Anatomy of Italic 2018

p l ay l i st s 51

SUDDEN VULGARITY SUDDEN VULGARITY

1. Fletcher Benton, “Oakland Maquette,” 1969, bronze, plexiglas, and Noah Salazar
motors.
Day69: Graduation Day, “BILLY,” 2018.

2. Nathan Oliveira, “Nude in Environment I,” 1962, oil on canvas.
Project Baby 2: All Grown Up, “Transportin’,” 2017.

3. Helen Frankenthaler, “Approach,” 1962, oil on canvas.
After The Storm, “After The Storm,” 2018.

4. David Park, “Four Women,” 1959, oil on canvas.
Travis La Flame, “Sloppy Toppy,” 2017.

5. Mary Weatherford, “black painting,” 2017, flashe and neon on linen.
Beamer Boy, “Beamer Boy,” 2017.

52 p l ay l i s t s

HER NAME IS GENTLE STRENGTH HER NAME
IS GENTLE STRENGTH
1. William Allan, “Half a Dam,” 1971, acrylic on canvas
James Bay, “Hold Back The River,” 2014 Darnell Carson

2. David Park, “Four Women,” 1959, oil on canvas
Jill Scott, “Womanifesto,” 2011

3. Josef Albers, “Homage to the Square: Diffused,” 1969,
oil on Masonite panel
The Beatles, “Here Comes The Sun,” 1969

4. Sam Francis, “Red in Red,” 1955, oil on canvas
Janelle Monae, “Pynk,” 2018

5. Jules Olitski, “Burn and Glitter,” 1966, acrylic on
canvas
Alabama Shakes, “Sound and Color,” 2015

p l ay l i st s 53

BREATHING MACHINE BREATHING MACHINE

1. Larry Poons, #15, 1972, acrylic on canvas AnQi Yu
CocoRosie, “Lost Girls,” 2015

2. Robert Therrien, No title (chapel), 1985, oil and wax on wood
Nina Simone, “Don’t Let Me Be Misunderstood,” 1964

3. Robert Graham, Fountain Figure #4, 1986-87, cast bronze with
painted steel base
St. Vincent, “Digital Witness,” 2014

4. Donald Sultan, Street Light, February 7, 1982, oil, spackle, and tar
on vinyl tile on masonite
Amandla Stenberg, “Let My Baby Stay,” 2017

5. Squeak Carnwath, Full Time, 2003, oil and alkyd on canvas over
panel
Anaïs Mitchell, “Wedding Song,” 2010

54 p l ay l i s t s

TO THE CORE TO THE CORE

1. Vija Celmins, “Barrier,” 1985-1986, oil and wax on linen Erik Roise
Charles Ives, The Unanswered Question, 1908

2. Peter Alexander, “Untitled,” 1971, polyester resin
John Luther Adams, The Wind in High Places (III. “Looking
Toward Hope”), 2015

3. Donald Sultan, “Street Light, February 7, 1982,” 1982, oil, spackle,
and tar on vinyl tile on masonite
Leonard Bernstein, Symphony No. 2 “The Age of Anxiety” (Part 1),
1948-1949

4. Sam Richardson, “Most of that Iceberg is Below the Water,” 1969,
plywood, polyurethane foam, polyester resin, fiberglass, polyester
filler, and lacquers
John Luther Adams, Become Ocean, 2014

5. Kenneth Noland, “Rose,” 1961, acrylic on canvas
Charles Ives, Sonata for Violin and Piano No. 4 “Children’s Day at
Camp Meeting” (Mvt. III), 1916

p l ay l i st s 55

STATE OF THE WORLD STATE OF THE WORLD

1. Al Held, “Hadrian’s Court I,” 1982, acrylic on canvas Alexa Luckey
Janet Jackson, “Throb,” 1993

2. Fletcher Benton, “Oakland Maquette,” 1969, bronze, Plexiglas,
and motors
Janet Jackson, “I Get Lonely,” 1997

3. Bruce Beasley, “Killyboffin,” 1968, cast acrylic
Janet Jackson, “Feedback,” 2008

4. Harvey Quaytman, “Oboe,” 1987, acrylic on canvas
Janet Jackson, “The Knowledge,” 1989

56 p l ay l i s t s

TECHNICOLOR HUMANS TECHNICOLOR HUMANS

1. Beth Van Hoesen (U.S.A., 1926–2010), Stanford (Arnautoff Lora Supandi
Class), 1945. Graphite and ink on paper. Gift of the Estate of
Beth Van Hoesen
“Electric Feel” – MGMT (2009)

2. Do Ho Suh (South Korea, b. 1962), Screen, 2005. ABS and
stainless steel. © Do Ho Suh. Courtesy the artist and Lehmann
Maupin, New York and Hong Kong
“Peace Blossom Boogy” - The Babe Rainbow (2017)

3. Eadweard Muybridge (U.S.A., b. England, 1830–1904), Point
Bonita, (Entrance to Bay of San Francisco), looking South, c.
1870. Stereograph, albumen prints mounted to card stock.
Committee for Art Acquisitions Fund, 1971.14.20
“Down in the Valley” - The Head and the Heart (2012)

p l ay l i st s 57

ONWARDS & UPWARDS ONWARDS AND UPWARDS

1. Paul Wonner, “Figure by the Window,” 1962, oil on canvas Nova Meurice
Simon & Garfunkel “The Dangling Conversation,” 1962

2. Robert Arneson, “Sinking Brick Plates,” 1969, glazed ceramic
Frank Ocean, “Moon River,” 2018

3. Vija Celmins, “Barrier,” 1985-86, oil and wax on linen
Mikhael Paskalev, “Come On,” 2016

4. Harold Paris, “Homage to Boccioni #1,” 1969, vacuum-formed
butyrate
Kendrick Lamar, “GOD.,” 2017

5. Ellsworth Kelly, “Self Portrait,” 1949, ink on paper
Serge Gainsbourg, “Chanson de Prevert,” 1962

58 p l ay l i s t s

IN MOTION IN MOTION
TO GUNNER DONGIEUX FROM VINCENT XIE
Vincent Xie
1. Donald Sultan, “Street Light, February 7, 1982,” 1982, oil, spackle,
and tar on vinyl tile on masonite
Bernard Herrmann, “I Still Can’t Sleep - Taxi Driver Soundtrack,”
1976

