tag:blogger.com,1999:blog-83631780614379309752024-03-13T08:41:49.563-07:00Bridging Science and the Humanities at HopkinsKristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-8363178061437930975.post-58401039698768073632013-12-24T07:13:00.002-08:002013-12-24T07:14:44.242-08:00<div class="tncms-region " id="tncms-region-center-one-index-and-assets" style="background-color: white; font-family: arial; font-size: 10px; margin: 0px; outline: 0px; padding: 0px;">
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Posted: <span class="posted" style="margin: 0px; outline: 0px; padding: 0px;" title="2013-12-20T00:00:00-05:00">Friday, December 20, 2013 12:00 am</span> | <em style="margin: 0px; outline: 0px; padding: 0px;">Updated: 12:01 am, Sat Dec 21, 2013.</em></div>
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<span class="author vcard" style="margin: 0px; outline: 0px; padding: 0px;">BY MARY SUE COLEMAN AND JOHN L. HENNESSY</span></div>
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<span class="paragraph-0" style="margin: 0px; outline: 0px; padding: 0px;">Improving U.S. education in the STEM fields — science, technology, engineering and mathematics — has become a popular cause. With U.S. competitiveness in the global economy at stake, educators and policymakers have championed increasing the number of college graduates in these fields, reducing attrition among students interested in STEM fields and even discounting college tuition for STEM students.</span></div>
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The overall objective is important. We — one of us a biochemist who leads a large, public university in the Midwest, the other a computer scientist who leads a private university in Silicon Valley —<b> believe deeply that our country’s scientific and technological capacity is critical to its economic future.</b></div>
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But we also have cause for concern. Amid the push for science and engineering and the pervasive pressure on many students to obtain, above all else, career skills from their undergraduate education, our country risks marginalizing the humanities and social sciences. We cannot allow that to happen. <b>These disciplines play an important role in educating students for future leadership and deal most directly with the human condition</b>.</div>
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The humanities — history, literature, languages, art, philosophy — and the social sciences <b>focus on the lasting challenges relevant to all of us: creating lives of purpose and meaning, appreciating diversity and complexity, communicating effectively with others and overcoming adversity. <span style="color: #990000;">Ultimately, our ability to work meaningfully with others will determine the success of our enterprises, and that ability is honed through the humanities and social sciences.</span></b></div>
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That is why the humanities and social sciences are an essential part of undergraduate education. Most successful careers, including in technology and engineering, do not result simply from technical knowledge. T<b>hey require leadership skills, social and emotional intelligence, cultural understanding, a capacity for strategic decision-making and a global perspective.</b></div>
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Put another way, success in life requires a <b>sensibility</b> about the world and one’s place in it that the humanities seek to cultivate, as well as an understanding of economic and societal context that the social sciences provide.</div>
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Surveys conducted this year for the national Commission on the Humanities and Social Sciences confirmed that most U.S. employers are looking for these broad-based benefits of a liberal arts education in their workers.</div>
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Leadership today requires addressing the challenges of an<b> increasingly complex and interconnected world</b>, whether the challenges are in business, health, education, technology, law, social justice, environmental protection or dozens of other fields.</div>
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Most students today will have careers in multiple fields across the span of their lives. Our universities should develop students with skills and capacities that will serve them well in multiple settings and cultivate a passion for lifelong learning, which they will need to thrive in a world requiring constant adaptation.</div>
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One of the lesser-known stories in higher education is the extent to which the humanities and social sciences are evolving and innovating to meet this objective. Time-worn distinctions between “hard” and “soft” disciplines are blurring as faculty develop new ways of integrating technology into research, pull multiple disciplines together to solve problems and apply the knowledge created to challenges in the broader world.</div>
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At Stanford, much of the academic enterprise is interdisciplinary, in areas as diverse as international studies, improving K-12 education and preserving our environment. In undergraduate education, all our students — including those in computer science, now the most popular major — receive a liberal arts education including a foreign language, courses in the humanities, social sciences, ethical reasoning and creative expression. Many students easily cross the boundaries between the STEM fields and the humanities and social sciences. We believe that such intellectual flexibility will have great value over their lifetime.</div>
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At Michigan, students in the STEM fields increasingly turn to minors in the humanities and social sciences, and humanities majors embrace minors in the natural and social sciences. Integrative courses allow students to explore and consolidate their degrees not in a specific major but in the liberal arts and sciences. Problem-based teaching demands that students learn and practice multisided approaches — sometimes in collaborative teams but also as individuals with the breadth of knowledge and mind to see the big picture.</div>
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It is easy, perhaps, for university presidents to say these things — even university presidents from the sciences and technology. We believe that the role and importance of the humanities and social sciences needs to be discussed elsewhere: at dinner tables where families talk about college and career choices and in Congress, statehouses and government agencies where funding decisions are made with an eye toward what is “useful.”</div>
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More than anything, we collectively need to get away from inflexible, binary choices. The crucial issue is <b>not whether a student will be a “science and technology person” or a “humanities and social sciences person,”</b> or whether one or the other is more important to preserving the United States’ global standing and maximizing a student’s job prospects. <b>The critical issue is that a person needs both types of skills and knowledge to innovate and lead in a rapidly changing world.</b></div>
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Mary Sue Coleman is president of the University of Michigan. John L. Hennessy is president of Stanford University. He served on the Commission on the Humanities and Social Sciences.</div>
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© 2013, The Washington Post</div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-45114308961335701132013-12-19T08:06:00.000-08:002013-12-19T08:06:23.566-08:00<br />
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<span style="background-color: white; color: #660000;">How to deal with a <i>human </i><b><i>monster: a great article that explains how a deep understanding of the humanities (Greek tragedy) can help us deal with the insanity of today's crimes</i></b></span></h2>
<a href="http://www.newyorker.com/online/blogs/books/2013/05/unburied-tamerlan-tsarvaev-and-the-lessons-of-greek-tragedy.html" target="_blank">article from the New Yorker</a><br />
