ࡱ> ceb rbjbjղղ .j <l0>>>>>$N^>>&n>>> R@p<0l"(l : Midcareer Development Grant Applications Timestamp 2/8/2016 14:57:35 Name, Department, and Year Tenured Rachel Steck, Theatre, 2013 Project Name Successful Strategies Abstract Theatrical sound design, projections design, and lighting design are closely related in that they are all time-based designs for theatre, dance, opera, and performance art. Projections design is becoming increasingly popular in live performance today, and playwrights have also begun to think about how to use multi media as they develop their plays. In both my professional and academic life, I have been asked to support theatrical projections design as an artist and technician. From the classroom to the stage, I am striving to stay current in the technical aspects as well as the aesthetic concepts that projections/media design brings to live theatre. This summer I have an opportunity to incorporate all the time-based design elements into a single production. Theatre 33, of which I am a founding member, will be producing Andrea Stolowitz Successful Strategies or How to Make Love Stay and I have been asked to be the lighting, sound, and projections designer for the premier production. While the production was being presented to audiences as a staged reading, the director spoke to me about the use of projections in the world premiere scheduled for June 2016. I have begun to develop original content throughout the year and have realized that I am currently unable to support some content creation due to lack of equipment (I have been slowly purchasing equipment to support projections and sound design over the years. The technology changes quickly and is quite expensive. I aim to make equipment purchases that are relatively stable and that can achieve the desired creative choice/aesthetic). Therefore, this proposal focuses on technical equipment that will greatly improve the quality of the upcoming design. It will also allow me the capabilities to develop a library of original content that will support future projects in addition to the most immediate design project. Learning Outcomes One of the primary student learning outcomes in all of my courses is to take intellectual and creative risks. Successful Strategies or How to Make Love Stay is a creative and intellectual risk because I have been asked to be the designer for lighting, sound, and projections. I firmly believe each designer should always take risks for as J Halberstam states in The Queer Art of Failure, under certain circumstances failing, losing, fretting, unmaking, undoing, unbecoming, not knowing may in fact offer more creative, more cooperative, more surprising ways of being in the world. And so, I take on the three challenges. I take creative and intellectual risks through bringing my aesthetic as a lighting designer (working professionally since 1995) to sound and projections design. I use my fundamental design and aesthetics training to develop content and to implement the design into the theatre while relying heavily on technology to achieve the aesthetics. I learn the limitations of the technology and the space and translate the limitations in the development of content and implementation of design. I learn where these time-based designs come together and where they take on a life of their own. I develop new processes of collaboration and design development. I discover what is sustainable, what fails, what doesnt work in collaboration. I learn to emphasize technology and design elements differently and to adjust timelines for design development to complement others. It requires that I develop new skills in collaboration in order to support the production and artists fully. And I bring the emphasis on creative and intellectual risk back to the classroom, working with each student to develop collaboration & communication skills, a sustainable process, and (hopefully) a fierce intellectual and creative curiosity that allows the space to risk, to fail, and ultimately to develop as an artist. Budget Canon EOS 5D SLR Camera $2499 Canon EF 100mm f2.8 Marco lens $ 599 Pelican Case $ 186 ZoMei Carbon Tripod/unipod $ 200 Canon XA10 Prof. Camcorder $1500 Memory Card Protective Case $ 18 TOTAL: $5002 Timestamp 2/11/2016, 10:42:54 Name, Department, and Year Tenured Allison Hobgood, English, 2014 Project Name Beholding Disability in the English Renaissance Abstract Critical disability studies has established disability as a defining social category comparable to race, class, and gender, and it has mobilized academic theory into civil rights activism. The field has helped to define disability in usefully capacious terms that diversely name bodily variations that, often inevitably, occur as we move through time and culture. More than just defining disability per se, disability studies reimagines disability as a social category not an individual characteristic, a discursive construction instead of a bodily flaw, and a representational system rather than a physiological problem to be cured by medicine. In short, disability studies helps us fundamentally rethink the ways we understand what it means to be human. The new book project for which I seek grant support, Beholding Disability in the English Renaissance, puts disability studies to work in the service of literary criticism in just such ways. My book advances a new story of premodern disability that, in the end, aims to transform