2. Billy Al Bengston, “Lux Lovely,” 1934, nitrocellulose lacquer and oil
on masonite
Michael Kamen, “Main Titles from Band of Brothers,” 2001

3. Paul Wonner, “Figure by Window,” 1962, oil on canvas
Olafur Arnalds, “Near Light,” 2011

4. Sam Richardson, “Most of that Iceberg is Below the Water.” 1969,
plywood, polyurethane foam, polyester resin, fiberglass, polyester
filler, and lacquers
Hans Zimmer, “Epilogue - Planet Earth II Soundtrack,” 2016

p l ay l i st s 59

BREAKING POINT BREAKING POINT

TO VINCENT XIE FROM GUNNER DONGIEUX Gunner Dongieux

1. William Allan, “Half a Dam,” 1971, acrylic on canvas
Parquet Courts, Death Will Bring Change, 2018

2. Hans Bricker, “In The Tropics,” 1974, polymer on canvas
Fergus and Geronimo, Where the Walls are Made of Grass, 2011

3. William T. Wiley, “Just to Mention a Few (after Bosch),” 1994,
acrylic, charcoal, and graphite on canvas
Radiohead, Weird Fishes, 2007

4. Three Man Patrol, 1993, oil on canvas
Parquet Courts, Almost Had to Start a Fight/In and Out of
Patience, 2018

60 p l ay l i s t s

TRY TO REMEMBER TRY TO REMEMBER

1. Mark Tansey, “Yosemite Falls (Homage to Watkins),” 1993, Julia Gordon
oil on canvas.
Daughter, “Winter,” 2013.

2. Vija Celmins, “Barrier,” 1985-1986, oil and wax on linen.
Death Cab for Cutie, “Passenger Seat,” 2003.

3. Richard Diebenkorn, “Ocean Park #60,” 1973, oil on canvas.
Bleachers, “Foreign Girls,” 2017.

4. Mary Weatherford, “black painting,” 2017, flashe and neon
on linen.
Son Lux, “Aquatic,” 2018.

5. Nathan Oliveira, “Stage #2 With Bed,” 1967, oil on canvas.
LCD Soundsystem, “All My Friends,” 2007.

p l ay l i st s 61

CENTRIPETAL CYCLE CENTRIPETAL CYCLE

1. Laddie John Dill, “Untitled,” 1982, cement, glass, Yeh-Tang Huang
pigment, and silicone on wood
田馥甄 Hebe Tien, “渺小 (Insignificance),” 2013

2. Sam Francis, “The Beaubourg,” 1977, acrylic on canvas
大支 Dwagie, “扣板機 (Pull the trigger),” 2016

3. Vija Celmins, “Barrier,” 1986, oil and wax on linen
林俊傑 JJ Lin, “黑夜問白天 (53 Dawns),” 2017

4. Donald Sultan, “Street, Light, February 7, 1982,” 1982,
oil, Spackle, and tar on vinyl tile on Masonite
楊宗緯 Aska Yang, “懷珠 (Huai Zhu),” 2011

5. Mark Tansey, “Yosemite Falls (Homage to Watkins),” 1993,
oil on canvas
艾怡良 Eve Ai, “Waterfall,” 2017

62 p l ay l i s t s

LA DOLCE VITA LA DOLCE VITA

1. Richard Diebenkorn, Girl on the Beach, 1957, oil on canvas Sydney Guthrie
Audrey Hepburn, “Moon River”

2. Christopher Brown, 1946, 1992, oil on canvas
Michele Garruti, “Love Story”

3. Paul Wonner, Figure by Window, 1962, oil on canvas
Francis Lai, Nicole Croisille, Pierre Barouh, “Un Homme Et
Une Femme”

4. Mark Rothko, Untitled (Black on Gray), 1969, acrylic on
canvas
Ludovico Einaudi, Daniel Hope, “Perticor”

p l ay l i st s 63

ESTRANGEMENT ESTRANGEMENT

1. Ad Reinhardt, “Abstract Painting, 1966,” 1966, oil on Regan Lavin
canvas
Granular, “White Noise - 145 hz,” 2017

2. Squeak Carnwath, “Full Time,” 2003, oil and alkyd on
canvas over panel
Frank Ocean, “Start,” 2012

3. Frank Stella, “Zeltweg,” 1981, mixed media on aluminum
Glass Animals, “Intruxx,” 2014

4. Vija Celmins, “Barrier,” 1986, oil and wax on linen
The Shins, “Sleeping Lesson,” 2007

5. Larry Bell, “Glass Cube,” 1984, metal film on glass and
chrome-plated brass
Mac DeMarco, “Chamber of Reflection,” 2014

64 p l ay l i s t s

DISCONNECT DISCONNECT

1. Nathan Oliviera, “Stage #2 with Bed,” 1967, oil on canvas May-Ann Wong
H.E.R., “Losing,” 2017

2. Robert Arneson, “Sinking Brick Plates,” 1969, glazed ceramic
Vera, ft. Okay Kaya, “Falling,” 2017

3. Sam Richardson, “Most of that Iceberg is Below the Water,”
1969, plywood, polyurethane base, foam, polyester resin,
fiberglass, polyester filler, and lacquers
Kali Uchis, “Dead To Me,” 2018