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<b>Unburied: Tamerlan Tsarnaev and the Lessons of Greek</b></div>
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<b>Tragedy</b></div>
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Posted by <i>Daniel Mendelsohn</i></div>
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“Bury this terrorist on U.S. soil and we will unbury him.”</div>
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So ran the bitter slogan on one of the signs borne last week by enraged protesters outside the Worcester, Massachusetts,</div>
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funeral home that had agreed to receive the body of the accused Boston Marathon bomber Tamerlan Tsarnaev—a cadaver</div>
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seemingly so morally polluted that his own widow would not claim it, that no funeral director would touch it, that no</div>
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cemetery would bury it. Indeed, even after Peter Stefan, a Worcester funeral director, had washed and shrouded the battered,</div>
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bullet-ridden body for burial according to Muslim law, the cadaver became the object of a macabre game of civic and</div>
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political football. Cemetery officials and community leaders in the Boston area were concerned that a local burial would</div>
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spark civic unrest. (“It is not in the best interest of ‘peace within the city’ to execute a cemetery deed,” the Cambridge city</div>
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manager, Robert Healy, announced.) While the state’s governor carefully sidestepped the issue, asserting that it was a family</div>
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matter, other politicians seemed to sense an advantage in catering to the high popular feeling. “If the people of Massachusetts</div>
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do not want that terrorist to be buried on our soil,” declared Representative Edward J. Markey, a Democratic candidate for</div>
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the U.S. Senate, “then it should not be.”</div>
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And so it went until late last week, when—due to the intervention of Martha Mullen, a Richmond, Virginia, woman who’d</div>
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been following the story, a practicing Christian who cited Jesus’s injunction to “love our enemies” as her inspiration—</div>
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Tsarnaev’s body was finally transported to a tiny Muslim cemetery in rural Virginia, and interred there in an unmarked</div>
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grave. Until then, the corpse had languished for over two weeks—not only unburied but, in a way, unburiable. In one of</div>
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several updates it published on the grisly affair, the <i>Times </i>quoted Ray Madoff, a Boston law professor who specializes in</div>
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“what she calls the law of the dead,” about the case. “There is no precedent for this type of thing,” Madoff told a reporter. “It</div>
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is a legal no-man’s land.”</div>
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A legal no-man’s land, perhaps, but familiar territory to anyone even casually acquainted with the Greek classics. From its</div>
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epic dawn to its tragic high noon, Greek literature expressed tremendous cultural anxiety about what happens when the dead</div>
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are left unburied. In part, the issue was a religious one: the souls of the dead were thought to be stranded, unable to reach the</div>
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underworld without proper burial. (And without a proper tomb, or <i>sêma</i>—a “sign” or grave marker—a dead person could not</div>
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hope for postmortem recognition, some sign that he or she had once lived and died.) The religious prohibition had civic</div>
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consequences: refusal to bury the dead was considered an affront to the gods and could bring ritual pollution on the</div>
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community. The right of all sides to bury soldiers who had fallen in battle was a convention of war; burial truces were</div>
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regularly granted. In myth, even characters who act more like terrorists than like soldiers—for instance, the great warrior</div>
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Ajax, who plots to assassinate his commanding officers but ends up dead himself—are deemed worthy of burial in the end.</div>
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Which is to say, even the body of the enemy was sacrosanct.</div>
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This preoccupation with the implications of burial and non-burial haunts a number of the greatest works of Greek literature.</div>
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The opening lines of the Iliad, the oldest extant work of Western poetry, refer with pointed revulsion to the possibility that</div>
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the bodies of the warriors who died at Troy could become the “delicate pickings of birds and dogs”; indeed you might say</div>
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that getting the dead buried—even the reviled, enemy dead—is the principle object of the epic’s grand narrative arc. Fifteen</div>
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thousand lines after that opening reference to unburied corpses, the poem closes, magnificently, with a scene of</div>
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reconciliation between the grief-maddened Achilles—who has daily defiled the unburied body of his mortal enemy, Hector,</div>
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dragging it back and forth through the dirt before the walls of Troy—and Hector’s aged father, the Trojan king, Priam. In a</div>
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gesture of redemption for himself as much as for the Trojans, Achilles finally agrees to release the body for burial. The</div>
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gigantic epic ends not (as some first-time readers expect) with the Wooden Horse, or the Fall of Troy, but with the allimportant</div>
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funeral of the greatest of the Greeks’ enemies—a rite of burial that allows the Trojans to mourn their prince and, in</div>
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a way, the audience to find closure after the unrelenting violence that has preceded. The work’s final line is as plain, and as</div>
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final, as the sound of dirt on the lid of a coffin. “This was the funeral of Hector, tamer of horses.”</div>
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As for the Odyssey, it, too—for all its emphasis on its fantastical, proto-sci-fi adventures—reveals a telling preoccupation</div>
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with this issue. The great adventure epic features an extended visit to the underworld, where, among other things, the flitting</div>
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shades of the dead express anxiety about their own funerals (and where Odysseus learns how he himself will die, many years</div>
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hence, “from the sea”); precisely at the poem’s midpoint, Odysseus dutifully halts his homeward journey—and the epic’s</div>
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narrative momentum—to bury, with full honors, the body of a young sailor who has died in a clumsy accident, as if to say</div>
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that even the most hapless and pointless of deaths merits the dignity of ritual. And in the work’s final, culminating book,</div>
