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Joanna Chromik, Institute for Digital Arts & Humanities
Summary:
This project examines publicly available statements about sex and sex work in light of the #MeToo movement and in response to the passing of the FOSTA-SESTA. It focuses on the online efforts of sex-work advocates against the passing of the SESTA, and how those efforts affect the public deliberative democratic process, especially with the rise of Democratic Socialist candidates, such as Alexandria Ocasio-Cortez, who oppose the legislation. I want to consider how coalition building between different activist groups online contributes to new methods of rhetorical invention that can push outward to influence the public process of deliberation.
In response to federally-funded “Always Already Computational: Collections as Data” movement (https://collectionsasdata.github.io), the Indiana University Libraries are both exploring ways to provide access to our own digitized special collections for teaching and research and helping others discover non-IU collections for the same purposes. Those teaching or conducting research or creative pursuits in the arts and humanities have much to gain from interacting with digital collections as data. This brownbag will constructively a) critique ways in which cultural heritage organizations historically have made digital content available for sharing that are not quite conducive for re-use/re-mixing by scholars and students, b) explore how collections, including Indiana University collections, are currently made discoverable and portable, and c) identify the myriad of ways we can improve full access to these collections to advance cultural scholarship. Part of this brown bag will include hearing from you – how you currently use or would like to use existing digital collections in your teaching and research and your ideas about how we can facilitate those use cases.
Are you ready to audition? Voice faculty from the Indiana University Jacobs School of Music’s College Audition Preparation program, both past and present, provide guidance on what to anticipate when preparing for a college audition. While using “Twenty-Four Italian Songs and Arias” as a platform, we discuss topics including audition attire, music preparation, repertoire choices, translations, subtext, and vocal health, and then provide an explanation and examples of a traditional audition experience. While these videos are set for the prospective undergraduate vocal performer, their message is useful across a wide range of performance audition areas.
Seth Adam Cook, Institute for Digital Arts & Humanities
Summary:
Between 1880-1920s, the United States experienced the most significant relocation of Italian immigrants - over 4 million. Known today as the 'Great Arrival,' this dramatic surge was the result of decades of internal strife happening across the country, which left society rife with violent uprisings, widespread poverty, and soon the rise of Mussolini. For the following decades, Italian immigrants faced unforeseen hardships dealing with a landscape and culture that was unknown to them and discrimination from those who did not approve of their arrival.
For this body of work, archives from the Terracina family were selected starting after their migration from Italy to the United States (1910) up until they assimilated into the Cajun culture in Bayou Teche Louisiana (the 1950s). Photo's in this particular time frame were chosen because of the striking discrepancies between what the photographs depict on the surface–images of family bliss and cultural representation, and the conflicts they faced being immigrants. What these petals represent is the cultural displacement a migrant family faces when adopted by a land and culture that is not their own, and the frailty of maintaining their original customs during a time of cultural assimilation.
Process
These portraits were created using a combination of cut fabric and laser engraving. The material was torn and warped to represent the southern magnolia petal. Each picture selected was meticulously chosen based on the family's immigrant generation: first and second generation Italian immigrants. The memorial box was created to contain the petals; acting as a portfolio, archive box, and interactive installation piece.
The Sample: Costume design is an important element to bringing a story to life. It brings out the personality of characters and lets the audience immerse themselves into a whole new world. This week we had the chance to explore the process of designing a costume, from a sketch to a final wearable garment for the stage.
In a career spanning four decades, Craig Van Sickle has written, produced and directed more than 200 hours of prime-time television, including scripts for “Murder, She Wrote,” “NCIS,” “24” and George Lucas’s “The Clone Wars.”
Van Sickle graduated from IU in 1979 with a degree in telecommunications and soon moved to Los Angeles, where he eventually met up with his writing partner of 30-plus years, Steve Mitchell.
In 1985, after nearly six years in Hollywood, Van Sickle sold his first script to “The Love Boat.” Two years later, he landed his first staff writing job at the “Murder She Wrote” spinoff “The Law & Harry McGraw.” In the years following, Van Sickle moved up the ranks from story editor to executive producer/showrunner under the guidance of mentors Peter S. Fischer (“Murder, She Wrote”), Kenneth Johnson (“Alien Nation”) and the late Stephen J. Cannell (“Rockford Files,” “Wiseguy”) as he continued writing scripts for all three TV giants.
In 1996, Van Sickle achieved his lifelong dream when his original series, “The Pretender,” was picked up by NBC.
“That was my big leap,” Van Sickle recalled. “Ever since fifth grade when I decided to become a writer, my career goal was to get my own series on television.”
“The Pretender,” written and created by Van Sickle and Mitchell, ran for four seasons and launched two feature-length films. They recently published two novels set in the “Pretender” universe: “Rebirth” and “Saving Luke.”
Since “The Pretender,” Van Sickle created the series “She Spies,” became showrunner for NBC’s “Medical Investigations” in 2005 and wrote about 30 television pilot scripts.
In 2008, Van Sickle saw another dream project come to life when he wrote and produced his reimagining of “The Wizard of Oz” titled, “Tin Man,” which aired on The SyFy Channel. To this day, “Tin Man” remains the network’s highest-rated mini-series of all time and garnered nine Emmy nominations, winning multiple awards that year.
In addition to his mentors, Van Sickle credits his family, who he said made it all worthwhile.
“My wife Wendy was there for me from the very beginning, before success. Along with our two great children, Aridae and Wills, family love kept me very grounded,” he said.
In 2017, Van Sickle launched scripTVisions.com, a script mentoring site that helps unproduced writers improve their scripts and launch their professional careers in Hollywood. Each year, he selects one protégé’s work to submit to his agents and take out into the marketplace to get the show on the air.
“Ninety percent of my clients are pro bono,” he said. “In an era where novice writers are being taken advantage of by fly-by-night script services, I just felt they deserved legitimate feedback from a professional – the kind of notes that will truly help them break into the TV business.”
Since 1985, Van Sickle has been an active member of the Writers Guild of America West, for which he has participated in numerous panels and workshops throughout the years.
He is working on a new series called “Veil” for Starling Entertainment, which he hopes will premiere next year.
