoustic freakzones any time of year. And the bonfire pit. Oh, the bonfire pit.” When asked what she will miss most about Hampshire College, Jacobson responded sentimentally, “Not being the only one.” ~tree~ By yonatan Schechter Staff Writer ave you ever thought that shamans and poets were an integral part of culture? Andy Berquist did. His Div III, Shamans and Poets: Connecting Norse Mythology and the Kalevala, explores two ancient and apparently dissimilar mythologies. The Kalevala is a Finnish national epic with a number of characters that go on all sorts of interesting adventures. Andy got this idea for a Division III project when a professor stated in class that the two mythologies, Norse and Finnish, were not connected. This was based on an anthropological assumption that language, myth, and culture are co-dependent. They evolve together. This alone is not so hard to grasp, the inference made is that if a language is not related, then the mythology is not related. Finnish is a very distinct language, not a member of the Indo-European language family, the family that every other European language falls under. Andy realized that the indigenous shamans of Scandinavia, the Sami, were Celebration and mourning found in photographs and floral arrangements Madeleine Hunt-Ehrlich M adeleine Hunt-Ehrlich’s photography Division III Before We Can Speak of Flowers is a collection of stunning large-scale portraits, which are interspersed with sculptural images of colorful, wounded floral arrangements. Before We Can Speak of Flowers will open May 1 at 7 PM in the library gallery. While working on Before We Can Speak of Flowers, Madeleine traveled, by bus, throughout the country taking intimate, epic, and poignant portraits of young Black people, many of whom are her friends and some of whom she met through acquaintances. Madeleine was inspired while working on her Division III by watching movies with the sound turned off, and a cinematic quality is undeniably present in her work. The portraits featured in Before We Can Speak of Flowers tell stories of simultaneous beauty, strength and sadness. Madeleine ’s work captures “the day after the celebration” and tells of a personal and communal “continuum of both victory and oppression, with no final point.” Madeleine’s images of floral arrangements were inspired by a summer spent in Jamaica and include colors that are uniquely Caribbean. Madeleine explained that although these color combinations have been taught to be seen courtesy of Madeleine Hunt-ehrlich as “tacky” in the US, she invites her viewers to see them as being both visceral and evocative. Some of the floral arrangements have wounds, which were later filled with deep blue flowers, and like her portraits Madeleine ’s floral arrangements represent a sense of simultaneous celebration and mourning. Before We Can Speak of Flowers also includes a short film, which is intended to be played on a loop. The film features a young man sitting silently and motionless as he waits for a bus to start. The film captures, as Madeleine has eloquently stated and shown throughout Before We Can Speak of Flowers, how “we live in a moment of pause in the midst of flux.” ~tree~ a connecting factor of these two sets of mythologies. It turns out that the magic invoked in both cultures’ mythologies is done in very similar fashions. This was Andy’s starting point for seeing connections between the two stories. It appears that both Odin, the Norse high-god, and one of the main characters of the Kalevala were similar types shaman. They both have magical horses that can carry them to the underworld, and it is thought that these steeds might actually be the drums used in shamanism to carry a shaman on a Journey. Andy’s hypothesis for the spread of the Norse myths to Finland is that the bi-lingual poets of Finland encountered these stories in their travels. They were translated to Finnish and, using names of already existing heroes and legends, added elements relevant to Finnish culture. For one of Andy’s advanced learning activities, he taught an EPEC on Norse myth during Jan term. He tried to facilitate it in the traditional way: around a campfire. He even had a reindeer skin in case anyone got too cold.~tree~ Studying star formations Gideon Bass By Josh Schneider Arts &Entertainment W By Carolyn Li Madeo Contributor 9 ell, my visit as a prospie was pretty terrible, actually,” said Gideon Bass. “The tour guide started the tour by saying this was his first time doing it, and things went downhill from there. But I still came!” Despite poor first impressions, Bass has excelled at Hampshire in the field of intergalactic exploration. Concentrating in astronomy, Bass worked with professional astronomer and extraterrestrial studies enthusiast Salman Hameed. Bass, a son of Baltimore, described his Div III work as “a survey of star formations in thirty-one southern hemisphere galaxies. We are looking for general trends in star formation and unusual features that have not previously been detected, and then we’re comparing our results with previous studies.” Bass has also excelled in the field of athletics, citing his inception into Hampshire’s Frisbee team, The Red Scare, as a fond memory. Reflecting on great times spent playing Ultimate on the lawn, Bass noted the Scare’s ridiculous and unusual cheers as an example of Hampshire’s creative spirit and the team’s colorful attitude. In Bass’s words, “This team is awesome!” In offering advice to upcoming Hampshire students, Bass wisely warned, “Don’t spread yourself thin. Find a few things you love and actually do them fully, rather than a ton of things you think are important and doing nothing but talking about them.” Well put. Friends and “the craziness that is Hampshire College” are what he will miss most about his undergraduate experience. With intentions to pursue a Doctorate degree in astronomy, Bass has already been accepted into a Masters program but is prepared for a few more years of focused study. When considering astronomy, a field populated by the lonesome stargazers amongst us, there is a certain romantic element in contemplating the vast expanses of the cosmos. But back on Planet Earth, Bass identified the Spiritual Life Center as a favored spot. “It’s this really cool space that not many people know about,” said Bass. (The SLC is located in Greenwich on the second floor of Donut Five.)