4. Fletcher Benton, “Oakland Maquette,” 1969, bronze, plexiglas,
and motors
Jorja Smith, “Blue Lights,” 2018

5. Vija Celmins, “Barrier,” 1986, oil and wax on linen
Daniel Caesar, “Blessed,” 2017

p l ay l i st s 65

BLISSFUL CHANGES BLISSFUL CHANGES

1. Paul Wonner, “Figure by Window,” 1962, oil on canvas Eddie Tchaouchev
Frankie Reyes, “Noche de Ronda,” 2016

2. Sam Francis, “The Beaubourg,” 1977, acrylic on canvas
Mk.Gee, “I Know How You Get,” 2018

3. Jennifer Bartlett, “At the Lake, Morning,” 1979, enamel, serigraph
on steel, oil on canvas
Phoenix, “Summer days” 2000

4. Joan Mitchell, “Before, Again IV,” 1985, oil on canvas
Alvvays, “Adult Diversion,” 2014

5. Richard Diebenkorn, “Ocean Park #60,” 1973, oil on canvas
Claude Debussy, “Deux Arabesques: Arabesque No. 1 in E major,”
1888-1891

66 p l ay l i s t s OLD AND NEW

OLD AND NEW Isabella Johnson
1. Damien Hirst, “The Void”, 2000, glass, stainless steel, steel,

aluminum, nickel, bismuth and cast resin, colored plaster
and painted pills with dry transfers
Frank Sinatra, “I Get a Kick Out of You,” 1934.
2. Do Ho Suh, “Cause & Effect,” 2007, Acrylic aluminum disc
stainless steel fram, stinless steel cable and monofilament.
Elvis Presley, Pocketful of Rainbows, 1960.
3. Qin Feng, “Desire Scenery No.1,” 2007, ink on paper.
Bobby Darin, “Beyond the Sea”, 1959.
4. John Livingston, “Transformation Mask,” 2011, wood, paint
rope, metal and electronic equipment.
A Tribe Called Red, Stadium Powwow, 2016.

p l ay l i st s 67

THIS IS YOUR BRAIN ON ART THIS IS YOUR BRAIN ON ART
1. “Snuff Bottles,” China, Qing dynasty, 19th and early 20th century,
Nathan Gugel
Glass, porcelain, nephrite, agate, quartz, rock crystal, amber, and
silver
AWOLNATION, “Guilty Filthy Soul,” 2011

2. Damien Hirst, “The Void”, 2000, Glass, stainless steel, steel,
aluminum, nickel, bismuth and cast resin, colored plaster, and
painted pills with dry transfers
Anamanaguchi, “Pop It,” 2014

3. Barry McGee, Untitled (looks like a brain made of colorful panels),
2015, Acrylic on panel, 152 elements
daniwellP and YZYX, “I Nyaned for Hours ( ‘ w’)‼ [Feat. 初音ミ],”
2016

4. Tauba Auerbach, “Crease 1,” 2009, Acrylic on canvas
Fleurie, “Hurts Like Hell,” 2016

The order and songs were carefully chosen to tell a continuous
story. Please listen to at least half of each song. Follow each
pairing in order from 1 to 4. I hope you enjoy it!





70 p l ay l i s t s

FORGOTTEN AND FOUND FORGOTTEN AND FOUND

1. Unknown artist, “Coffin for female mummy identified as the Emily Mam
Chantress of Amen (Amon),” c. 1070 BCE – 945 BCE, wood
with painted gesso relief
Billy Joel, “We Didn’t Start the Fire,” 1989

2. Unknown artist, “Incense Burner in the Form of a Fantastic
Beast (qilin),” 17th century – 18th century, cloisonné enamels
Brad Kane and Lea Salonga, “A Whole New World,” 1992

3. Unknown artist, “The God Vishnu with Lakshmi and
Sarasvati,” 12th century, stone (probably phyllite)
Tears for Fears, “Everybody Wants to Rule the World,” 1985

4. Li Huayi, “Wind Nourishes, Rain Moistens,” 2016, ink and
gold foil on paper
Shen Yun Symphony Orchestra, “Divine Elegance,” 2018

p l ay l i st s 71

REMNANTS REMNANTS
1. Ad Reinhardt, “Abstract Painting, 1966,” 1966, oil
Danielle Tang
on canvas
Avriel & the Sequoias, “Quarter Past Four,” 2017
2. Robert Irwin, “Untitled,” 1969, acrylic lacquer on
cast acrylic
Bvdub, “Clouds Besiege What You Remain,” 2017
3. Vija Celmins, “Barrier,” 1986, oil and wax on linen
Ēriks Ešenvalds, “Stars,” 2015
4. Mark Tansey, “Yosemite Falls (Homage to Watkins),”
1993, oil on canvas
Hecq, “Frost,” 2009

72 p l ay l i s t s

NEW DISCIPLES NEW DISCIPLES

1. Richard Diebenkorn, “Ocean Park #60,” 1973, oil on canvas Kyler Stanion
Max Richter, “Europe, After the Rain,” 2002

2. Saul Baizerman, “Largo-May,” 1950-57, hammered copper
WALK THE MOON, “Jenny,” 2012

3. Deborah Oropallo, “Three Man Patrol,” 1993, oil on canvas
The Decemberists, “16 Military Wives,” 2005

4. Mary Weatherford, “black painting,” 2017, flashe and neon on linen
Barrett Wilbert Weed, Ryan McCartan, “Dead Girl Walking,” 2014

5. Adolph Gottlieb, “Transfiguration III”, 1958, oil on canvas’
Andrew Lloyd Webber, “John Nineteen: Forty-One”, 1996.

p l ay l i st s 73

SOCIAL / SPHERES SOCIAL / SPHERES

1. Frank Lobdell, “January 1971”, 1971, oil on canvas Evan Mickas
Charles Mingus, “Opus 4”, 1973

2. Christopher Brown, “1946”, 1942, oil on canvas
Dan Tepfer & Ben Wendel, “Still Play”, 2013

3. Ad Reinhardt, “Abstract Painting, 1966”, 1966
Miles Davis, “Right Off”, 1971

74 p l ay l i s t s

WANTING MEMORIES WANTING MEMORIES

1. Paul Wonner, “Figure by Window,” 1920—2008, oil on canvas Dumisile Mphamba
SYML, “Where’s My Love,” 2017

2. Nathan Oliveira, “Stage #2 with Bed,” 1928—2010, oil on canvas
Ursine Vulpine, “Slowly We Fell into Slumber and I Held You ‘til
the End of Time,” 2017

3. Paul Wonner, “Wine Glass and Postcard (Zurbaran),” 1920—
2008, oil on canvas
Overcoats, “Cherry Wine,” 2016

4. Scott Burton, “Pair of Steel Chairs,” 1939—1989, stainless steel
Novo Amor, “Carry You,” 2017

5. Christopher Brown, “1946,” 1951, oil on canvas
Linkin Park, “Numb,” 2003

p l ay l i st s 75

O.K. O.K.