the ways we understand disability in our own moment. In the book, I argue that disability and its representations pervaded the literary landscape in early modern England (c. 1500-1700). In the works of Shakespeare alone, disability is commonplace: from the hunchbacked Richard III to the epileptic Julius Caesar to the mad King Lear. In its exploration of these and other figures, Beholding Disability reanimates an archive of literary and other cultural texts to illuminate a cultural imagination of disability in Renaissance England. It provides readers with tools to identify and grapple with mental and physical variation in a historical period whose ideals and norms seem quite different from our own. In other words, my project articulates early modern ideas about what constituted humanness, what was considered normal, and which variant bodies and minds were imagined as less than; it helps us comprehend how impaired bodies and minds helped to construct early modern cultural perceptions of normalcy. Specifically, my project explores English Renaissance poetry and drama to illuminate a taken-for-granted, pervasive privileging of ablebodiedness in early modernity that energized a range of approaches to medicine, education, civic engagement, theology, and social performance. I argue that these ability logics provided the foundation for all kinds of, often stigmatizing, ideals and norms, and they upheld unachievable fantasies of ability that dictated everything from early modern legal protocols to literary aesthetics. I investigate impairments as varied as epilepsy, stuttering, chronic pain, castration, and melancholy to reveal not just the diverse logics of ability operating in early modernity, however, but also the somewhat paradoxical, surprising ways these ableist norms were creative fodder for many Renaissance writers and thinkers. Beholding Disability ultimately argues that early modern literature produced radical counterdiscourses and aesthetic modes that challengedand thus transformedthe periods prevailing views of ablebodiedness. A Faculty Midcareer Development Grant in 2016-17 would allow me to finish archival work for my books last chapter, Disability Conservation and Aesthetics, a discussion of literary desires for disability that aided aesthetic formations in the period, and that enacted what I term disability conservation work. This chapter examines Renaissance plays that cultivate both on stage and in print a disability aesthetic: they foreground bodies and minds at their limits and acclaim failure, brokenness, and fragility as beautys master tropes. These plays also reproduce and preserve disability in ways that are as enabling as they are stigmatizing. Specifically, this chapter requires that I examine the only four extant copies of the play Looke About You (c. 1599) for representations of staged stuttering. I need to discern typographical similarities and differences in the editions that will clarify and crystalize my argument. These various copies are housed at the Bodleian, Folger, Huntington, and British Libraries, and I have been unable to travel to all of these locations to examine their holdings of the plays single 1600 printing. Funding would allow me to complete that work (likely at the Folger Library in Washington, D.C) and, thus, incorporate into the chapter my comparative collation and transcription of these copies, a crucial step in my research as I craft a claim about how disability is celebrated and preserved, in this case, via a printed playtexts unique type. Learning Outcomes Relevant SLOs: for ENG 116, Literature and Disability Studies 1 You will demonstrate through exams, writing, and class discussion an understanding of the range, scope, and significance of disability literature, culture, and studies. 2 You will demonstrate through exams, writing, and class discussion an ability to analyze and explain how disability is represented, contested, undermined, examined, and affirmed both in and through creative works. Student impact: The materials and insights I gain from my archival work and progress on my book will enhance greatly a course I teach entitled Literature and Disability Studies, not to mention the next iteration of the College Colloquium class I teach on the same topic (Fall 2016). I am planning to infuse new modules into these courses that more explicitly address historical and transnational disability and disability rights issues. My work in and through this grant will help me augment these courses, and, thus, make disability (and disability related topics) a more visible, urgent social justice issue on our campus. Budget Housing (roughly 100/night for 14 nights): 1500 Airfare: 700 Supplies (copying): 100 Food (50/day): 700 Ground transport (HUT shuttle and taxi/subway expenses): 200 Misc. travel expenses: 100 Total: $3,300 Timestamp 2/15/2016 15:49:19 2/15/2016 16:19:06 (application materials pulled from the later time submission) Name, Department, and Year Tenured Ricardo De Mambro Santos, Art History, 2012 Project Name Shaping Ide(m)tities Abstract The Project Shaping Ide(m)tities intends to develop more creative and interactive pedagogical methods to introduce students to the critical investigation of concepts, ideas and categories related to the production and the interpretation of works of art. By playing with the concepts of sameness (i.e., idem) and identity, as the title Shaping Ide(m)tities metaphorically