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Homer slips in the information, ostensibly en passant but of course crucial, that the bodies of the hated suitors—whose gory</div>
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deaths we are, to some extent, invited to savor, given their gross outrages against Odysseus and his family—were duly</div>
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permitted to be retrieved by their families for burial.</div>
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But no work of ancient literature is as obsessed with unburied bodies as Sophocles’ “Antigone,” a tragedy first produced in</div>
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Athens around 442 B.C.: the entire plot centers on the controversy over how a community that has survived a deadly attack</div>
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will dispose of the body of the perpetrator of that attack—the body, as it happens, of a young man who had planned to bring</div>
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destruction on the city that had been his home, who “sought to consume the city with fire…sought to taste blood.”</div>
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The young man in question is Polyneices, a son of the late, spectacularly ill-fated king Oedipus who, after a power struggle</div>
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with his brother Eteocles, fled the city, eventually returning with an invading army (the “Seven Against Thebes”) to make</div>
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war on his homeland. At a climactic moment in the battle, the two brothers slay each other, but the invasion is ultimately</div>
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repelled and the city saved. In the opening lines of the play, we learn that the body of Eteocles, the defender of the city, has</div>
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been buried with full honors, but, according to a decree promulgated by the new king, Creon (who is the young men’s uncle),</div>
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no one, under pain of death, may bury or mourn Polyneices, whose corpse is to be left “unwept, unsepulchered, a treasure to</div>
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feast on for birds looking out for a dainty meal.” (The particular horror, expressed from the Iliad on down, that humans could</div>
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become the food of the animals we normally eat ourselves is noteworthy: a strong signal of a total inversion in the scheme of</div>
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things of which the unburied body, the corpse that remains above rather than below ground, is a symptom.)</div>
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Creon, like the Senate candidate from Massachusetts, cares a great deal about public opinion, as we later learn; but it’s</div>
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certainly possible to argue that his edict is grounded in a strong if idiosyncratic morality. When confronted about his</div>
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rationale for enshrining in the city’s law what is, after all, a religious abomination, the king declares that Polyneices’ crime</div>
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against the city has put the young man beyond morality—that while burial of any dead is a religious obligation, it is</div>
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impossible to imagine that “the gods have care for this corpse,” that one might ever see “the gods honoring the wicked.” As</div>
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he sputters his final line in this debate, you sense that he is acting out of a genuine, if narrow, conviction that evil men do not</div>
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merit human treatment: “It cannot be.” (“It should not be”: so Representative Markey, apropos of the burial that offended the</div>
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sensibilities of Massachusetts voters.)</div>
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But just as strong as Creon’s convictions are those of his niece Antigone, sister to both of the dead young men—Eteocles</div>
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enshrined in his hero’s tomb, Polyneices lying naked on the ground, his nude, weapon-torn body exposed to the elements, to</div>
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the ravenous birds. From the moment she appears on stage, outraged after having heard about the new edict, Antigone’s</div>
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argument is for the absolute imperative of burial—indeed, for the absolute. For her, burial of the dead is a universal</div>
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institution that transcends culture and even time itself: the “unwavering, unwritten customs of the gods … not some trifle of</div>
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now or yesterday, but for all eternity.” (She mockingly asks whether these can be overruled by the mere “pronouncements”</div>
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of Creon.) This conviction is what leads her to perform the galvanizing action of the play: under cover of night she goes to</div>
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the desolate place where Polyneices’ body lies out in the open and performs a token burial, scattering some dirt on the body.</div>
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It is to this symbolic burial that a terrified soldier—one of the guards whom Creon had set around the body, to make sure no</div>
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one would inter it—presumably refers later on, when he anxiously reports to Creon that someone has performed the rite.</div>
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Enraged, Creon orders the man to go back and “unbury” the body: to strip off the thin covering of dirt and expose the corpse</div>
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once more to the elements. It is upon his return to the foul-smelling site that the soldier discovers Antigone, who at that</div>
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moment is arriving, and who cries out in despair when she sees the denuded corpse. She is taken prisoner, has her great</div>
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confrontation with her uncle (from which I quote above), and, in one of the diabolically symmetrical punishments so beloved</div>
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of Greek tragedians, is herself buried alive as punishment for her crime of burying the dead—walled into a tomb of rock, to</div>
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expire there. (By not actually killing her, Creon, who has the master bureaucrat’s deep feeling for the small procedural detail,</div>
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hopes to avoid incurring ritual pollution.)</div>
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<br /></div>
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There she does die—imperious to the end, she hangs herself, rather than waste away as anybody’s victim—but not before</div>
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Creon has been persuaded of the folly of his policy. As often happens in tragedy, the persuasion takes its final form as a heap</div>
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of dead bodies: not only Antigone’s but those of Creon’s son, the dead girl’s fiancé, who has slain himself over the body of</div>
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his beloved, and Creon’s wife, too, who kills herself in despair at the news of their child’s violent end. The king who had</div>
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refused to recognize the claims of family is, in the end, made horribly aware of how important family is.</div>
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“The claims of family” is just one way to describe what Antigone represents. The titanic battle between her and Creon is, in</div>
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fact, one of the most thrilling moral, intellectual, and philosophical confrontations ever dramatized; inevitably, it has been</div>