~tree~ 10 div iii the climax Four years of uniqueness Allison Wickham Courtesy of Allison wickham By Kendell Richmond Staff Writer Y ou don’t realize the uniqueness and incredible experiences you have had during the past four years until you realize there are no more years at Hampshire anymore,” Allison Wickham said. From Redlands in sunny California, Allison arrived at Hampshire College in 2005. While many students go through waves of enthusiasm about Hampshire, she was a constant fan. Among the many things she will miss after graduating Allison lists, “being an admissions intern for all four years, being the work study student for the dance program, and the faculty members I have worked with for so long.” As of now Allison has no specific plans for next year though she smiles and says, “Things are brewing as we speak.” One of Allison’s favorite spots on campus is the couch in the dance faculty office hallway; the other is the main studio of the Music and Dance building. This combination of comfort and art seemed appropriate given her Div III, titled Exploring Art as a Therapeutic Healing Tool in the Healthcare System. Allison describes her Div III as having two components with an added sub-component. The first is a dance production based on personal experiences and patient stories/ artists stories she heard during her summer as an intern with the Shands Arts in Medicine Program. The second is a writer portion focusing on the importance of visual and performing arts in a variety of healthcare settings. Finally the sub-component is the initiation of two arts in medicine programs in the area. As commencement quickly approaches a feeling of nostalgia is overcoming the campus. Allison recalls the beginning of lasting friendships, “spending two hours in SAGA laughing for no apparent reason with Maryette. We never actually figured out what we were laughing at, but we have stayed friends from that day on,” she said. Though perhaps the most memorable experience of her Hampshire career was the culmination of if all, the closing night of her Div III dance performance. ~tree~ Channeling the father of gospel music Harry Milloff By Henry Parr Managing Editor H arry Milloff’s Division III, How Many Times: The Passage of Gospel Blues, was a performance and an essay that tries to capture the influence that Gospel Blues has had on Milloff as a musician and student of music. The essay is primarily focused on one of the most prominent figures in Gospel music, Thomas A. Dorsey. Dorsey who is often considered the “father of Gospel music” has affected a wide variety and number of musicians, many of who are Milloff’s musical influences. The final performance was exemplary of how gospel music had influenced his growth as a musician. Milloff said, that the performance was made up of “my own original compositions that took aspects of gospel music into how I was writing it, but also a lot of jazz, a lot of funk. It was just a culmination of a lot of musical influences I have had.” Playing with “a wide selection of musicians both from on campus and off,” Milloff also collaborated with Owen Watson and Juliana Frick, co-members of his group The Faculty, and played one song with his father. While an administrative mishap pushed Milloff to change his Div III from making a marketing strategy and business plan for The Faculty to a music performance, Milloff appeared to be happy with his final product. Music has been the common thread in his studies, and what he has spent “the majority of [his] time on here at Hampshire.” Of the experiences he’s had at Hampshire, playing with The Faculty has been one of the most notable. “I’ve played with so many different bands, and never experienced anything like what I do with The Faculty. And that’s only because of the people in the band being on the same page and just looking to have fun and being really creative and dedicated.” Milloff remarked that his time at Hampshire was worth it because of the experience he had “ learning about [himself] and what [he’s] capable of and what [he] likes to do.” ~tree~ Same land, different eras Annie nichol By Jean Dupenloup Sports Editor F volume Xi, issue 5 or her Division III, Annie Nichol wrote a book entitled Four Natural Histories: The Lived Landscape of Gratton Gulch. The book is comprised of four stories about the same fictive piece of land (the imaginary limit between West Marin County and West Sonoma County in California), each one taking place in a different time period. The stories, based on historical research and Nichol’s imagination, blend fiction and non-fiction to evoke what she terms natural histories. Through these stories, the book, about 140 pages long, examines the relationship between people and the land they live on throughout two centuries. Nichol uses natural histories, the descriptions of day-to-day life, to depict time eras without pretense of an objective outlook. The first story takes place in the early 1800s and is by far the most imagination-based of the four. The story is told from the perspective of a tree that has absorbed the soul of a Native American woman buried at its foot, and the action consists in the tree’s access to the woman’s memories. The second story takes place in the late 1800s and tells the story of a family of Irish immigrants who have come to settle in California. The third takes place in 1958 and recounts an abused little boy’s outlook on the land. The fourth and final installment is about a traumatized young girl who’s come to live with her grandmother and lover. This story deals with the young girl’s mourning process, trauma, and resilience. Rather than looking at these subjects through the lens of angry environmentalism, Nichol tried to avoid the allocation of blame and to objectively identify the reasons for certain shifts in this relationship between people and land. She found the distinctions between people and the natural world to be extremely permeable. ~tree~ Lauren Goulding The Great American Wild East Show By Dan Clarendon Layout Editor I ’ve watched a lot of documentaries about the Middle East,” said Lauren Goulding, “and they’re pretty bad in general.” With those examples in mind, Goulding set out to produce an alternative historical documentary about the moments of cultural intersection between the Middle East and the United States and to do it “in a lively, satirical, and hopefully funny way.” Goulding arrived at this task well-prepared: she has studied the Middle East—its history, its representation, and its interaction with the United States—for most of her college career. Under the supervision of her committee—Bill Brand, Aaron Berman, and Mary Wilson (from UMass)—Goulding compiled found footage and Monty Python-style animation for the three parts of her film The Great American Wild East Show. She screened one of those parts on Saturday, April 25: a segment that focused on the representation of various Middle Eastern cultures at American in the 1893’s Columbian Exposition in Chicago. The 12minute segment combined archival footage, clips from movies like Aladdin, modern images like Joe Camel, collaged title cards, and voiceover work by Hampshire students. (Due to an unfortunate hard drive failure, she is still hard at work reassembling the other two parts as of press time. Her emphatic advice to students: “Back up your data.”) There’s a lot that Goulding will miss about Hampshire, but what she’ll pine for most are the many trails in Hampshire’s backyard. But she will likely find her fix as she spends the time after graduation “bumming around the American West going kayaking and climbing mountains.” ~tree~ div iii may 1, 2009 the climax 11 Spool: photos of a family Ariel Rosenbloom By Kate Abbey-Lambertz Photo Editor A riel Rosenbloom has been photographing her younger sisters forever: “ever since I picked up a camera.” Her Division III, “entitled Spool, is a series of black and white and color photographs that explore themes of fictionalized family, the unspoken, and the nameless. Hovering between the real and imaginary, this series is cyclical in