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1980s, Tony Carlucci and Tony Debevc, Jr. at Debonne Vineyards
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/debonne_images/23/thumbnail.jpgTony Carlucci (right) and Tony Debevc, Jr. (left) testing wine in the cellar at Debonne. Carlucci graduated from Mississippi State University in 1981 with a degree in enology and ran the cellar at Debonne from 1984 to 1996. Winner of over 500 medals, the Double Gold win for his 1992 Lake Erie Johannisberg Riesling at the San Francisco Fair National Wine Competition earned Debonne the prestigious honor of the U.S. White Wine Best of Show. Since 1996, he has owned his own wine consulting businesses, Carlucci & Associates, and has taught wine education classes for the Geography department at Kent State University for over twenty years.</p
Fringe Elements
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/ksumuseum/7/thumbnail.jp
2017 Ohio Wine Competition Official Results
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/owc/1/thumbnail.jpgHeld on May 16-17, 2017 at Kent State University Ashtabula and sponsored by the Ohio Grape Industries Committee, the competition received a total 271 entries with 216 receiving medals. Official results include a complete list of awarded wines, both by category and medals. Best of Show Awards Overall Best of Show: 2016 Kosicek Vineyards Traminette, Lake Erie White Wine: 2016 Doughty Glen Misty Meiner, Holmes County Red Wine: 2015 Burnet Ridge Zinfandel, North Coast Blush/Rosé: Ferrante Winery Pink Catawba, Lake Erie Fruit Wine: Brandeberry Blackberry, American Sparkling/Carbonated: Kosicek Vineyards Rhapsody, Grand River Valley Dessert/Fortified Wine: Meier’s #44 Cream Sherry, American</p
Environmental Racism: Resources, Natural Disasters and the poverty cycle
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/womensleadership_2017_bio_gallery/6/thumbnail.jp
Save the Date: Framing Art and Protest
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/womensleadership_2017_gallery/1/thumbnail.jpgThe 4th annual Women\u27s Leadership Symposium was held March 1, 2017. </p
Are Males and Females Similar or Different in Stressful Situations?
No full textIntroduction: People often report that they experience personal growth following traumatic events, but most research to date has relied on retrospective reports of growth months or years after an event. This study examines gender differences in reports of stress and growth in a stressful experimental situation. Method: To create a stressful situation, illness cognition was manipulated using a paradigm developed by Croyle and Ditto (1990), which altered subjective health status. Participants were 144 undergraduates (85% Caucasian; 73% female). Results: An analysis of variance indicated that females reported significantly more stress (mean = 3.89) than did males (mean = 2.83), F (1, 128) = 7.56, p = .007. There was no difference in personal growth for females (mean = 3.81) and males (mean = 3.66). When examining links between stress and quality of life, partial correlations indicated that more perceived stress reported by females, but not males, was related to worse physical and mental health, more negative affect, and lower self-esteem (all r’s > +/- .23, all p’s ≤ .024). By contrast, partial correlations examining links between personal growth and quality of life revealed one difference, but three similarities. More specifically, for females, more growth was related to better physical health; for both males and females, more growth was related to better mental health, more positive affect, and higher self-esteem (all r’s > .45, all p’s ≤ .030). Discussion: Taken together, the current findings suggest that only in some cases are males and females more similar than different. </p
Debonne Vineyards, Grand River Valley Concord (1970s)
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/14/thumbnail.jpgDebonne Vineyards was founded by the Debevc family as a winery in 1972 with the construction of a winemaking facility and a charming Chalet. When the location first opened in 1972, the wine selection included two house table wines, a dry Concord and a sweet Niagara, that were produced and bottled on the farm.</p
Designing Archives: Towards A Vertical Interdisciplinarity
No full textVirginia Kuhn, (chair), University of Southern California
Nike Nivar Ortiz, University of Southern California
Maria Zalewska, University of Southern California
In considering the future of design education, Ken Friedman argues for interdisciplinarity since current (and, no doubt, future) design challenges “require analytic and synthetic planning skills that can’t be developed through the practice of contemporary design professions alone.”[1] He creates a taxonomy of domain knowledge and skills necessary for design professionals, the nexus of which includes theoretical work from the humanities and liberal arts, with practical work from the creative and applied arts.