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seen as representing any number of cultural conflicts. Certainly in the play there is the tension between the family and the</div>
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community, but there is also that between the individual and the state, between religious and secular worldviews, between</div>
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divine and human law, feminine and masculine concerns, the domestic and political realms.</div>
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But perhaps a broader rubric is applicable, too. For you could say that what preoccupies Antigone, who as we know is</div>
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attracted to universals, is simply another “absolute”: the absolute personhood of the dead man, stripped of all labels, all</div>
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categories—at least those imposed by temporal concerns, by politics and war. For her, the defeated and disgraced Polyneices,</div>
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naked and unburied, is just as much her brother as the triumphant and heroic Eteocles, splendidly entombed. In the end, what</div>
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entitles him to burial has nothing to do with what side he was on—and it’s worth emphasizing the play is not at all shy about</div>
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enumerating the horrors the dead man intended to perpetrate on the city, <i>his own city</i>, the pillage, the burning, the killing, the</div>
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enslavement of the survivors—but the fact that he was a human being, <i>anthropos</i>. (This tragedy is, indeed, famous for</div>
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expressing a kind of astonished wonder at what human beings are capable of, accomplishments for which Sophocles uses the</div>
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ambiguous adjective “<i>deina</i>,” which means both “terrible” and “wonderful”—“awesome,” maybe, in the original sense of</div>
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that word.) This is why, during her great debate with Creon, while the king keeps recurring to the same point—that Eteocles</div>
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was the champion of the city, and Polyneices its foe, and that “a foe is never a friend”—such distinctions are moot for</div>
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Antigone, since the gods themselves do not make them. “Nonetheless,” she finally declares, putting a curt end to another</div>
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exchange on the subject, “Hades requires these rites.” The only salient distinction is the one that divides gods from men—</div>
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which, if true, makes all humans equal.</div>
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* * *</div>
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It was hard not to think of all this—of the Iliad with its grand funereal finale, of the Odyssey strangely pivoting around so</div>
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many burials, and of course of “Antigone”—as I followed the story of Tamerlan Tsarnaev’s unburied body over the past few</div>
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weeks. I thought, of course, of canny politicians eyeing the public mood, and of the public to whom those politicians wanted</div>
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to pander. I thought even more of the protesters who, understandably to be sure, wanted to make clear the distinction</div>
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between victim and perpetrator, between friend and foe, by threatening to strip from the enemy what they saw as the</div>
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prerogatives of the friend: humane treatment in death. The protesters who wanted, like Creon, not only to deny those</div>
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prerogatives to an enemy but to strip them away again should anyone else grant them—to “unbury the body.” I thought of</div>
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Martha Mullen, a Christian, who insisted that the Muslim Tsarnaev, accused of heinous atrocities against innocent citizens,</div>
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be buried just as a loved one might deserve to be buried, because she honored the religious precept that demands that we see</div>
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all humans as “brothers,” whatever the evil they have done.</div>
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This final point is worth lingering over just now. The last of the many articles I’ve read about the strange odyssey of</div>
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Tsarnaev’s body was about the reactions of the residents of the small Virginia town where it was, finally, buried. “What do</div>
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you do when a monster is buried just down the street?” the subhead asked. The sensationalist diction, the word “monster,” I</div>
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realized, is the problem—and brings you to the deep meaning of Martha Mullen’s gesture, and of Antigone’s argument, too.</div>
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There is, in the end, a great ethical wisdom in insisting that the criminal dead, that your bitterest enemy, be buried, too; for in</div>
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doing so, you are insisting that the criminal, however heinous, is precisely not a “monster.” Whatever else is true of the</div>
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terrible crime that Tamerlan Tsarnaev is accused of having perpetrated, it was, all too clearly, the product of an entirely</div>
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human psyche, horribly motivated by beliefs and passions that are very human indeed—<i>deina </i>in the worst possible sense. To</div>
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call him a monster is to treat this enemy’s mind precisely the way some would treat his unburied body—which is to say, to</div>
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put it beyond the reach of human consideration (and therefore, paradoxically, to refuse to confront his “monstrosity” at all).</div>
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This is the point that obsessed Sophocles’ Antigone: that to not bury her brother, to not treat the war criminal like a human</div>
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being, would ultimately have been to forfeit her own humanity. This is why it was worth dying for.</div>
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* * *</div>
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Sometimes, a less elevated instinct, a raw practicality, could lead the characters in Greek plays to a version of the same</div>
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conclusion: that because we will all want to be treated like human beings at some unimaginably low moment—because we</div>
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all die—we must treat the “monsters” thus, too. This, too, is a possibility worth considering right now.</div>
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It is, in fact, the point of the tart ending of another play by Sophocles—one he wrote about Ajax, the good soldier turned evil</div>
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terrorist. At the end of this tragedy, written not long before “Antigone” was composed, a conflict arises over whether the</div>
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body of the criminal should be buried. His enemies—Agamemnon and Menelaus, the leaders of the Greek expedition, whom</div>
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Ajax had plotted to murder—insist, of course, that his body be cast forth unburied, like the body of an animal, “food for the</div>
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birds.” (Again.) Yet unexpectedly, there springs to his defense a man who also had been his enemy. That man is Odysseus,</div>