nature, weaving in and out with no real beginning or end.” While Ariel didn’t learn to print in a darkroom until her second year at Hampshire, she has a natural affinity for it. “I think I really became passionate about photography once I started printing. I just love how personal it is. It’s a calming process for me; you can sort of escape into this space where time doesn’t exist.” And she works rigorously: “I did all the black and white printing over Jan-term. I was in the darkroom every day, all day until it was done.” Ariel’s images of her sisters contain secret stories and are evocative, as mysterious as they are revealing “I used them as muses for a created, imaginary space. Photographing them for this project was much more like theatre. It was fun and also tedious at times.” “I think it was strange for them to see themselves up on the wall and to get so much attention, but secretly, I think they were flattered,” Ariel guessed. “They’re normal, teenage girls.” Ariel plans to move to New York this summer to find a gallery job or internship and start getting her work shown. Her commitment to analog photography has put her into debt, and she warns Hampshire students that “if you’re planning on doing a photo Div III, plan out your budget ahead of time. No one warns you about how much a Division III photo project will cost (I can tell you: a LOT).” Not that she necessarily would have changed anything: “The main reason I came to Hampshire was so that I would be able to carry out independent work. It feels pretty awesome to be able to say I’ve accomplished everything I hoped I would.” If you are interested in seeing Ariel’s work or buying prints you can contact her at [email protected]. ~tree~ Jen Greenberg Courtesy of ariel Rosenbloom Danielle Slabaugh Solutions to tainted water Environmentalism, privilege, and bikes By Benjamin Kudler Features Editor By Josh Mosh Arts & Entertainment Editor J en Greenberg recently completed her Div III in the school of Natural Science on the subject of water treatment. Greenberg explored a contaminant that finds its way into water through fireworks, gunpowder, and ammunition. The contaminant is fairly common, and greatly effects people with iodine deficiencies. Greenberg’s thesis stated that wetlands could be a better source of water than traditional sources that need to be treated in order to be consumed. Greenberg began her time at Hampshire living in Merrill A2, before moving to Enfield mod 44 in her final year. Although Greenberg enjoys many parts of campus she lists her mod as her absolute favorite place to be. While Greenberg is coy and uncertain when discussing memories of her time spent at Hampshire she does admit that she’s had “some great keg hunts.” Greenberg’s main advice to younger students is “to be satisfied with your Div III.” Although Greenberg has no plans for next year she will work with the Nevada conservation code this summer fixing, building, and maintaining trails. ~tree~ Zebediah Engberg Math whiz sounds off By Audrey Nefores Staff Photographer What is the title of your Div III? The Norm Equation, Ideal Reduction, and Local-Global Violators: Attaching the Class Number Problem for Real Quadratic Number Fields from a Diophantine Point of View Who is on your committee? Ken Hoffman Explain your Div III. Studying integers and whether unique factorizing holds. Where are you from? I’m a Masshole. Favorite memories of Hampshire? Walking across the campus and seeing Luke smile at me. In general, Luke’s face. Any advice for Hampshire students? Don’t start drama, especially during your Div III. Plans for next year? Dartmouth for Graduate School, studying pure math. Favorite place on campus? The treehouse, also known as the Walkway in the Sky, and the top of Cole. What are you going to miss? Luke and teaching people math. I’m going miss being at a school where no one else knows anything about math. ~tree~ I ’m collecting stories from bicyclists about their relationship to environmentalism and privilege, and using them to start conversations with communities in the valley about transportation equity and environmental justice,” says Danielle Marie Slabaugh when describing her Division III project. The student from Lansing, MI worked with faculty members Simin Farkondeh and Larry Winship in the formation and completion of her work. Her earliest memory of the school is a humorous and eventually reaffirming anecdote. Slabaugh recounts the experience of “some crazy girl wearing a green apron, explaining that she didn’t work for Hampshire, she just decided to wear a green apron that day. I wanted to run, but we’d paid the bill, I’m glad I didn’t.” Slabaugh’s favorite memories of Hampshire revolve around personal relationships and the Hampshire discourse. “Bonfires with friends!” exclaims Slabaugh. Speaking to what she will miss the most, Slabaugh says, “I’ll miss my friends and the community of really engaged people.” “Go away and then come back, it changes everything!” said Slabaugh, when asked for advice for Hampshire students. After graduation, Slabaugh will certainly gain a new perspective, leaving the countryside of Western Mass to teach at an afterschool program in Austin, TX. Here on campus, Slabaugh’s favorite place “by far, is the Community Health Center.” Says Slabaugh, “The fridge always had leftover pizza, and there are free massages and comfy couches.” As a closing though, Slabaugh begs that, “someone needs to replace the ladder at the Hampshire tree please.” Will that someone be you, dear reader? ~tree~ Claudia Lerner A human’s guide to life in the cosmos By Andrew Fulmer Opinions Editor C laudia lemer, an NS Div III, is keeping us ready. Her Div III is a comprehensive series of essays on the history and current status of an important—but marginalized—field: astrobiology. A science writer in Div II, Claudia has reviewed “tons and tons” of literature on the subject of alien life, and incorporates Greek history, medieval theory, space-race era research, and contemporary theory. “I explored the idea of “panspermia” and the use of Earthly extremophiles in helping to test that hypothesis. Next, I explored the search for life on Mars and other planets in the solar system, predicting the chances of finding life on each planet according to their unique environments, and discussing the most likely possible life forms that could exist on each of those worlds… I ended that section with a discussion on SETI and searching for intelligence in the universe and the implications of that kind of research on human civilization.” Panspermia is the process by which some biologists believe life could spread throughout the universe. It involves extremophiles (organisms adapted for truly extreme conditions) hitching rides in meteors. If you’ve played Spore, you’ll recognize the concept. Claudia’s work is an act of public service – translating the sometimes arcane research on this subject into a palatable form. While, according to Claudia, we still haven’t found any other organisms in space, this kind of study can still give us a sense for the enormous diversity of life—and, as Claudia pointed out, our role in all of it: “Searching for life on other worlds—and finding almost nothing, at least so far—makes