implies, the project will explore the complex ways in which our personal tastes, interests and opinions could be directly related to elements generally belonging to the collective memory of our society, thus creating an identity that is both profoundly individual as well as deeply tied to specific nets of intersubjective interactions. Ide(m)tities: sameness and specificity. The project will be divided in two profoundly interrelated parts and will involve students from two classes that I will be teaching next semester, namely, ARTH 121W-Art Historical Inquiry: What is Art About? and ARTH 362W-Theories and Methodologies of Art History. It will be focused, on the one hand, on the understanding, assimilating and critically applying art historical categories in the analysis of images produced in different periods and places and, on the other, in the elaboration of individual works that could creatively exemplify this set of art-related principles previously discussed in class. 1. In the first portion of the project, I plan on undertaking a long-aimed and never fully accomplished scholarly research on Leonardos works present in Poland, in particular, the Portrait of a Lady with the Ermine (Krakow, Czartoryski Museum) and the recently rediscovered drawing known as La Bella Principessa (Warsaw, National Library). This research-based part of the project will lead me to undertake a personal reflection upon my interpretive strategies and goals as a scholar, in a self-conscious process of examination centered on my hermeneutic practices as an art historian who has been dealing with Leonardos works for over two decades, in order to understand how my methods of analysis might have contributed to shape my own ide(m)tity both as a teacher and a scholar; 2. The second part of the project will take place in the classes I will be teaching in fall 2016 mentioned above. After having reflected upon my own methods and goals as an art historian, I will invite our students to explore a similar road of self-recognition and undertake a critical but also creative process of thinking about the values, the material conditions and the multiple meanings attached to image making processes in past and present times. Thanks to a carefully planned juxtaposition of lectures, discussions and creative exercises, this part of the project will combine manual activities and conceptual investigations. In other words, students will be asked to depict their own self-portraits, adopting some of the concepts and forms examined in our discussions: it could be a painting as well as a collage, a photograph, etc. The process of elaboration of these works will be developed within a time frame of approximately 4 weeks. Once finished, these works will be displayed in a collective exhibit at the Hatfield Library. Learning Outcomes As a unique opportunity to use and reflect upon my own methods of analysis while undertaking a research, this experience will most certainly have very productive effects on my future scholarly contributions on Leonardo as well as in my teaching methods. As an immediate result of the research-based travel to Poland, I plan on writing an article that will consider works examined in person in the various Polish collections, addressing, in particular, the controversial, debatable attribution of the so-called La Bella Principessa to Leonardo da Vinci. Pedagogically, this project aims to present the study of art in our University as an essential, stimulating component of every students educational process within the Humanities. Thus conceived, the process of understanding art and, in the case of this project, also the process of making images will become a most effective way to explore ideas, values and forms within a historical frame of references and on the basis of critical methods of analysis. Among the various learning outcomes that could derive from this project for our students, let me list some of the most relevant ones: 1. Students will gain an increased familiarity with important notions and recurrent categories of art historical analysis, as a consequence of adopting specific terms and principles while making and interpreting art-related works, thus dilating the boundaries of students critical vocabulary; 2. Students will attain a better understanding of art-associated facts and principles, examined according to their different contexts of production and reception; 3. Students will reflect upon and gain awareness of the differences between art processes and aesthetic experiences, thus enriching their ways of interpreting the complex realm of visuality and the interrelated phenomena of image dissemination; 4. Students will increase their ability to integrate historical knowledge with creative and critical modes of thinking, while developing their manual skills and abilities for practical problem solving tasks; 5. Students will enhance their leadership skills as well as their capacity to work efficiently and cohesively in groups, learning how to integrate ones personal agendas and expectations with a larger set of needs and goals; 6. On account of the specific schedule of this project, students will exercise their time management skills, consequently increasing their ability to effectively organize their plans within a feasible, realistic calendar; 7. Given the public dimension of the exhibit, opened to a wider audience, students will feel responsible for their own ideas of artists and young scholars while delivering their images and speeches publicly. Budget Part of the budget will be used to visit Poland for the in site research and also to purchase a selected series of didactic materials, such as books recently published in the field of Art Theory, Art Criticism, Museology and Visual Studies, along with CDs and DVDs directly related to the theories and methodologies explored in class or particularly useful for the students while preparing their works. Funds will be also used to cover expenses associated with the organization of the exhibit at the Hatfield Library. 