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who in a climactic confrontation with the two Greek generals—who are his allies and commanding officers—persuades them</div>
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that to pursue their hatred after death would be grotesque. Rather typically for this type, the swaggering Agamemnon worries</div>
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that to relent would make him appear “soft”; but Odysseus, wily as he always is, argues that “softness” is nothing more than</div>
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justice—nothing more than acting like a human being. Then he makes his final, stark point, one with which, you suspect,</div>
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even Creon wouldn’t argue:</div>
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A<span style="font-size: 9.5px;">GAMEMNON</span>: You will make us appear cowards this day.</div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
O<span style="font-size: 9.5px;">DYSSEUS</span>: Not so, but just men in the sight of all the Greeks.</div>
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A<span style="font-size: 9.5px;">GAMEMNON</span>: So you would have me allow the burying of the dead?</div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
O<span style="font-size: 9.5px;">DYSSEUS</span>: Yes; for I too shall come to that need.</div>
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Or, as Antigone put it, “I owe a longer allegiance to the dead than to the living, for in that world I shall abide forever.”</div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
<i>Daniel Mendelsohn is the author, most recently, of “Waiting for the Barbarians: Essays from the Classics to Pop Culture,” a</i></div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
<i>collection of his essays for The New Yorker and The New York Review of Books, which was a finalist for the 2012 National</i></div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
<i>Book Critics Circle Award. His other books include two memoirs, “The Lost” and “The Elusive Embrace”; a translation of</i></div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
<i>the complete works of C. P. Cavafy; and a study of Greek tragedy. He teaches at Bard College.</i></div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
<i>Painting by Nikiforos Lytras, Antigone in front of the dead Polynices (1865), National Gallery of Greece-Alexandros Soutzos</i></div>
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<i>Museum.</i></div>
<div style="font-family: 'Times New Roman'; font-size: 11px;">
<b> </b></div>
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<h1 style="color: black; font-size: 42px; line-height: 46px; margin: 0px 0px 8px;">
Johns Hopkins scientists, Baltimore Symphony Orchestra collaborate on music programs</h1>
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<span class="author" style="clear: left; margin: 16px 0px;">Bret McCabe</span> <span class="sep" style="margin: 0px 7px;">/</span> October 1, 2013<span class="topics-in" style="display: block; float: none; font-size: 13px; font-weight: normal; line-height: 18px; width: 616px;">Posted in <a href="http://hub.jhu.edu/science-technology" style="color: rgba(0, 0, 0, 0.701961); font-style: italic; text-decoration: none;">Science+Technology</a>, <a href="http://hub.jhu.edu/arts-culture" style="color: rgba(0, 0, 0, 0.701961); font-style: italic; text-decoration: none;">Arts+Culture</a></span><span class="tags-in" style="display: block; float: none; font-size: 13px; font-weight: normal; line-height: 18px; width: 616px;">Tagged <a href="http://hub.jhu.edu/tags/music" style="color: rgba(0, 0, 0, 0.701961); font-style: italic; text-decoration: none;">music</a>, <a href="http://hub.jhu.edu/tags/charles-limb" style="color: rgba(0, 0, 0, 0.701961); font-style: italic; text-decoration: none;">charles limb</a>, <a href="http://hub.jhu.edu/tags/otolaryngology" style="color: rgba(0, 0, 0, 0.701961); font-style: italic; text-decoration: none;">otolaryngology</a>, <a href="http://hub.jhu.edu/tags/neuroscience" style="color: rgba(0, 0, 0, 0.701961); font-style: italic; text-decoration: none;">neuroscience</a></span></div>
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<span class="credit" style="color: #9a9999; display: block; line-height: 16px; margin: 0px 0px 16px; text-transform: uppercase;"><span class="prefix">IMAGE: </span>BRIAN STAUFFER</span></div>
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Music-obsessed otolaryngologist Charles Limb believes his studies of the brain could lead to improved treatment for hearing loss</div>
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Ludvig van Beethoven, that German giant of early-19th-century classical music, wrote some of his most sublime works in the silence of deafness. He wasn't born deaf—it was a progressive loss, starting relatively early in his composing career—but by the time he finished Symphony No. 9 in 1824, he couldn't hear a single note.</div>
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But how and why Beethoven lost his hearing remains a mystery. "Even today, with the benefit of modern medicine, when somebody comes in with progressive hearing loss, we often don't know the cause of it," says Charles Limb, an associate professor in the Johns Hopkins School of Medicine's Department of Otolaryngology–Head and Neck Surgery. He adds that the best way to identify the cause is to examine the skull and ear bones postmortem. "Beethoven's temporal bones were harvested at his autopsy, but they were lost," he continues.</div>
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As an otologist, Limb is interested in hearing loss, but he's also a musician and a Peabody Institute faculty member who has studied Beethoven and his music. And in 2009, Marin Alsop, music director of the Baltimore Symphony Orchestra, invited him to collaborate on a production looking at the possible causes behind Beethoven's deafness. Titled CSI Beethoven, it took a different approach to presenting an evergreen composer.</div>
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The BSO expanded its science and music collaboration with its 2013–14 season by forming last December a Science Advisory Team to develop science-themed educational concerts. That team included Alsop; Carol Bogash and Annemarie Guzy, the BSO's vice president for education and community engagement and director of education, respectively; Limb; and Mario Livio, a Space Telescope Science Institute astrophysicist. The team has since grown to include Benjamin Zaitchik, an assistant professor, and David Elbert, an associate research scientist, in Johns Hopkins' Department of Earth and Planetary Sciences. In all, it has produced four events (one for general audiences and three for children) for the BSO's current season; the first, What Beethoven Heard, takes place Oct. 30 and 31 at the Meyerhoff Symphony Hall.</div>
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"The Baltimore Symphony Orchestra's always believed that music connects to the arts. Now we're putting our foot in the sand and saying it also connects to the sciences," says Bogash.</div>
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Bogash spent more than a decade as the director of educational and cultural programs at the Smithsonian Associates, where she first started collaborating with Livio. When she joined the BSO in 2011, she found an organization very interested in showing music's connection to life in general—literature, visual art, poetry, and the sciences.</div>
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"I've learned throughout my career that there is a natural connection between science and music," Bogash says. "But we need help to make sure that we're accurate with the science and that we make those connections pretty obvious."</div>
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Livio's work informs the Nov. 7 to 10 general-audience concert featuring Holst's The Planets. Zaitchik, whose research examines climate dynamics, worked with the BSO for its Dec. 5 and 6 offering, The Snowman, which pairs a telling of the fairy tale with an understanding of climate change. And Elbert, who investigates environmental mineralogy, worked on the Feb. 4 and 5 America the Beautiful, which pairs selections of Aaron Copland's music and Ferde Grofé's Grand Canyon Suite with geology, geography, and a look at the American landscape. And Limb and the BSO return to Beethoven for this month's midweek education performance.</div>