us appreciate the fragile state of Earth and gives us a reason to protect and cherish our own home planet and our own fragile lives.” ~tree~ 12 the climax div iii volume Xi, issue 5 Breaking taboo Alex Torpey Colleen Blackard The Absence of Light By Kendell Richmond Staff Writer A By Keith Putnam Staff Writer Image Courtesy of Colleen Blackard Tell me about your Div III. Well, being an art Div III you’re not quite sure what to do when you start. You just go with an idea and see where it takes you. So what I started out doing was tornadoes and storms and that eventually turned into skies and stars; which aren’t actually skies and stars at all! It’s more just ways of using light and dark to create my own universes, so not like images you see in a picture, for example. So the work that I’m doing now isn’t just about the end result but also about the process as well. I’m building up these blacks with my medium ballpoint pen, which is a really small medium to create large amounts of black in different values and to create space. Right now I’m using lots of circular motions or infinity signs to create images. Some people say it looks like hair, which is kind of funny. How has the Div III process been for you? I feel we have a lot of push from the faculty. I was surprised at the amount of direction there is in the program. I feel for other disciplines at Hampshire, like the writing program, there isn’t as much direction compared to the art program. You’re always in the art barn, you’re always in your space. There is a constant pressure to keep working. I guess I really needed direction to keep working and changing. What the faculty say really influences what you do; their suggestions can really help lead you to where you want to go. So I think I got what I needed out of the program. I don’t think I could’ve gotten to this place on my own. How do you think you would have developed as an artist in a different setting, say if you weren’t in school? The art I do in the summertime is definitely different from the work I do here. At home I have no one critiquing my work and it’s really very different, kind of static actually. When I’m home I’m usually more trying to capture what’s in front of me and then focus on making that as detailed as possible. Here you learn to really let go. The faculty helps you keep in mind all these things I normally don’t think about when trying to create an image. For example, keeping in mind technique, style, composition and all these other ideas that I wouldn’t necessarily think of or practice on my own. What are your plans for after graduation? I would definitely love to make a living on my art. I guess that’s my eventual goal so definitely trying to get more into the art world. I want to go to grad school later on but for now I want to move to New York City, try to get into some galleries and get to know the art community. ~tree~ Maegan BetEnvia Documenting the Assyrian community By Josh Schneider Arts & Entertainment Editor H ave you ever heard of Assyrians?” asks Maegan BetEnvia. Many people have not. BetEnvia’s Div III is an ethnographic historical study on this indigenous Iraqi ethno-religious minority. BetEnvia, a first generation American, began “by documenting the century long history of the Assyrian immigrant community in Connecticut…But soon realized that I had to go further to understand the series of events that have influenced what it means to be Assyrian in the present day.” BetEnvia, whose parents both emigrated from Iran in the 70’s and 80’s, said that “rather than employing theory to explain this ethnic group, I use the framework of Assyrians, primarily the Assyrian community in Connecticut, as a lens to view political and social issues of statelessness, diaspora, post-colonial identity, gender, nationalism, and immigration.” “My project,” continues BetEnvia, “uses interviews and history to see if, where, and how Assyrians fit into the academic fields of diaspora studies, post-colonial identities, statelessness, race, and indigenous studies. This study is as much for my Assyrian community as it is for academia, so my primary objective has been to keep the work accessible to both.” To her fellow students, and especially transfers, BetEnvia urges “stay motivated, don’t be intimidated by the challenges you face, it will seem impossible at times, but the end result is definitely worth it… Don’t let Hampshire become apathetic and traditional. Student groups depend on your involvement, attend their meetings, and make your voice heard.” ~tree~ lex Torpey is perhaps best known at Hampshire College for his involvement in Community Council, his resounding voice, and his closet full of suits… However, few realize that behind the cutthroat professional there is a very Hampshire student. Alex recalls visiting the campus his junior year of high school and “knowing that this will be the place I will go to college”. Since beginning at Hampshire College, Alex Torpey has been incredibly active in the community, taking Non Satis Non Scire to heart. Those who know him will describe Alex as a man who get things done. When students complained about mice in the walls, he wrote a letter to the Amherst Department of Health. When speed bumps proved to be more dangerous than the speeding cars, he had them removed. As the head of Community Council, Alex truly tried to be a man of the people, the liaison between the students and the administration. In his last year on campus he worked closely with student services to reform the alcohol policy, finally convincing the school to adopt a new medical amnesty program. His passion for his community, peers, politics, and change led him directly into his Div III. He began to ask: Is the drinking age working? Over the past year Alex has traced the history of alcohol use and policies in the US. Examining the current cultural and social taboos around youth alcohol consumption and the unintended negative consequences that the 21-year-old drinking age has caused. After extensive research he proposed a new groundwork of graduated alcohol policies to lower the drinking age. His intention is to change to culture and attitude around drinking in the US. Alex spent the past few years dedicated to the Hampshire community, and while many viewed him as a typical politician, he worked tirelessly for the students he represented on Council. Next year he plans to continue his work as a public servant, only this time moving into the real world and the District Attorney’s office in NYC. As he graduates he leaves behind this advice: “ Don’t lose perspective.” ~tree~ Learning to write (suzanne) Elizabeth Buchanan By Eric Peterson Staff Writer I f there’s one fact to begin a profile about Elizabeth Buchanan’s Div III it’s this one: her project is the only one taking the point-of-view of a stray dog. But wait, the follow-up’s even better: this stray dog lives outside an orphanage in Romania, and in order to write from his perspective Buchanan learned Romanian, did an independent study on Romanian history and then spent a summer at a Romania orphanage. “Dog’s” first-person voice is actually just one of three that makes up the novella that is her Div III. And Why Romania you ask? “First I was going to go