1. Robert Arneson, “Sinking Brick Plates,” 1969, glazed ceramic Katie Fong
Rilo Kiley, “A Better Son/Daughter,” 2002

2. Nathan Oliviera, “Stage #2 with Bed,” 1967, oil on canvas
Zola Jesus, “Skin,” 2011

3. Nathan Oliviera, “Reclining Nude,” 1958, oil on canvas
Sia, “Breathe Me,” 2004

4. Mary Weatherford, “black painting,” 2017, flashe and neon on
linen
Thirteen Senses, “Into the Fire,” 2005

5. Larry Bell, “Glass Cube”, 1984, metal film on glass and chrome-
plated steel
Aron Wright, “Build it Better,” 2015

76 p l ay l i s t s

RAIN RAIN

1. Zheng Chongbin, “Merged with Variant Geometries,” 2017, ink Julia Thompson
and acrylic on paper, mounted on aluminum
O.A.R., “Shattered,” 2008

2. Arman (Armand Fernandez), “Celestial Bolts,” 1964, metal and
polyester
Daughter, “Youth,” 2013

3. Damien Hirst, “The Void,” 2000, glass, stainless steel, steel,
aluminum, nickel, bismuth and cast resin, colored plaster and
painted pills with dry transfers
Carrie Underwood, “Cry Pretty,” 2018

4. Garth Weiser, “Grey Monochrome #2,” 2014, oil on canvas
Breaking Benjamin, “Rain,” 2004

5. Diane Arbus, “The House of Horrors, Coney Island, New York,”
1962, gelatin silver print
twenty one pilots, “Trees,” 2011

p l ay l i st s 77

MOMENTUM MOMENTUM

1. Paul Wonner, “Figure by Window,” 1962, oil on canvas Betty Lee
Se So Neon, “A Long Dream,” 2017

2. Richard Diebenkorn, “Untitled #32,” 1984, gouache, synthetic
polymer, crayon, and cut-and-pasted paper on joined paper
Kim Kyunghee, “Stuck in Love (April 2nd),” 2017

3. Richard Diebenkorn, “Ocean Park #60,” 1973, oil on canvas
Cautious Clay, “Cold War,” 2017

4. Helen Frankenthaler, “Monotype VIII,” 1981, monotype from
woodblocks, hand-colored
IU, “Secret Garden,” 2017

5. Joan Mitchell, “Before, Again IV,” 1985, oil on canvas
Hyukoh, “TOMBOY,” 2017

78 p l ay l i s t s

ANACHRONISTIC MELODY ANACHRONISTIC MELODY

1. Harold Paris, “Homage to Boccioni #1,” 1969, Vacuum-formed Ryan Wimsatt
butyrate
Miguel, “a beautiful exit,” 2015

2. Sam Francis, “The Beaubourg,” 1977, Acrylic on canvas
Miguel, “Anointed,” 2017

3. Mark Tansey, “Yosemite Falls (Homage to Watkins),” 1993, Oil
on canvas
Sza, “Supermodel,” 2017

4. Frank Stella, “Zeltweg,” 1981, Mixed media on aluminum
Chris Brown, “Liquor,” 2014

p l ay l i st s 79

SIT AND BE, SIT AND THINK

1. Louise Nevelson, “Sky Garden,” 1959-1964, enamel on wood
Amy Winehouse, “Back to Black,” 2006

2. Nathan Olivera, “Stage #2 with Bed,” 1967, oil on canvas
Norah Jones, “Miriam,” 2012

3. Mark Rothko, “Pink and White over Red,” 1956, oil on
canvas
Billi Eilish, “&burn,” 2017

SIT AND BE, SIT AND THINK

Benny Siam

GLOSSARY

OF TERMS

glossary 81

Aleatory Young Fenimore Lee

Aleatoric music is music that arises from chance operations
whose sonic outcome is unknown to the composer, as
pioneered by composer John Cage. Indeterminacy in music
was heralded by composers like Cage as having the ability to
let “sound come into itself,” wherein which sound and noise
realize their true nature.

Appropriation Benny Siam

Appropriation is defined by Haunani-Kay Trask as the
prostitution of native Hawaiian people and cultural values
within a capitalist society. Tourists are consumers of a
marketable version of culture that is presented, and this
consumption becomes appropriation. Hawaiian culture is
stripped, marketed, and digested as capitalism grows more
toxic in Hawaiian society.

Aura Katie Fong

The aura, defined by Walter Benjamin in “The Work of Art in
its Age of Mechanical Reproducibility,” is an object’s quality of
unique presence in a specific time and space. Benjamin argues
that authenticity is eroded through reproductions, which also
devalue the temporal uniqueness of the original object.

Walter Benjamin, “The Work of Art in the Age of its Mechanical
Reproducibility,” 1936.

Automatization Minha Kim

Automatization is a phenomenon in which our experience
functions unconsciously as though by formula. The
20th-century Russian critic Viktor Shklovsky suggests
generalizing objects allows the greatest economy of
perceptual effort. Art combats over-automatization and
rescues the world from the sphere of ‘known recognition’
by defamiliarizing and imparting ‘perceived sensation’.