In this panel, we highlight strategic approaches to interdisciplinarity that might inform contemporary design challenges. Paying special attention to the theories and practices associated with archives, panelists will consider the possibilities for digital scholarship across disciplinary divides. Using Friedman’s taxonomy, we argue for a type of vertical interdisciplinarity,[2] one that is not additive (art plus history) but that radically reimagines the boundaries of current academic disciplines, as well as the work we do as teachers and scholars.
Paper 1: Virginia Kuhn
Rhetoric = Theory + Practice = Design
What new kind of knowledge will exist exclusively in the form of images?
—Wolfgang Ernst, Digital Memory and the Archive
If the “visual turn” of the 20th century called attention to the rising cultural importance of image-based forms of representation, specifically linking art history and classical film theory, the early 21st century’s “digital turn” promises to bring core questions of visual rhetoric and design theory to bear upon the rapidly proliferating digitization of filmic media and their concomitant archives. What possibilities open up with an available language of images that can be created and disseminated with relative ease in a globally networked world?
Building on the work of Joost & Scheuermann, [3] who argue that design is a form of rhetoric which is inherently rule-based and interdisciplinary, I argue for conceptualizing image archives as contemporary alphabets that can undergird digital scholarship. In this model, I contend, the theory-practice binary is no longer the exception but rather the rule.
Paper 2: Nike Nivar Ortiz
Towards a Hospitable Archive: Reorienting the Narrative of Operation Just Cause in Scalar
If horizontal strategies make us imagine new narrative lines within a field, then the vertical approach forces us to rethink the narrator, what narrative form could be, and how we think, reflect, critique, and express.
—Virginia Kuhn and Vicki Callahan, “Nomadic Archives”
The archive, by and large, is a rather unwelcoming place. Documents offering historical “truth” are held under lock and key, often requiring institutional affiliation to access, and all subject to many rules of order that regulate how one interacts with them. Digitization is often touted as the road towards democratization, yet it is undeniable that there is a certain politics and economy to the digital archive—a privileging of what gets digitized, and institutional biases that affect access. Even when digital, archives may still only serve to reproduce the failings of the physical archive; it may only engender narratives that work within the archive’s structure of power—not those that challenge it. Using materials from Operation Just Cause found at the National Archives in Washington, D.C. as a case study, I will explore how the online publishing platform Scalar can function to further the democratic power of the digital by destabilizing the univocality of the traditional archive. I argue that Scalar’s modular archival structure, its multi-media functionality, and integrated design tools can help us create narratives that critically engage historical documents and disrupt ossified modes of archivization. Beyond just a digital publishing platform, Scalar offers a hospitable space of consignment.
Paper 3: Maria Zalewska
Designing Archives of Memory: The Epistemology of Chronicling Digital Encounters with the Holocaust Past
Each year fewer survivors arrive in Auschwitz to commemorate the International Holocaust Remembrance Day. In 2005, nearly 1500 survivors attended the anniversary; in 2015, only 300 survivors came to Auschwitz. This year, 60 former prisoners arrived in Birkenau to commemorate the 72nd anniversary of the liberation of the German Nazi concentration and extermination camp. Therefore, as the last survivors and witnesses are dying and the memory of the Holocaust increasingly depends on commemoration and re-telling of the story for new generations, Holocaust-related educational institutions and scholars search for innovative ways to bridge the past with the present. How digital communities interact with the memory of the Holocaust via images, blog posts, 3D holograms, virtual and augmented reality applications, and social media shareable content is becoming increasingly relevant to media and genocide scholars. Similarly, pioneering archival regimes of memory (eg.: Yad Vashem online archives; Stanford University Spatial History Project: Holocaust Geographies Collaborative, etc) force us to consider the process of securing Holocaust memory as apparently inseparable from the technological advancements of our time.
Using the USC Shoah Foundation’s Visual History Archive as my case study, I explore the epistemological strategies associated with the design and development of contemporary archives of Holocaust memory. I argue that we are witnessing a paradigm shift in the design of curated systems of Holocaust memory which are moving away from archived and mediated bodies of knowledge towards a network of interactive memory practices. The embodied archive of three-dimensional holograms created by the USC Shoah Foundation illustrates this intention to mediate the loss of living witnesses by creating their interactive substitutes.