to Ethiopia,” she says, “Then they went to war with Eritrea and my program was cancelled. Then I happened to read a book about Romanian communism, and thought, “Well, this will work.” So, I signed myself up for Romanian language classes at the Five College Language Center at UMass. I’ve been writing my Div III retrospective, and it just hit me: “I learned Romanian for my Div III. I fucking learned Romanian.” In this way she started her Div III “with nothing but the idea that I wanted to approach a culture as an absolute newcomer and, through research and personal interaction with members of that culture, become close enough with it to write about it.” While Buchanan had spent her Div II studying both fiction and non-fiction writing, she chose to concentrate in the former as: “fiction has such a capacity to create empathy.” At a discussion regarding the Multicultural Perspectives requirement, Buchanan was struck by one speaker, “(writing professor) Nell Arnold mentioned how she could never write about someone, no matter how despicable, without eventually coming to like that person... I feel that the act of reading is similar to this—you can’t finish a book, a well-written book, without some tiny seed of connection to the people it’s about. Without connection, we’re worthless.” ~tree~ div iii may 1, 2009 Music for gerbils 13 Punk rock poetry Maxwell Schwartz sam Teitel By Josh Schneider Arts & Entertianment Editor By Josh Schneider Arts & Entertainment Editor M the climax axwell Schwartz, a graduate of Ridgewood High School, in Ridgewood, NJ has created one of the most unique, if not somewhat esoteric Div III projects seen this year. His major work is basically the creation and production of musical instruments to be played by gerbils, for gerbils. Schwartz first had to identify if gerbils responded positively or negatively to different aural frequencies, learning first that any tone that might resemble the cry of a hawk or a predator was unfavorable. Schwartz also challenged the notion of an instrument that a gerbil would be able to �play.’ Identifying the gerbil’s natural propensity for climbing and jumping onto platforms of various elevations, Schwartz devised three different platform based “gerbil organs.” Originally intending to use rats, Schwartz switched to gerbils for their relatively shorter breeding cycles, their friendly social tendencies, and natural predisposition for sonic communication (gerbils, like other rodents, thump their feet on the ground in order to communicate sonically over distances). Schwartz, who is a top ranking chess player, wanted to combine his love for music, interactive digital art, and animals in his final project. His Division III began taking form in his second year when he utilized his hamster’s running wheel as a component in a “semi-failed” project for a Lemelson course. He then used the hamster in an interactive digital art course taught at Smith. Says Schwartz, “I decided to go in a more behavior oriented direction. I chose gerbils because they are social and highly intelligent when it comes to rodents; they use various forms of seismic communication, plus they are friendly, small, and highly curious. My Division III became, and is, an “observational study” (very loosely so) involving the fabrication of three “instruments” featuring different forms of interaction based on gerbil behavior. These are then filmed, and accompanied with a paper including citations and analysis of prior gerbil research which �justifies’ the project.” ~tree~ P oetry swept Sam Teitel into a world of performance poetry and travel. His Division III maps his journey through cultural history, emotional exploration, and life on the road. The cover of his Div III looks like an old punk record and opens into 22 poems, essays about spoken word poetry in America, and a cross-country tour journal. Sam’s guiding words? “You should write about what you want to write.”  He first wanted to write about punk rock and break through its romantic myths. “It was about me trying to understand these people as people, as human beings that had their own struggles.” Sam penned persona poems and social studies. One poem explores the perspective of the Hotel Chelsea, fidence to take his poetry on the road. where Sex Pistol Sid Vicious allegedly This past Jan Term, Sam and Emerson murdered his girlfriend Nancy. Troll- College poet Steve Subrizi featured ing punk history, Sam realized, “There’s at open mics across the country. They a notion of writing all the gory details. hit venues all over New England, perA really rigid honesty I’m really inter- formed at Chicago’s Green Mill (where slam poetry began), and landed gigs ested in.” Punk’s raw aesthetic inspired Sam in Denver, Colorado. Sam felt the tour to work on more personal poems. He left him with a greater appreciation for turned down this other road in part for life beyond New England. He advises, self-preservation. “I went a little crazy,” “Drive across the country and talk to Sam said, “I was reading about people everybody. And go to the really frightdestroying their lives.” It was time to ening, lonely bars. And don’t ask direcmove past imploding punk personali- tions from anyone that isn’t wearing ties. “I feel like poetry and art has kind big heavy work boots, overalls and carof always been about the artist’s emo- rying an ax over his shoulder...” Chartions,” said Sam. He wanted to perform acter and stories will emerge. Sam will continue his poetic explorations postthe poetry of his own experiences. Sam’s regular performances with the Hampshire. His next stop: The Reader Hampshire Slam Collective and Bos- release party in the Prescott Tavern on ton’s Cantab Lounge gave him the con- May 1. ~tree~ Notions of the self: using theater to find connectivity between Lacan and Buddhism Teff nichols By Alejandra Cuellar Staff Writer T eff Nichols’s Division III began with her experience of encountering psychoanalyst Jacques Lacan in her studies. She was interested in developing some of the concepts Lacanian psychoanalysis presents about anxiety, the idea of the whole and the lack in human experience and paradox. Through experimental theatre, Teff approached these abstract notions of the self and held two performances throughout the year. The Other Shore, a play written by Chinese playwright Gao Xingjian was held in the fall and compiled many of the ideas from both Lacan and Zen Buddhism. She experimented with her actors in a way that allowed them freedom of movement and personal expression in tackling the central idea of crossing a river to the other shore. Teff found an interesting parallel working with this play—the intersection between Buddhism and Lacanian psychoanalysis was surprisingly elucidating. Xianjian’s thoughts about Zen seemed to coincide with Lacanian concepts. he said, “Zen does not manufacture mystery: it is an understanding. It is eating, drinking, shitting, pissing and sleeping as usual. It is only an attitude towards liv- ing, a thorough understanding of the world and of life.” Seeing both of these disciplines as lenses into human experience rather than self-evident truths pushed Teff forward into exploring psychoanalysis further through theatre. Bird Hand Speak, her second