82 g l o s s a ry

Body world Chloe Barreau Cultural imperialism Anastasia Spiridonova

Maurice Merleau-Ponty’s book The World of Perception In “Indian Cinema: Pleasures and Popularity” (1985), Rosie
explores the “body-world,” the mind’s connection to the Thomas condemns the cultural imperialism and the ignorance
body and their relation to the physical environment. He of the Western critics, who generate the rubric for a film’s
argues we are deceived by the familiarity of the perceived success based on culturally exclusive Hollywood conventions;
world. The arts re-embrace the physicality of experience, Thomas denounces their authoritarian ethnocentrism, which
whilst the sciences overly rationalise. leads to their disregard of audience specifics.

Maurice Merleau-Ponty, The World of Perception, 2008. Rosie Thomas, “Indian Cinema: Pleasures and Popularity,” Screen, 1985.

Colorblind casting May-Ann Wong Cultural prostitution Lora Supandi

In his 1996 “The Ground on Which I Stand” speech, Dr. Hauni-Kay Trask defines cultural prostitution as the
August Wilson condemns colorblind casting, the casting robbery and destruction of Hawaii’s traditions. According to
of a theatrical part without consideration of ethnicity. Trask, western tourists execute cultural prostitution when
Such casting was often perceived as fairer, however Wilson they exploit her islands as an “escape” from the darkness of
states that it blatantly rejects black culture and perpetuates life. She then juxtaposes this notion with Hawaii’s deeper
cultural imperialism. structural violence, caused by capitalism, corporate greed,
and the aftermaths of imperialism.
August Wilson, “The Ground On Which I Stand,” 1996.
Enstrangement Emily Mam
Counter-publics/ publics Julia Thompson
Coined by 20th-century Russian literary theorist Viktor
Publics, as defined by Michael Warner, refer to groups of Shklovsky in Theory of Prose, enstrangement is the act
people who consume a particular work or form of art and, of presenting the mundane in a way that is bizarre or
as such, belong to its collective public. Counterpublics are unfamiliar, forcing viewers to pause, think, and experience
publics that are defined against larger publics and whose the full emotions and creative process behind an artwork.
identity shapes their particular interaction with art and the
world around it. Viktor Shklovsky, “Art as Device,” 1917.

Michael Warner, “Publics and Counter-publics” Public Culture, Winter,
2002.

glossary 83

Fabula/Syuzhet Julianna Yonis Happenings Eddie Tchaouchev

Drawing upon terms from the Russian Formalists of the Happenings are ephemeral artistic events that are different
early 20th century, David Bordwell, in “Principles of every time and largely uncontrollable by the creator that
Narration,” demonstrates how fabula (the chronological bring nontemporal artistic mediums such as photography
story assembled by the audience) is constructed via the and sculpture into a temporal realm. Artists create event
interplay of syuzhet (the filmmaker’s arrangement of events scores that set parameters/instructions for the happening,
into plot or structure) and style (the filmic techniques). yet the outcome is still unpredictable by nature.

David Bordwell, “Principles of Narration,” Narration in the Fiction Film, John Cage, “History of Experimental Music in the United States,” 1959.
1985.
Heteronormativity Nathan Gugel
Global film culture AnQi Yu
Heteronormativity is the tendency to frame romantic and
Global film culture, as utilized in Professor Kaushik sexual interactions between men and women as socially ideal.
Bhaumik’s essay “Remapping World Cinema,” is the study Stacy Wolf explains in Changed for Good that the musical
of movie-watching trends on a worldwide scale. In his essay, Wicked challenges heteronorms by presenting female leads
Professor Bhaumik specifically examines the popularity that share a queer (almost romantic) relationship despite the
of Bollywood movies in communities outside of India to heteronormative and capitalist demands on musical theater.
understand sociocultural global hierarchies.
Stacy Wolf, “Introduction: Defying Gravity,” Changed for Good: A
Kaushik Bhaumik, “Consuming ‘Bollywood’ in the Global Age: The Strange Feminist History of the Broadway Musical, 2011.
Case of an ‘Unfine’ World Cinema,” 2006.
Ideology Regan Lavin
Enjambment Kyler Stanion
In “The State Ideological Apparatuses,” (1970), Louis
Enjambment is the continuation of the line beyond the line Althusser defines ideology as a set of beliefs through which
or stanza, most commonly used in poetry. Giorgio Agamben people are controlled, specifically by Ideological State
defines poetry from prose by the use of enjambment in his Apparatuses (ISAs). This ideology is concurrent with that
lecture “The End of the Poem.” For Agamben, this opposition of the ruling class and often reinforces the beliefs of a
of semantics and syntax constitutes poetry. capitalist society.

Giorgio Agamben, “The End of the Poem,” 1999. Louis Althusser, “The State Ideological Apparatuses,” 1970.

84 g l o s s a ry

Italian Neo-realism Erik Roise Multiplicity Kathlynn Simotas

Beginning in the era of socioeconomic turmoil following Multiplicity is an immense, even infinite number or selection
World War II, ‘Italian Neorealism’ was a film movement of choices. In relation to seriality and gaming as described
focused on the candid, often severe, depiction of the in Metagaming: Playing, Competing, Spectating, Cheating,
struggles of the working class. Directors used amateur Trading, Making, and Breaking Video Games, multiplicity
actors and location shooting to, as outlined by André Bazin, explicitly refers to the near infinite number of well-defined
capture reality in its truest form. choices a player can make while engaging with a game.