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"Most orchestras do concerts on Beethoven based on the emotional connection with a man who experienced an extraordinary challenge for a musician," Bogash says. "We decided to turn that a little bit on its head and do it from the standpoint of what actually happened to him—what, in fact, did Beethoven hear?"</div>
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The production offers an introduction to Beethoven's life and music and explores how hearing works, and includes simulations of what the composer's symphonies might have sounded like to him.</div>
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"I think [combining science and music] is a perfect way for kids to start thinking about classical music," Limb says. "And we hope they'll leave thinking, Huh, Beethoven is a pretty interesting guy, and he seems more real to me and I want to hear his music and think about science a little differently."</div>
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It's collaborative work like this that, for Limb, shows how science and the arts can have a bigger educational impact when they work together. "Honestly, one of the most enjoyable things I could ever do in my life is work with the symphony," he says.</div>
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"Growing up, when you hear about these great composers, they're kind of mythical figures that don't necessarily have a reality to them. This [program] is one way to see that Beethoven was a person like everybody else, just someone who had this unique ability to write music even though he was not able to hear. So it sends home a really big message about what humans are capable of doing even against the greatest obstacles."</div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-63754907383438908842013-09-13T17:32:00.002-07:002013-09-13T17:32:57.166-07:00<br />
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<span class="summary">D.C. Art Science Evening Rendezvous (DASER)</span></h1>
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<a href="http://www.eventbrite.com/org/1136829489?s=15366567" style="color: #005580; text-decoration: none;" target="_blank">Cultural Programs of the National Academy of Sciences</a></h2>
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Thursday, September 19, 2013 from 6:00 PM to 9:00 PM (EDT)</h2>
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Washington, United States</h2>
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<span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;">Keck Center, 500 Fifth St., N.W.<br /><br />Join us at this monthly discussion forum on art and science projects in the national capital region. Each DASER features presentations by four practitioners working at the intersection of art and science. This month's discussion explores the topic of <b>disasters</b>. Enjoy presentations by James Brey, James Giordano, David Hughes, and Judith Waller. Doors open at 5:30 p.m. and the event begins at 6 p.m. A reception follows from 8 p.m. to 9 p.m. No charge. Registration and photo ID required.</span><br /><table id="subheader_table" style="background-color: #f7f7f7; border-collapse: collapse; border-spacing: 0px; color: #404040; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 15px; text-align: left; width: 960px;"><tbody>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-27813449487122249102013-08-10T14:18:00.001-07:002013-08-10T14:18:21.477-07:00from Mike Reese in CER:<br />
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<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 11pt;"> Dr. Ahna Skop is a biology faculty at U of Wisconsin – Madison who was raised by parents who were accomplished artists. </span></div>
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<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 11pt;"> She gave a conference presentation titled, “Too Creative for Scientist.” I thought the presentation was relevant to the conversation you are leading about how to bring together scientists and humanists together for new projects. <b>She talks about how her arts training from her parents informed her growth and work as a scientist.</b> She describes how she uses her scientific research to inform her work as a visual artist as well. A cool example is at 34:40 minutes she describes art exhibits she has curated of visual materials that originated from scientific research. Several of these have been covered in <i>Science</i>.<o:p></o:p></span></div>
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<a href="http://www.youtube.com/watch?v=azrE9KPe8hE" style="color: purple;">http://www.youtube.com/watch?v=azrE9KPe8hE</a><span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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article from SCIENCE magazine</div>
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<figure class="articleImage" style="background-color: white; color: #333333; font-family: Verdana, Tahoma, Helvetica, Arial, sans-serif; font-size: 12px; line-height: 16px;"><img alt="<figcaption> Credit: Jeff Miller/University of Wisconsin-Madison</figcaption>" border="0" src="http://images.the-scientist.com/content/images/articles/55309/60-2.jpg" /><figcaption>Credit: Jeff Miller/University of Wisconsin-Madison</figcaption></figure><div class="newsSection" style="background-color: white; color: #333333; font-family: Verdana, Tahoma, Helvetica, Arial, sans-serif; font-size: 12px; line-height: 16px;">
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Ahna Skop</h2>
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<strong>Scientist:</strong> Age 36, 9 publications, cited over 400 times (ISI Web of Science).</div>
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<strong>Artist: </strong>Curated 7 exhibits; created 100-200 digital and ceramic pieces and spends 5-10 hours per month on art.</div>
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As an undergraduate at Syracuse University, cellular biologist Ahna Skop, found herself questioning her place in science as she juggled courses in science and art. Skop, the daughter of two artists, says as she worked in the confines of the sterile lab walls running RNA gel samples, she felt something was missing. "I loved what I was doing, but I wasn't turned on. The gels weren't living," Skop says. <b>She started thinking "there has to be more to science than this."</b></div>
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Her junior year, she enrolled in a developmental biology course. The first textbook picture she saw of microtubules in a <em>Caenorhabditis</em> <em>elegans</em> embryo lit up with GFP, left Skop awestruck. She circled the photo like a school girl doodling in a yearbook. "I thought it was the coolest thing ever. It was so visually appealing," Skop says. That image and the possibility of exploring science through images like it seduced Skop and helped direct her attention to a career in developmental cellular biology.</div>
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<b>Skop now focuses on understanding the mechanisms behind asymmetric division in <em>C. elegans</em> by investigating membrane-cytoskeleton connections at the University of Wisconsin, Madison.</b> In 2006, she received the Presidential Early Career Award for Scientists and Engineers. She continues to draw creative inspiration from her research through visual art, applying vibrant colors to black-and-white microscope images and designing logos for scientific meetings. Every time Skop looks through the microscope, "I feel both creative processes at work," she says.</div>
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<strong>Here's how having another skill helps your science:<br />Stand out from the crowd</strong><br />Demonstrating your talent away from the bench can help you gain prominence as a scientist, Skop says. While showing her work at an exhibit at the UW-Madison, a scientist approached her and told her she was wasting her time by spending it on art. "Being raised by artists, I was used to being made fun of," I didn't care, she says.</div>