performance, was held in the Hampshire woods in the spring. She focused on developing ideas about the limitation of language and emphasized movement as a form of communication. She worked towards breaking the need for sense in theatre, and instead searched for a new form of expression through body language. ~tree~ Dancing with Lacan micaela Rich By Kendell Richmond Staff Writer L ive it up, work harder than you think you can and don’t regret. The end is a time to feel complete and at peace.” This is Micaela Rich’s advice to other Hampshire students, and it’s clear that she followed her own instructions, with plenty of long nights in the airport lounge. When asked what her favorite place on campus was, Micaela simply answered, “outside the library at sunrise.” Truly taking advantage of Hampshire interdisciplinary studies, Micaela combined her love of dance with an interest in psychoanalysis. Working closely with her committee, Fritha Pengally and Annie Rogers, Micaela completed her Div III titled Between Movement and Meaning: deciphering the language of loss through dance and Lacanian psychoanalysis. Her project consisted of a twenty minute original dance piece and an extensive paper on Lacanian psychoanalysis as it relates to dance. Originally from New York, Micaela entered Hampshire College in the fall of 2005. The past four years have been memorable in many ways and yet first year will always be special to her. “Mel and me, our first year, stealing a sign from the pubs and Nick helped out too,” Micaela recalls as one of her favorite memories. While Micaela has diverse academic interests, dancing has her heart. When asked what she would miss most about Hampshire Micaela said, “The community I feel with the dance program.” Next year she wishes to focus all her time and energy on dancing. While plans have not yet been set in stone, she does have a goal, “Dance where I can make enough of a living to eat.” ~tree~ Courtesy of Jim coleman 14 div iii the climax Experiments with time volume Xi, issue 5 Eva Chertow Courtesy of Eva Chertow By Kate Abbey Lambertz Photo Editor L ightspan: A Study in Gradual Repetition is the culmination of Eva Chertow’s photography Division III. Like Eva, it’s complicated, and the further you get into the series of works, the deeper it gets. These works are Eva’s experiments with time, a study she takes seriously and is personally invested in, but one that she irreverently connects back to sitting around in high school with friends “smoking pot and talking about science.” Many of Eva’s projects are sparked by books she’s read. She started formulating her studies of time while reading sections of The Sound and the Fury, its personal significance denoted by a symbolic tattoo on her forearm. “I picked a topic that everyone thinks about” Eva remarked, “but also one that corresponds very much to my own obsessions and neuroses every single day.” After describing the serious technical constraints of her work, Eva excitedly talked about the LiarCard, a service that records phone calls and analyzes conversations for truthfulness, which she used to create one of the works in her show. “It’s a total parody of what came before,” she said enthusiastically, adding more seriously, “But at the same time it’s exactly like everything else I’m doing. Measuring the immeasurable, using technology to quantify the abstract.” “For me, some of this stuff is very heavy. But it’s also not. I just don’t want to take myself too seriously.” Eva attributes her attitude about art to few things. At “a crazy art school” in Amsterdam where she studied abroad, she was struck by the notion that “art is a part of your life and life is a part of your art. It’s not just this crazy anxiety stress, it’s about enjoying what you’re doing.” Eva has been doing photography since tenth grade, and she describes the photo room and her high school teacher—“a hilarious guy, angsty, chain-smoker, smelled bad, very grouchy and grumpy”—as her saving grace. She recalls him telling her, “He never took pictures of anything beautiful. Because that was too easy.” Eva said, “So he would find something that wasn’t beautiful and make it interesting through his photography. And somehow that one phrase has been so influential to me and still is.” Now, Eva uses photography to create a balance in her life. “What has stabilized me and grounded me was feeling confident in the work I’m doing. I think once you have that everything falls into place.” Eva will miss her committee, Jean Marie Casbarian and Karen Koehler, and the Film/Photo building when she leaves Hampshire, hopefully on the way to an AmeriCorps position in Austin in the fall. “I think Div III is so spectacular because you have a group of people telling you that your job is to do exactly whatever you want to do every single day. The work that you’re the most passionate about. And I don’t know if I will ever have that again. I hope I will.” ~tree~ No separation between personal and academic Nelly Bablumian By Kate Abbey-Lambertz Photo Editor W hile Nelly Bablumian has been involved in the theater community at Hampshire since her first months at school it’s only one of the many circles that this dreamer moves in. She’s known by her friends for euphorically dancing in the rain during thunderstorms, spontaneously sleeping outside, and always being up for a bonfire in the woods. “It’s so amazing that we live in the middle of all these forests. I just want to go for a lot of walks in all my free time now.” Nelly will relax at the end of this semester, but she has been driven from her first year, with more focus than most. “From first year, I knew I wanted to put up some kind of play in EDH for my final Div III.” Nelly wrote, directed, produced, set-designed, costume-designed, light-designed, tech-directed, etc I Sing Anyway, her Division III play. As a result of some bureaucratic difficulties, Nelly didn’t get a space in EDH to put on her show. Instead she used the Tavern, which initially “felt like a burden” as she rolled suitcases of props back and forth from her mod to any space she could find to rehearse in. But she came to see the Tavern’s “gifts,” and used the difficulty to let her show evolve positively. “I started my own theater company, which I called a theater family. We worked the whole year—I wrote the play before that—but most of the time we didn’t work on it, we worked on developing a foundation of trust and love without which we couldn’t have put on a play because it was so personal.” To Nelly, “It’s all personal. There’s no separation between academic and personal, at least for me in my Division III.” What draws her to theater is that “it’s bodies in a shared space connecting with each other; there’s this instant trust.” Her time studying clowning and physical theater in Arezzo, Italy, had a strong influence on her play. “Being a clown is about tapping into your inner kid, your most free, vulnerable self. This ties in to a lot of the themes of the play… being human, being lonely, dealing with heartbreak, responsibility for each other as people.” Nelly appreciates how safe she feels at Hampshire; “how weird everyone is and that’s okay…There are days and specific events at Hampshire where you feel this