Virginia Kuhn, PhD. [email protected], Associate Professor, Media Arts + Practice Division, School of Cinematic Arts, University of Southern California
Nike Nivar Ortiz, [email protected], Comparative Studies in Literature and Culture, 2016-18 Digital Humanities Mellon Fellow, University of Southern California
Maria Zalewska, [email protected], Cinema and Media Studies Division, School of Cinematic Arts, 2016-18 Digital Humanities Mellon Fellow, University of Southern California
[1] Ken Friedman. “Models of Design: Envisioning a Future Design Education,” Visible Language 46.1/2 2012.
[2] Virginia Kuhn and Vicki Callahan. “Nomadic Archives: Remix and the Drift to Praxis,” Digital Humanities Pedagogy: Practices, Principles and Politics, Brett Hirsch, ED. 2012.
[3] Gesche Joost and Arne Scheuermann. “Design As Rhetoric: Basic Principles for Design Research.” 2008.
This was a pre-conference panel on June 1, 2017. 1:00–2:00pm (SCI 108)</p
Data Visualization as Participatory Action Research Method
No full textAndrew DeRosa, Queens College, CUNY
Participatory action research (PAR) seeks to drive actionable social change by involving community members as collaborative co-researchers. This workshop will focus use of data visualizations generated by community members as a method in PAR to share and build on existing knowledge; understand a variety of perspectives; identify opportunities; establish collective point-of-view; build consensus; and drive decision making in a way that empowers stakeholders. With crossover in practice between social sciences, the humanities, and a variety of design subsets; there are opportunities for designers to use data visualization-based PAR for cross-disciplinary digital and non-digital scholarship alike.
Using the themes of the conference as prompts, workshop participants will work together as co-researchers exploring collective knowledge and experience regarding design, research, education, and interdisciplinary collaboration. Through a step-by-step iterative process we will gather, order, and visualize information; and engage in a process of collaborative sense-making. Using simple, non-digital tools, participants will create a large diagram that will visualize data and illuminate patterns, themes, opportunities, and insights. The workshop will conclude with a discussion about planning and executing similar PAR in a variety of contexts. No experience, laptops, or other materials necessary.
Andrew DeRosa is a Brooklyn-based communication designer. He received an MFA in 2D Design from Cranbrook Academy of Art, and a BFA from University of Colorado in Boulder. His practice balances professional design work, self-initiated projects, and design education. Professionally, Andrew has completed projects for IDEO, Jerry Seinfeld, Whole Foods Market, Showtime Networks, and the Tribeca Film Festival, among others. His work has been been featured nationally in group exhibitions at venues such as the Cranbrook Art Museum in Bloomfield Hills, Michigan; and the Autzen Gallery in Portland, Oregon. Andrew’s work has been featured in publications such as Guide To Graphic Design by Scott W. Santoro. He has lectured on a variety of design-related topics, most recently at the Nanyang Technological University in Singapore. Andrew has taught courses at Queens College since 2009, as well as at New York University, and the University of Detroit Mercy.
This was a workshop on June 1, 2017. 3:30–4:30pm (SCI L114)</p
How to Teach Design to Non-Design Students and Create Programs for Non-Designers
No full textJoyce Walsh, Boston University
Students and professionals in the STEM and humanities fields recognize a need for visual strategies to improve their communications and products. Consequently, many non-designers want to learn design software and would benefit from knowledge of design fundamentals. This workshop will present a proven method for teaching relevant design skills along with creative software skills. This is an efficient teaching method intended for novice designers or non-designers.
The workshop will share an integrated approach: how to teach design principles and strategies simultaneously with industry-standard creative software (Illustrator, Photoshop and InDesign). For example, as students learn to use color to create effective visual hierarchy, they learn Illustrator skills.
Features of this method include:
All software skill instruction reinforces design principles
Design knowledge and software skills are built incrementally
Teaches design strategies that are relevant to non-design profession
This strategy can also be used to expand design programs to a broader audience. Students may come from any discipline and be graduate students, undergraduates or professionals. Equipped with color, type and information organization strategies, these students can make more effective digital products such as apps, websites and presentations.
To support this approach, I wrote the first book combining design with software skills. It was published internationally by Laurence King and Pearson, and has a Chinese edition. It is now available in a pdf version on my website.
Joyce Walsh is an Associate Professor at Boston University.
This was a workshop on June 1, 2017. 3:30–5:30pm (SCI L106)</p