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And she wasn't wasting her time, it turns out. Years later, when interviewing for faculty positions in science, Skop's art helped her get noticed. At interviews, people kept introducing Skop as 'the girl who does the science art ... who also does good science,'" Skop says. "In this business where you are trying to be different, [being 'the girl who did art'] paid off for me," Skop says.</div>
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<strong>Discover through an artist's lens</strong><br />Skop says training in the visual arts has helped her see patterns in the organization and movement within the cell. Having an "artist's eye" for research allows her to see things others might overlook. "People in general are biased in believing bright stains are most important, and things not intensely stained are not so important," Skop says. "But, sometimes in research, it's exploring what you are not seeing" that yields discovery.</div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-14685832397257127782013-06-27T16:18:00.001-07:002013-06-27T16:18:43.445-07:00
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<span style="color: #031556; font-family: Garamond; font-size: 10.0pt; mso-bidi-font-family: Garamond;">Discover the very exciting news just
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<b><span style="color: #031556; font-family: Garamond; font-size: 10.0pt; mso-bidi-font-family: Garamond;">The American Academy of Sciences, Commission on the Humanities
and Social Sciences<o:p></o:p></span></b></div>
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<b><i><span style="color: #031556; font-family: Garamond; font-size: 10.0pt; mso-bidi-font-family: Garamond;">Who will lead America
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<b><i><span style="color: #031556; font-family: Garamond; font-size: 10.0pt; mso-bidi-font-family: Garamond;">Citizens who are <span style="background: yellow; mso-highlight: yellow;">educated in the broadest
possible sense</span>, so that they can
participate in their own governance and engage with the world. An adaptable and
creative workforce. Experts in national security, equipped with the cultural
understanding, knowledge of social dynamics, and language proficiency to lead
our foreign service and military through complex global conflicts. Elected
officials and a broader public who exercise civil political discourse, founded
on an appreciation of the ways our differences and commonalities have shaped
our rich history. We must prepare the next generation to be these future
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<span style="color: #031556; font-family: Garamond; font-size: 10.0pt; mso-bidi-font-family: Garamond;">http://www.humanitiescommission.org/_pdf/HSS_Report.pdf<o:p></o:p></span></div>
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<span style="color: #031556; font-family: Garamond; font-size: 10.0pt; mso-bidi-font-family: Garamond;">http://humanitiescommission.org<o:p></o:p></span></div>
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<!--EndFragment-->Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-36406230498504173352013-06-23T13:16:00.002-07:002013-06-23T13:16:40.075-07:00<br />
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Advocating Undergraduate Study of the Humanities</h1>
<div class="post-meta-data post-top" style="-webkit-text-size-adjust: none; background-color: white; border-bottom-color: rgb(239, 239, 239); border-bottom-style: solid; border-bottom-width: 1px; border-top-color: rgb(239, 239, 239); border-top-style: solid; border-top-width: 1px; box-sizing: border-box; color: #aaaaaa; font-family: 'Helvetica Neue', Arial, Helvetica, Verdana, sans-serif; font-size: 11.5px; line-height: 19px; margin-bottom: 10px; margin-top: 10px; min-height: 20px; padding: 0px 0px 3px;">
<span class="post-author" style="border-right-color: rgb(221, 221, 221); border-right-style: solid; border-right-width: 1px; box-sizing: border-box; margin-right: 5px; padding-right: 5px;"> Anna Chang </span><span class="post-category" style="border-right-color: rgb(221, 221, 221); border-right-style: solid; border-right-width: 1px; box-sizing: border-box; margin-right: 5px; padding-right: 5px;"> <a data-original-title="View all posts in Feature" href="http://news.commons.mla.org/category/feature/" rel="category tag" style="-webkit-transition: color 0.1s linear; box-sizing: border-box; color: #0066cc; text-decoration: none;">Feature</a>, <a data-original-title="View all posts in MLA in the News" href="http://news.commons.mla.org/category/mla-in-the-news/" rel="category tag" style="-webkit-transition: color 0.1s linear; box-sizing: border-box; color: #0066cc; text-decoration: none;">MLA in the News</a> </span><span class="time-posted" style="border-right-color: rgb(221, 221, 221); border-right-style: solid; border-right-width: 1px; box-sizing: border-box; margin-right: 5px; padding-right: 5px;"> <a data-original-title="3:06 pm" href="http://news.commons.mla.org/2013/06/12/advocating-undergraduate-study-of-the-humanities/" rel="bookmark" style="-webkit-transition: color 0.1s linear; box-sizing: border-box; color: #0066cc; text-decoration: none;"><time class="entry-date" datetime="2013-06-12T15:06:34+00:00" pubdate="" style="box-sizing: border-box;">12 June 2013</time></a></span><span class="post-comments" style="border-right-width: 0px; box-sizing: border-box; float: right; margin-right: 5px; padding-right: 5px;"> <a data-original-title="Comment on Advocating Undergraduate Study of the Humanities" href="http://news.commons.mla.org/2013/06/12/advocating-undergraduate-study-of-the-humanities/#comments" style="-webkit-transition: color 0.1s linear; box-sizing: border-box; color: #0066cc; text-decoration: none;">7 Comments »</a></span></div>
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In a recent <a href="http://chronicle.com/article/Harvard-Mounts-Campaign-to/139687" style="-webkit-transition: color 0.1s linear; box-sizing: border-box; color: #0066cc; text-decoration: none;"><i style="box-sizing: border-box;">Chronicle of Higher Education</i> article</a> (log-in required) about the release of three reports by Harvard University’s Arts and Humanities Division, Rosemary G. Feal, the executive director of the MLA, reaffirmed the value of a humanities education. The writing and analytic skills that humanities majors develop are highly desirable to employers, Feal said, and should not be overshadowed by science, technology, engineering, and mathematics. The article outlines Harvard’s strategies to bolster interest in the humanities through new introductory courses, an emphasis on humanities offerings during freshman orientation, and theme-based interdisciplinary programs.</div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-49204418306363435132013-06-09T15:58:00.002-07:002013-06-09T15:58:25.273-07:00a message from Elizabeth Rodini (via Shannon Dunn):<br />
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SEAM, the <span style="background-color: white; color: #414246; font-family: 'Open Sans'; line-height: 21px;">online literary magazine of the Johns Hopkins Schools of Medicine, Nursing, and Public Health at </span>http://seammagazine.org<br />
<a href="http://seammagazine.org/" style="background-color: white; border: 0px; color: #c92724; font-family: 'Open Sans'; font: inherit; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><img alt="SEAM" class="marT40 marB40" id="logo" src="http://seammagazine.org/wp-content/uploads/2013/04/SEAM-logotag2.jpg" style="border: 0px; display: block; font-size: 14px; font: inherit; height: auto; margin: 0px auto; max-width: 100%; opacity: 0.7; padding: 0px; position: relative; vertical-align: baseline;" /></a><br />
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<em style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Seam </em>is the online literary magazine of the Johns Hopkins Schools of Medicine, Nursing, and Public Health. The merging of two print publications, the School of Medicine’s <em style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">meme</em>and the School of Public Health’s <em style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Stew</em>, has produced<em style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Seam</em>, the first online publication of the literary arts for the schools of the East Baltimore campus.</div>