sense of community of and love. And it would be a nice if that was every day.” These are Nelly’s ideals, and it was almost by chance that she ended up living them at Hampshire. “I didn’t read much about Hampshire before I went, I didn’t know anything. But I remember being on the phone with my mom the very first week. And the conversation was interrupted by a bunch of people dressed up as butterflies running across the field. And I was like Mom, I think I came to the right place.” ~tree~ wilson kemp Printmaking elevates drawing to art By Kendell Richmond Staff Writer I was coming back from the bonfire that happened the first night and a ragged man named Moses found me and led me back to Hampshire with a really psychedelic walking stick,” said Wilson Kemp of his first memory at Hampshire. He wasn’t sure if Moses was a professor, a student, or just some man who hung out in the woods. But the next morning, when he woke up slightly hungover and thought back to the previous night, he was sure he had gone to the right school. When Wilson arrived at Hampshire in the fall of 2005 he intended to study photography and sculpture. However, his life took an unexpected turn when he was inspired on a Jan Term trip his second year. “I took one drawing class in Chile, and when I came back I decided to try my hand at printmaking as a way of elevating my drawing to art, as opposed to the doodling I had been doing all my life, ” Wilson said. The inspiration for Wilson’s Div III, titled SECOND NATURE, was the culmination of his entire third year, the spring of which he spent on the Hampshire Cuba program studying with “art wizards” Norberto Morrero Pirez and Lesbia Vent Dumois. “The relief aspect was completely inspired by the reusing and reducing that made Cuban art possible throughout [the supply shortage] of the revolution. Printmaking is something you can do anywhere, anytime,” Wilson said. As far as plans after graduation goes Wilson said, “I have vague opportunistic plans [for next year] to put up an artists’s residence. Find a working press near any major city and make a lot of art.” Although he’s not too picky about which city, the list he muses over includes San Francisco, Savannah ,Georgia, and Asheville, North Carolina. “The collective memory of Hampshire out weights any specific memory I have—actually no—Bocce Ball is my favorite memory,” Wilson said. ~tree~ div iii may 1, 2009 the climax 15 Wrestlers without arms Photographing pilgrimage Amber Odhner Camila Moreiras-Vilaros By Keith Putnam Staff Writer So Amber, tell me about your Div III. I completed a Division III in painting. My project was a series of paintings inspired by invention and memory in the home I grew up in and also I did a series of wrestler paintings. Wrestlers without arms? Yes, without arms. Could you explain them? It was about expectation and surprise in considering a painting and also about what is necessary and unnecessary. It is also about how much is enough and how much you can get away with in a painting by subtracting things that are unnecessary like a skyline or houses, things that are just cluttering the space. Was there a metaphor you wanted to convey? Well really you can interpret it however you want. It means something to me but it almost doesn’t matter what it means for me. I have my own interpretation but one reason why I appreciated the wrestlers is because I feel that form can be interpreted in so many different ways. But I wasn’t meaning for it to be this profound thing, it was more just a tool and a subject for creating a painting. Tell me a little about the Div III process for you. From the beginning I had a pretty good idea of what I was interested in painting and in making, but it was definitely a stressful year. I put a lot of pressure on myself to do something unexpected and different. I feel painting is not something I can articulate very well, it’s such an internalized process. I was ultimately pretty happy with how the show turned out though. I was definitely ready to show. Do you feel your classes helped you come to the place you are as an artist? Oh yeah, definitely. I think every painting you make brings you closer… not brings you closer but teaches you something. I feel painting is not a linear process, it’s always circular. You end up coming back to the same things. Every time you take a class or work on a painting you’re taking another step… and not necessarily toward something, but I guess just gaining a better understanding of the process and what painting is for you personally. I think the Hampshire painting program is so important. We have all these different artists coming through, many who went to graduate school, and after talking with them I feel I am ahead of the usual process. I am already in the habit of making my own schedule, being in the studio every day, and making it happen. You really have to build that discipline. So I feel like I’m ahead of the game in those terms. What are your plans for after graduation? I’m going to go to San Diego and probably going to do AmeriCorps for a year. Eventually I think I will do grad school for painting but I’m really open to whatever happens. ~tree~ By Sophia Hoffenberg Staff Writer I n high school, I was thinking that I was going to come here for film,” Camila Moreiras-Vilaros told me, as we sat on a bench in front of Photo and Film building. “Then the summer before coming to Hampshire, I started really getting into photography, and then I got really lucky and was able to get into a photo class here in my first semester. I really, really liked it and decided that it was the best place for me to be.” “One of my fondest Hampshire memories is from my first year, in the middle of winter. My friends and I got a little stir-crazy and decided, at nine o’clock at night, to take a road trip down to Virginia. We made it down to Virginia at around six in the morning, and then a blizzard started, so we took a nap for an hour or two and then drove back up.”
 Four years later, Camila’s Div III is titled Ultreia: Photographs from the Camino de Santiago, and it involved putting together a photo exhibit, as well as a book, on the pilgrimage from Santiago. She explained, “Basically, this summer I walked and photographed the entire 800 kilometer pilgrimage. In the book I have a lot of philosophical writing, journal entries, a poem, and it basically deals with the idea of the pilgrim being the prototypical mortal, as well as being the antithesis of that.”