1. Expenses related to the organization of the exhibit: $ 900.00 2. Honorarium (preliminary work in Summer 2016): $ 300.00 3. Books, CDs, DVDs and other didactic supplies: $ 1,200.00 4. Airfare and ground travel to Poland (current estimates): $ 1,300.00 5. Lodging and meals in Poland: 10 days at $120: $ 1,200.00 TOTAL PROJECT BUDGET : $ 4,900.00 Timestamp 2/19/2016, 14:59:34 Name, Department, and Year Tenured Susan Coromel, Theatre, 2003 Project Name Performing Maresfield Gardens at SpringWorks Festival Abstract During the summer and fall of 2015 I wrote the first draft of a solo play entitled Maresfield Gardens. The play explores the relationship between Mary Mabbie Burlingham Schmiderer, the eldest daughter of Dorothy Tiffany Burlingham and Robert Burlingham. In 1925 at eight years old, while living in Vienna, Mabbie is taken on an emotional journey that would change the course of her life forever. She is placed in psychoanalysis by her mother with Anna Freud, a practice she will compulsively pursue until her pursuit ends with her suicide years later in Annas consulting room. The play gives voice to Mabbies journey, examining her life unlived. Born into the Tiffany fortune, derailed by the manipulations of her mother and the Freuds, she struggles to find her own identity though the agency of psychoanalysis. The play has been chosen for inclusion at the SpringWorks Festival, a juried multidisciplinary Indie theatre festival held at the Stratford Festival in Stratford Ontario, Canada. I have been given three performances at the festival, May 13, 14 and 15. The purpose for this mid-career development grant is to prepare for the world premiere performance and residency in Stratford, Ontario. Preparation will include rehearsing the play with Toronto based director Rod Ceballos, who will travel to Salem, Oregon to rehearse the piece and continue with me to Stratford. It will also include collaborating with Allison Bjerkseth a Toronto based stage manager who will stage manage the play for the SpringWorks Festival and it will include any production costs needed to produce the play as example, props, costumes and marketing. This juried event is significant on several levels, as a playwright Ive been awarded an enormous opportunity to further develop my play, and as an actor I have the privilege to perform at this highly respected theatre company in Canada under the direction of a professional director. Calendar: April 12-29 Rod Ceballos travels to Salem Oregon for a 15 day rehearsal process. May 10- I travel to Toronto rehearse for two days at Toronto Fringe Festival Studios. May 12-16 Mr. Ceballos, Ms. Bjerkesth and myself travel to Stratford Ontario for SpringWorks residency April 17- Travel back to Salem Oregon. Learning Outcomes My project touches on the following Learning outcomes: Demonstrate knowledge of major presentational performance styles and issues in 21st century performance through public performance. Demonstrate an understanding of individual character motivations and action choices through the public presentation of effectively interactive performance dynamics. This experience ties directly to my professional artistic goals even as it enhances the pedagogy of my acting classroom. Solo performance places incredibly rigorous demands on the performer, and requires a very specific and advanced skill-set. Though I am well acquainted with the processes by which solo performances are mounted, I have never had the opportunity to create my own material and perform it in this kind of professional venue. This project will also afford me the opportunity to test and expand my pedagogical resources: when I work professionally as an actor, my focus as a teacher of acting is sharpened. The performance experience strengthens my ability to engage my students in conversations of interpretation, style and execution. This project will allow me to specifically engage problems endemic to presenting solo works, whether they be devised works, soliloquies, or one-person plays. My students currently engage in work in all these areas: this project will have tremendous value in regards to the mentorship and evaluation I give to student solo-performance projects. The process of mounting this project will stretch me personally and artistically, will yield rich material to further develop my teaching, and my performance at this international festival and will raise the profile of ӶƵ University. Budget I have received a travel grant from the university for $1600. This grant will cover my airfare to Canada $700 and housing accommodations in Toronto and Stratford @ $100 per night for 8 nights leaving me $100* for my meals. I have included a line item in the Mid-Career grant budget below to cover the rest of my meal costs while in Canada see (*) -Stipend for Mr. Ceballos $200 -Stipend for Ms. Bjerkseth $200 -Travel for Mr. Ceballos, round trip from Toronto, ONT to Portland, OR $700 -Lodging for Mr. Ceballos in Oregon $45 x 17 nights (Air BnB) $765 -Mileage for Ms. Bjerkseth to drive from Toronto - Stratford 180 miles round trip $100 -Lodging for Ms. Bjerkseth in Stratford, Ontario 4 x100 $400 -Lodging for Mr. Ceballos in Stratford Ontario 4x100 $400 -Cell phone service in Canada $100 -Studio rental space in Toronto, ONT $30 -Printing and copying $100 -Props and Costumes $250 -Marketing $150 -Meals Ceballos in Oregon $50.x17 days= $800 -Meals Bjerkseth in Stratford, ONT $50.x5 days=$250 -Meals Coromel Toronto/Stratford $50.x8 days=$300(see note above regarding travel grant)* -Meals Ceballos in Stratford, ONT $50x5=$250 Total=$4995. Timestamp 2/20/16, 11:23:58 Name, Department, and Year Tenured Cindy Koenig Richards, CCM, AES, 2013 Project Name Building Creative Capabilities: Designing Media Abstract My graduate education in the humanities provided a strong foundation for the first phase of my career at ӶƵ, during which I taught courses in rhetorical theory and criticism, mentored students as they produced scholarly essays, and published my own written work. While I value this foundation and remain engaged with writing as a mode of inquiry, at this point in my career I see an imperative to build my creative capabilities to include digital media design and production. First, I need to build my creative capabilities in order to support a key SLO in the Civic Communication and Media program, specifically to equip students to make public arguments in multiple modes of communication including digital media. Students are invested in this learning objective but at this time we lack department faculty whose creative capabilities (with digital media in particular) are well matched to the SLO. Thus, with the support of this mid-career grant I aim to build my creative capabilities to help meet this need. Specifically, through the professional development opportunities and resources I will build my capacity to offer courses such as CCM 103 Designing Media and to integrate multimodal projects such as data visualization into courses such as US Womens Activism. Second, I need to build my creative capabilities in order to advance my research program. My current scholarship examines discursive spaces and communication practices that support equitable participation, especially in politics and education. Drawing on best practices identified through research Im now engaged in creative work to design and develop communication tools and spaces; for example Im co-developing an educational web application and Im redesigning Ringe Lab. My effort to integrate scholarly research, creative practice, and liberal education is rooted in ӶƵs motto and mission, and it also has the potential to productively engage initiatives including HASTAC, Digital Media and Learning Alliance, FemTechNet, Connected Learning, and the Mellon Foundation. To build my creative capabilities in ways that will support student learning at ӶƵ, open new opportunities for multimodal work in the humanities, and support the continued development of my scholarship and pedagogy, I request $5,000 to support mid-career professional development. Specifically, this grant will support: professional development visits with colleagues at other colleges, professional development visits to exemplary media labs at other colleges, participation in relevant workshops, access to educational resources, and professional design and web development services. Learning Outcomes See abstract above. I'm happy to expand on this if it would be helpful to the committee. Budget Building Creative Capabilities: Designing Media Mid-Career Professional Development Grant Budget: $5,000 Projected allocation of $5000 budget: Travel to meet with colleagues, visit exemplary labs at other colleges and/or participate in professional development workshops: $2000 Such as: Visit Engagement Lab at Emerson College, meet with Mizuko Ito, participate in HASTAC 2016. Educational Materials: $500 Professional Services: Web Development, Design, Research Assistance: $2000 By collaborating with a designer at the education nonprofit OETC to co-produce images for my book and media for my website, Ill learn advance my creative capabilities related to data visualization. By collaborating with a web developer at OETC to co-design and co-produce a website to share my teaching and research, Ill build my public profile as well as my creative capabilities related to digital media. Stipend: $500 Note: Ive identified excellent, accessible resources and opportunities in each category and Ive established relationships that will allow me to visit leading colleagues and exemplary labs. If my request for $5000 to support this mid-career project is approved, I will then register for workshops and work with colleagues such as Dr. Eric Gordon to arrange visits to exemplary labs. Because travel costs for visits are likely to vary depending on the schedule/availability of the colleagues and lab I will visit, I appreciate this opportunity to work from a budget that is not to exceed $5000 and provides flexibility for allocating that sum. This approach will make it possible for me to maximize the valuable resources provided by LxC to advance my mid-career development, especially my creative capabilities. 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