Mechanical Reproducibility Suhas Sastry Stephanie Boluk and Patrick LeMieux, “Hundred Thousand Billion Fingers:
Serial Histories,” Metagaming, 2017.
Mechanical reproducibility, described by Walter Benjamin,
is the ability of artwork to be copied without further artistic Mummy complex Ryan Wimsatt
intervention (e.g. photographic copies). Benjamin argues that
reproduction removes the “uniqueness” of art, destroying Mummy Complex is a term coined by film theorist,
the “aura” of original artwork created by its history and Andre Bazin, in 1960 “The Ontology of the Photographic
consumption. However, reproducibility also forms the basis Image” suggesting that photography, similar to Ancient
of the worldwide presence of mass-distributable art. Egyptian mummification, aims to preserve life through the
representation and interpretation of life, (e.g. a yearbook
Metagaming Maria Shcherbakova photo ten years later).

In the article “Hundred Thousand Billion Fingers” (2012), André Bazin, “The Ontology of the Photographic Image,” 1960; “A Note on
Stephanie Boluk and and Patrick LeMieux portray metagames Umberto D,” 1958.
as an alternative artform that has the potential to help us
break free from the trap of the daily seriality. By making Orientalism Vincent Xie
room for aesthetic samping and self-expression, player-
designed metagames are an attempt to solve the problem of Edward Said argues that his concept, Orientalism, is a
living “alone together.” set of Western interpretations of the East, formulated by
oppositions in culture and location. This evaluation of the
East as culturally inferior allows the West to exercise a
sense of authority over the “Orient,” identifying the West
based on differences.

Edward Said, “Introduction,” Orientalism, 1978.

glossary 85

Paroxysm Evan Mickas Plasmaticity Isabella Johnson

Paroxsym is an uncontrollable spasm. In film criticism, Soviet film director and theorist Sergei Eisenstein explores
paroxysm refers to moments overflowing with spontaneous the physical manifestation of plasmaticity– the rejection of
emotional energy. For example, in his 1974 book Visionary fixed forms, constants, and the limitations of the human
Film, film scholar P. Adams Sitney refers to the infamous body. Plasmaticity is an ability, fluid in nature, that
eyeball-cutting scene from Salvador Dali and Luis Buñuel’s hypothetically allows one to assume all possible forms,
surrealist classic Un Chien Andalou (1929) as a “paroxysm experience infinite potential, and deconstruct imposed
of violence.” standards.

Phenomenology Julia Gordon Sergei Eisenstein, “Disney,” Writings, 1934-1947: Sergei Eisenstein
Selected Works, Volume 3 ed. Richard Taylor, 2010.
In The World of Perception, philosopher Maurice Merleau-
Ponty demonstrates the principles of phenomenology, which Power (tool) Sydney Guthrie
considers the tangible world through the consciousness’
relationship to the physical body. Objects act on the body In “Photography” Susan Sontag, a noted political activist
as the body perceives—their characteristics invoking and writer, defines power as the knowledge one attains
subconscious emotions and memories; the inanimate is when photographing something. The camera becomes a tool
perceived as human-like and animate. by which the photographer can ascertain a power over the
subject: meaning that the photographer now controls the
Physical genius Yeh-Tang Huang narrative, as the image contains only a moment.

Physical genii in their respective fields know what to do beside Susan Sontag, “Photography,” New York Review of Books, October, 1973.
how to do it. They identify subtle patterns others often miss
through caution and confidence. Malcolm Gladwell’s 1999
article “The Physical Genius” investigates how physical genii
immerse themselves in immense personal happiness through
imagination and improvisation (eg. Yo-Yo Ma).

Malcolm Gladwell, “Physical Genius,” The New Yorker, August 2, 1999.

86 g l o s s a ry

Psychological pattern Brianna Peet Seriality Lia “Bear” Kim

Psychological patterns are the innately human actions Seriality is the sequential translation of an input into
and habits that choreographers use to create the major an output (action) and a crucial structural dimension in
movement patterns in ballet. Joan Acocella examines these gameplay (e.g. sequels, remakes, or levels). In their 2012
patterns in light of biological process like DNA replication article “Hundred Thousand Billion Fingers,” Stephanie
and the transference of neurotransmitters to show that the Boluk and Patrick LeMieux examine the way seriality is
majority of ballets derive their structures from primitive manifested in game series but also manipulated within
human functions. games themselves.

Joan Acocella, “Imagining Dance,” Moving History / Dancing Culture ed. Milton Babbitt, “The Composer as Specialist,” 1958.
Ann Dils and Ann Cooper Albright, 2001.
Studium Alexa Luckey
Punctum Danielle Tang
The studium, defined by Roland Barthes in Camera Lucida
French literary theorist Roland Barthes introduces the (1980), refers to the range of meanings available, obvious
artistic concept of “punctum” in his 1980 book, Camera and immediately noticeable by all viewers of a photograph
Lucida. The punctum is any detail of a photograph that who belong to a particular culture. The studium offers a
emotionally impacts the viewer and, unlike studium, was glance into shared history and culture, while the punctum
not intentionally included by the artist and does not refer depends on the individual.
to a generally accessible cultural meaning.
Surrealist Avant-garde Gunner Dongieux
Roland Barthes, Camera Lucida, 1980.
Critic P. Adams Sitney’s Visionary Film, 1974, differentiates
Sensory-emotional thinking surrealist avant-garde films from psycho-dramas. Comparing
Dumisile Mphamba Salvador Dalí’s Un Chien Andalou to Maya Deren’s
Meshes of the Afternoon, Sitney concludes surrealist
Russian filmmaker Sergei Eisenstein explains his theory avant-garde relies on shock and innovation rather than
of sensory-emotional thinking in a 1935 speech. This symbolic interpretations. Metaphors in these films offer no
explains the key components that produce the ideal effect explanations, boldly embracing irreverent irrationality.
of genuine artworks—their ability to trigger you to respond
intellectually (logical thinking) and simultaneously cause P. Adams Sitney, Visionary Film, 1974.
you to feel something about them (emotional thinking).