 Camila plans to move to Zurich, Switzerland for a year in August, “I’m going to be spending a year with my aunt and uncle, learning German, finding a job related to photography, and then afterwards, hopefully making my way to New York. I’m really going to try to make my living as a photographer, so hopefully I will have enough recognition to be able to work on my own art. Also, half of my project was putting together a book, and I realized that I really like the layout process so I’m thinking that I would also like to try out working as an art book editor.” ~tree~ Questioning red ant conservation Jonathan Fanning By Yonatan Schechter Staff Writer N Courtesy of Camila Moreiras-Vilaros ature as a Weapon: The Use of Parasitic Pseudacteon Decapitating Flies to Biologically Control the Red Imported Fire Ant sounds like an intimidating title for a Div III, but not to Jonathan Fanning. He studied the imported red fire-ant and conservational methods regarding its control. The fire-ant has a bad reputation, especially in the South. People think that a swarm of fire-ants could eat their cows, their crops, and even their unattended children. Fortunately, there is no real scientific evidence of any of these accusations. Instead, fire-ants will infiltrate an ecosystem, causing many of the other species of insect to disappear, either through migration or inability to compete. In one such ecosystem, fire-ants made up 99% of the insect population when they first entered the environment. However, for some unknown reason, after about 10 years the fire-ants made up only about 10% of the insect population. The remainder was most of the native species that had been there in the first place. Due to their bad reputation, there have been a lot of attempts made to eradicate these ants. These attempts kill off everything in an ecosystem, not just the fire-ants. In fact, fire-ants actually flourish in disturbed habitats. This means that while the eradication kills them (and everything else), the fire-ants are the first to repopulate an ecosystem displacing many other species that could live there. One alternative method of controlling fire-ant the population has been with a parasitic fly. This fly infects an ant with its egg, whose baby fly larvae will eventually crawl out through the ant’s head. These infected ants are referred to as zombies. No one had figured out how to differentiate zombies from normal fire-ants. Jonathan found that these zombies preferred more humid environments. He put a bunch of fire-ants in a tower that had a humidity gradient (it was more wet at the top than at the bottom or vice versa) and found that the zombies would go toward the wettest areas and the normal ants would stay relatively still. While this is a monumental achievement, this was only the first half of Jonathan’s Division III project. Jonathan also explored the ethical and conservational implications of using these flies to control the fire-ant populations. In traditional Hampshire fashion, he was left with more questions than answers. Chief among them: Do the risks outweigh the benefits with using this non-native species of fly to control another “invasive” species whose actual invasiveness is questionable at best? ~tree~ LUke Grecki Plant patterns By Audrey Nefores Staff Writer What is the name of your Div III? Phyllotaxis Dynamics: A study of the Transitions of Plant Patterns. What is the name of your advisor? Ken Hoffman Explain your Div III? Studying transitions that happen to different kinds of plant patterns from a dynamical perspective. Where are you from? NYC. Favorite memories of Hampshire? Zeb’s face and smile and getting to rock climb in Spain. Any advice for Hampshire students? Get a bestie and learn how to meditate. Plans for next year? UC Davis Grad School, Applied Math PHD Favorite place on campus? The Treehouse, also known as the walkway in the sky. ~tree~ 16 div iii THE CLIMAX congratulates all Div III students! the climax Alice Ackerman Abraham Adams Neta Ambar Janet Armour-Jones Scott Atherley Thomas Auxier Nelly Bablumian Rami Baglio William Bangs Nana Bannor Bradford Barr Gideon Bass Maya Bauer Lauren Bentley Andrew Berquist Maegan BetEnvia Colleen Blackard Matthew Blaszczynski Benjamin Bois Morgan Bommer-Guinn Aliya Bonar Fiona Botwick Sam Breslaw Emma Brewster Kyle Brodie Suzanne Buchanan Rebecca Buckleystein Sasha Bush Serenity Caldwell Carol Campbell Adrian Carleton Sara Carlisle Suzanne Carlson Nicholas Chandler Drew Chapman Eva Chertow Brian Cipriano Matthew Cohen David Cohn William Colon Nicholas Conrad Daniel Cooper Daniel Cottle Anne Craig Maxwell Criden Katherine Culligan Scott Daley Amy Davin Theodore Day Sophie DeHainaut Nateene Diu Ellen Dulaney Divad Durant Jacob Ehrlich Anna Elliot Zebediah Engberg Jenna English Jill Erwich Meredith Eudy Donald Everhart Jonathan Fanning Leah Farrell Noah Feldman Meggie Felman Jeffrey Fenstermaker Kyla Ferguson Molly Finnigan James Fisher Samantha Forster Nicholas Francomano Marshall Frantz Juliana Frick Linnaea Furlong Jeffrey Garber Jeffrey Garneau Lani Gedeon Marjorie Gidwitz Tasha Goldthwait Caleb Goossen Adrian Gordon Lauren Goulding Frances Greathead Luke Grecki Jennifer Greenberg Tatiana Gutheil Maryette Haggerty-Perrault Sarah Hamilton Kate Harmatz Evan Hatten Zachary Heine Ryder Henderson Inbar Heyman Serena Himmelfarb Crystal Hodges Amy Hoffman Jacqueline Hsu Madeleine Hunt-Ehrlich Sarah Hunter Kristin Iodice Lydia Irons Anna Jacobson Taryn Johnson Jessica Johnston Anna Joseph Jessica Kahn Jennifer Kane Sophiya Karki Sol Kelley-Jones Wilson Kemp Rafferty Kenney Johanna Kenrick Lindsay Kerby Jessica Kim Anna Kitchin Lucy Knipe Amber Knowles Molly Koch Margaret Kojak Matthew Kyros Nicholas Lane Adrienne Lazes Amy Lemay Benjamin Lerer Todd Lerew Claudia Lerner Nicole Le Roux Joyce Li Erin Lindberg Ian Lindsay Jacob Lippincott Micah Litant Landon Little Felix Lufkin Kara Lyle Anas Maloul Christine Manning Kelley Mariani Raul Matta Tamara Maurey Nicole McClure Carolyn Mellick Cameron Merker Justin Mest Ariel Miick Natalie Millis Harrison Milloff David Mills Ariana Misfeldt Sarah Montgomery Julia Moore Camila Moreiras-Vilaros Haley Morgan Ashley Morgenthal Dana Morrison Maureen Mulderig Kristen Mulgrew Letha Muth-Kimball Vincent Nero Annie Nichol Steffany Nichols Lovely Nicolas Jake Nochimow Flarnie Nonemaker Vibhu Norby Michael Nord Amber Odhner Khenrab Palden Rohit Panchakshari Melanie Parker Athanasios Paul Jennifer Pearson Cameron Peebles Sara Peseckis Elena Petricone Krista Phillips Edgar Phillips-Jones Alexander Points-Zollo Jacob Porst Tobin Porter-Brown Lynne Powers Joanna Price Marisa Pushee Tamara Raidoo Desiree Ramacus-Bushnell Evan Ratzan Michael Reinganum Bertrand Reyna-Brainerd Micaela Rich Terell Richardson Carly Ries Wesley Ringel Unique Robinson Joseph Robotham Rachel Roche Diego Rodriguez-Warner Ariel Rosenbloom Gabriel Roth Esther Roth-Katz Michael Rozycki Jesse Sanes Jorie Sapir volume Xi, issue 5 Adam Sax Eva Schnurr Ellen Schubert Jacob Schuchman Falk Ian Schwartz Maxwell Schwartz Evan Scofield Sanjiv Sebastian Kate Sellers Noelle Serafino Patrick Seymour Brittany Shaffer Hannah Shaffer Eric Shaw Zachary Shepard Nathan Sick Danielle Silverstein Rachael Singer Danielle Slabaugh Catharine Smith Emma Smith Jennifer Smith Peter Smith Rachel Smith Richard Smith Simone Stemper Christine Stevenson Ursula Strauss Jonathan Strieff Sarah Sykes-Goldsmith Cody Tannen-Barrup Samuel Teitel Tiya Tejpal Molly Terhune Emily Thomas Samuel Tilley Nathan Tobiason Alex Torpey Andrew Torrens Michael Turner Britton Van Vleek Alana Vehaba Kerey Viswanathan Laura Vitkus Cameron Vokey Karin Wallasch Brecklyn Walters Pesha Wasserstrom Owen Watson Bonnie Watt Joshua Weiner Joshua Weissbach Brennin Weiswerda Henry White Allison Wickham Lindsay Wilbur Jessica Williamson Danice Willock Katelin Wilton Jeanne Wolhandler Toshi Woudenberg James Yates Elizabeth Youle Ashley Young Laura Zeppieri Samuel Zucker
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