glossary 87

Tourism Betty Lee Voyeurism Nova Meurice

In Lovely Hula Hands (1991), Haunani Kay-Trask defines In her 1973 essay “Photography,” Susan Sontag defines
tourism as the corporate, state-encouraged commodification “voyeurism” as an act implicit to photography. Sontag
and prostitution of culture. She argues that tourism causes argues that photographs allow photographers undue power—
Hawai’i to be subordinate to the United States by causing the the ability to condone whatever occurs in their photographs,
degradation of Native culture and preventing de-colonization to trespass on and exploit another’s experiences, and to
through a mental oppression that results in unawareness. capitalize on their suffering or vulnerability. Photographers
commit this intimate exploitation, she writes, ultimately
Haunani-Kay Trask, “Lovely Hula Hands,” Notes from a Native Daughter, distanced from their subjects.
1993.
World Cinema Noah Salazar
Vernacular Darnell Carson
‘World Cinema’ as used in Consuming ‘Bollywood’ in the
In the context of examining art by African/African- Global Age, by cinema studies professor Kaushik Bhaumik,
American artists, Babatunde Lawal in “African Roots, is a term referencing the Western established context to
American Branches,” defines ‘vernacular’ as folk art, self- which cinema is interpreted in the West. It is the basis to
taught art, and outsider art. Generally, this art is viewed as which the West’s community of individuals perceive and
having an air of naivety, and is less valued when compared prefer outside cinema such as that from Bombay.
to other forms of African art.

Babatunde Lawal, “African Roots, American Branches: Tradition and
Transformation in African American Self-Taught Art,” 2000.

CONTRIBUTORS

LIST

contributors 89

Chloe Barreau

is a prospective Computer Science + Art Practice
Major from Hong Kong. She enjoys listening to
podcasts, journaling her artistic experiences,
sculpting, programming and writing. As part
of her exploration in art and perception, she is
currently developing a podcast on echolocation
and how humans can create sight through sound.

Darnell Carson

is an aspiring author and poet from San Diego. He
spends his time reading, writing, and performing
Spoken Word as a member of Stanford Spoken
Word Collective. He was a finalist at the 2018
College Unions Poetry Slam Invitational and his
first poetry collection, Work In Progress, was
published in 2018 and is available for purchase on
Amazon.

Gunner Dongieux

is a New Orleans born artist and current Art
Practice major at Stanford University. Gunner’s
large scale figurative paintings create self-
reflective narratives through a combination of
pop culture and classical influences.

Katie Fong

is an aspiring art historian, scholar, and
musician from Taipei, Taiwan. She is passionate
about contemporary art, museum curation,
snickerdoodles, and smashing the patriarchy. You
can find her working at/haunting the Cantor Arts
Center, singing in Mixed Company A Cappella,
and ferociously seeking out all things magical.

90 c o n t r i b u t o r s

Julia Gordon Yeh-Tang Huang

is a writer, art history enthusiast, and sci-fi nerd from is a Stanford undergraduate currently in the ITALIC
Orange County, California. She intends to major in Electrical program. He is also a member of Stanford tapth@t, an
Engineering and is a member of Hillel at Stanford, Stanford advanced tap dance group on campus. He is currently doing
Student Space Initiative, and The Stanford Daily. She a choreographic project blending tap dance and Chinese
possesses an inexplicable love for vaporwave, Star Trek, and calligraphy.
Casa Zapata’s cat, Gatito.
Isabella Johnson
Nathaniel Gugel
is pursuing a degree in Astronautical Engineering with a
is a queer singer and game designer. They are a basso minor in Native American Studies. She is looking forward to
profundo in the Stanford Mendicants a capella group, and getting her pilot’s license this summer to achieve her lifelong
they are working on a game development team on a virtual dream of touching a cloud. She also hopes to bring her native
reality first-person puzzle game called Apparition. language to Stanford University to deepen her connection
with her heritage and culture.
Sydney Guthrie
Lia “Bear” Kim
is an Alaska Native pursuing a bachelor’s degree in Computer
Science with a focus in graphics and linguistics. She hopes to is a chromesthete, singer-songwriter, and a wax-pastel artist
be able to use her degree to help revitalize her native language from North Shore, Hawai’i. In her works, she tries to capture
and to spread appreciation for Native Alaskan culture. the beauty of “waves” found in surfing, botany, soundscapes,
and physics. Currently, she is working on creating an
automated nature soundscape archive and composes one song
a day.

contributors 91

Minha Kim Young Fenimore Lee

is a passionate believer and dreamer from Seoul and Jeju, is a musician and writer from Chicago, Illinois. He plays
Korea who has a deep reverence for Gesamtkunstwerk (“total cello, clarinet, alto sax, bass, and guitar, and currently
work of art”) and avocados. She enjoys dancing, working with plays in a six-piece jazz combo that performs at the Cantor
stages and creating performances – she has choreographed Art Museum, CoHo, and other venues. He hopes to study
for various school musicals, dance productions and philosophy, English, or art history.
experimental/physical theater pieces.
Alexa Luckey
Regan Lavin
is an actress, recording artist, songwriter, and dancer from
is a Theater and Performance Studies Major with a Dallas,Texas. She began working in entertainment at the
concentration in Acting and is classically trained in singing. early age of 9 months and hasn’t stopped since. Alexa has
She is excited to join Stanford Repertory Theater for performed in Hamlet (Laertes), Blues for Mister Charlie
Hecuba/Helen this summer. She is interested in using art to (Juanita), and many other plays and musicals. Her music has
yield better societal conditions. Her other artistic interests been featured in Truestar and Hype Magazine and performed
include film studies and photography. across the country.

Betty Lee Emily Mam,

is a South Korean actress, writer, filmmaker, and visual a Khmer-American Stanford student from Southern
artist from Los Angeles, California. Her aim is to bring more California, is an enigma at the intersection of the techie-
representation to the voices of groups who are not commonly fuzzy divide. In addition to studying Human Biology and
seen in the arts. She is currently an active actress in the Chemistry, will she choose photography, drawing, playing
Stanford Shakespeare Company, Asian American Theater piano, dramatically reading Cicero’s orations, or shooting
Project, and Women in Theater. lemons on the archery range? No one knows.

92 c o n t r i b u t o r s

Nova Meurice Brianna Peet

hails from Iowa City and is a Jack of Some Trades. Previously, is a Stanford student with a dual passion for medicine and
her artistic work has appeared stuck to her walls, in the pages health care reform as well as dance. She has worked with
of MINT magazine, tacked on campus bulletin boards, in low- renowned choreographers such as Mia Michaels and Mandy
key chamber music concerts, or furtively tucked in books. Moore, and currently she is the artistic director for DV8 hip
She’ll likely study public policy, and continue to practice hop group and co-choreographer for Chocolate Heads. In the
sketching, viola, and indecision. future, Brianna hopes to institute eating disorder prevention
programs in dance companies across the country.
Evan Mickas
Erik Roise
is a saxophonist, multi-instrumentalist and composer.
Drawing from jazz, funk, and hip-hop, he creates music for is a cellist, engineer, and ghost haunting the basement of
a variety of instrumentations and is currently developing Dinkelspiel Auditorium. He is currently attempting to double
a modern take on the “one-man band”. As a prospective major in MS&E and music, and has been principal cellist of
Symbolic Systems major, he is especially interested in the the Stanford Symphony Orchestra and Philharmonia, as well
intersections of music, technology, and cognition. as a member of the Stanford Collaborative Orchestra. An avid
SketchUp modeler, he has designed (and sometimes built)
Dumisile Mphamba everything from furniture to hover-bikes and electrically-
assisted skis.
aspires to marry medicine and global health, and to adopt
performance art as her mistress (à la Chekhov). At Stanford, Noah Samson Antonino Salazar
she is a member of Partners in Health Engage, the Stanford
African Students’ Association and sings alto in Talisman. is a 19 year old developing individual developed on the basis
Her last name represents her spirit animal—the eagle. of my Creator, my family, my art and a pursuit of knowing.
Noah is unsure where he is going in occupation but minds his
life under the priorities of these 4 foundations.

contributors 93

Suhas Kandula Sastry Anastasia Spiridonova

is an aspiring mechanical engineer who plays the viola in is a French and Spanish double major. She is a committed
the Stanford Symphony Orchestra. His musical interests member of the Theater Lab company, as well as being a
lie chiefly in metal and punk, but also include classical, new part of the Akasma Bellydance team. Her interests include
music, and noise. Suhas is currently working on vocals and impressionist visual art, black and white photography of the
guitars for his solo black metal project. 20th century, tropical house music and flamenco.

Maria Shcherbakova Kyler Stanion

is a Computer Science major, whose research interest lies is a student majoring in Linguistics working creatively
in the intersection of art, digital creativity and artificial primarily in poetry and technical theater. He is currently
intelligence. Maria is a classically trained singer, and a developing a collection of poetry entitled Iscariot. Past
graduate of Conservatory of Music of Luxembourg. credits in theater include Next to Normal, (Assistant
Technical Director), Chicago (Assistant Stage Manager), and
Benny Siam Dr. Voynich and Her Children (Technical Director).

is a multimedia visual and performance artist who most Lora Supandi
recently participated in Ram’s Head Theatrical Society’s
production of Chicago. His art occurs at the radical is a filmmaker, writer, and artist, who utilizes art as a form
blending of feminist, political, and performative studies of activism and empowerment. In her works, she explores
within intersecting media fields, and hopes to push creative her experiences as a woman of color and society’s systemic
boundaries of queer of color aesthetics. inequalities. You can find her creating films with a female-
led crew, working with MINT Magazine, and stargazing!

94 c o n t r i b u t o r s

Danielle Tang Julia Thompson

is a Stanford undergraduate who is unsure of everything is a symbolic systems, chemistry, and political science triple
from her major to her summer plans. Currently, Danielle is major. Statistics, robotics, crisis counseling, and creative
interested in psychology, computer science, and choral music. writing, especially through NaNoWriMo, are some of her
She is identifiable by the iPad strapped to her backpack as many passions. She enjoys rollerblading, ice skating, playing
she enthusiastically sells her dignity for advertising money. for Stanford Club Baseball, writing for Fascinate, playing
piano, cheerleading, or making crafts.
Eddie Tchaouchev
Ryan Wimsatt
is a double bassist and current undergraduate at Stanford
University. As a performer, he is co-principal bassist of the is an editorial and fashion photographer focusing on
Stanford Symphony Orchestra and a member of the Stanford redefining and challenging the imaginary. He started
Baroque Soloists. He is majoring in Music and is considering photography in high school as a hobby and quickly developed
a second major in Psychology. a passion for the power behind images. As Modeling Director
of Stanford’s MINT MAGAZINE on campus, Ryan aims for
creative direction of a major fashion publication.

contributors 95

May-Ann Wong Julianna Yonis

is a current Stanford student, coming from a five-and-a- is a playwright and actress double majoring in Theatre and
half-hour flight from Atlanta, Georgia, to hopefully pursue Performance Studies and Political Science at Stanford
the very common dream of studying Computer Science at University. She performed at the Edinburgh Fringe Festival
Stanford. She also enjoys creating things digitally, resulting and is a California Arts Scholar. This summer, Julianna
in many hours wasted in a slouched position in front of her is interning at The Ground Floor at Berkeley Repertory
computer, drawing on a tablet. Theatre and The Music Center in Los Angeles.

Vincent Xie AnQi Yu

is a student interested in pursuing a career in film. His is from a small desert town in Colorado. When she’s not
passion projects include giving a voice to the Asian running to rehearsal for Stanford’s Asian American Theater
Americans in the entertainment industry. In his free time, Project, she can be found taking naps in between classes,
Vincent likes to play guitar, play tennis, or eat food. having existential crises about her major, and watching
playlists of late night celebrity interviews on Youtube.

96 t h e m at e r i a l i t y o f r e c o r d e d s o u n d

the materiality of recorded sound 97