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<em style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The seam is the place where we all come together.</em></div>
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Seam is administered through the <a href="http://web.jhu.edu/cultural_affairs/" style="border: 0px; color: #c92424; font-size: 14px; font: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">JHMI Office of Cultural Affairs.</a></div>
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<strong style="border: 0px; color: #333333; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Editors:</strong></div>
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Margaret Adams, School of Nursing and School of Public Health<br />
Yian Chen, School of Medicine<br />
Priscilla Owusu, School of Public Health<br />
Vijay Varma, School of Public Health<br />
Victoria Vuong, School of Public Health</div>
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<strong style="border: 0px; color: #333333; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></strong><strong style="border: 0px; color: #333333; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Managing Editor:</strong></div>
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Shannon Dunn, Office of Cultural Affairs</div>
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<strong style="border: 0px; color: #333333; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Graphic Design:</strong><br />
Built in WordPress by <a href="http://ladderbackdesign.com/" style="border: 0px; color: #c92424; font-size: 14px; font: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Ladderback Design</a></div>
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</article></section>Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-19634860239386116762013-06-02T09:24:00.002-07:002013-06-02T09:24:45.926-07:00<br />
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VISUAL NEWS</h1>
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HOW DOES THE ACT OF WRITING AFFECT YOUR BRAIN?</h1>
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<span class="date published time" style="margin: 0px; padding: 0px;" title="2013-05-28T21:44:30+00:00">TUESDAY 05.28.2013</span> , POSTED BY <span class="author vcard"><span class="fn"><a class="fn n" href="http://www.visualnews.com/author/bstarr/" rel="author" style="border-bottom-color: rgb(51, 51, 51); border-bottom-style: dotted; border-bottom-width: 1px; border-left-width: 0px !important; border-right-width: 0px !important; border-top-width: 0px !important; color: #333333; text-decoration: none;" title="Benjamin Starr">BENJAMIN STARR</a></span></span></div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-72525255413919620082013-05-10T13:23:00.001-07:002013-05-10T13:23:40.754-07:00<br />
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Johns Hopkins Graduate Science Writing Program to Close</h2>
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<a href="http://sciencecareers.sciencemag.org/career_magazine/author/michael-price" style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; color: #b42025; font-family: arial, sans-serif; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Michael Price</a></div>
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On Monday, the science writing program's director, Ann Finkbeiner, e-mailed alumni of the program to announce that there would be no 2013–2014 class.</div>
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For 30 years, the Writing Seminars Department at Johns Hopkins University in Baltimore, Maryland, has offered scientists and science-minded journalists the opportunity to hone their writing and communication skills through its master's degree in science writing. The program was one of the big five graduate science-writing programs in the United States. (The others are the <a href="http://scicom.ucsc.edu/" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank">University of California, Santa Cruz</a>; the <a href="http://sciwrite.mit.edu/" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Massachusetts Institute of Technology</a>; <a href="http://journalism.nyu.edu/graduate/courses-of-study/science-health-and-environmental-reporting/" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank">New York University</a>; and <a href="http://www.bu.edu/com/academics/journalism/graduate/science-journalism" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Boston University</a>.<a href="http://sciencecareers.sciencemag.org/career_magazine/previous_issues/articles/2013_05_01/caredit.a1300091?goback=%2Egde_48865_member_237339362#Ednote1" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">*</a>) Graduates of John Hopkins University's program have gone on to staff positions with <cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Scientific American</cite>,<cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Science News</cite>,<cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> New Scientist</cite>,<cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Time</cite>,<cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">USA Today</cite>, NPR, Radiolab, NASA, <cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Science</cite>, and many others—including <cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Science</cite> Careers. (That would be me, your humble correspondent.) On Monday, the science writing program's director, Ann Finkbeiner, e-mailed alumni of the program to announce that there would be no 2013–2014 class. The program is shuttering.</div>
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Science writing has long been considered one of the main "alternative" science careers, ideal for scientists with strong writing skills who have tired of spending their days in the lab running experiments. Some science writing graduate programs, like the one at the University of California, Santa Cruz, offer their degree exclusively to applicants with at least a bachelor's degree in science, while others, like the Johns Hopkins program, are open to anyone who demonstrates sufficient aptitude in science and writing.</div>
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The Hopkins program isn't the first to go. In 2009, Columbia University announced that it was closing its <a href="http://www.ldeo.columbia.edu/edu/eesj/" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank">earth and environmental science journalism</a> program because of "current weakness in the job market for environmental journalists." While the job market for science journalists is indeed crowded, due in large part to the downsizing of staffs at newspapers and magazines, Finkbeiner doesn't believe that's the reason why the Johns Hopkins program is closing. Apparently, she tells <cite style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Science</cite> Careers in an interview, the primary motivation for ending the program was the low ratio of number of applicants to class size—in other words, the fact that the program isn't selective enough, which reflects poorly on the university's reputation as a competitive institution. Katherine Newman, dean of the School of Arts and Sciences, confirmed that as the reason that she decided to close the program.</div>
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Finkbeiner, who resigned from the university after learning the program was ending, says that the program typically received between 20 and 30 applicants per year and accepted four to six. Over the past few years, though, the number of applicants has been at the lower end of that range, she says. The same is true at other major graduate science writing programs, she says, citing conversations that she's had with other program directors.</div>
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Because science writing is a small niche and the number of graduate programs catering to science writing is small, the programs tend to share the same pool of applicants, Finkbeiner says—which leads her to believe that fewer people are applying to such programs than in the past. Whether that's a reflection of would-be applicants' awareness of the weak job market in science journalism, Finkbeiner isn't certain, but she thinks it might be a factor.</div>
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Finkbeiner believes that the program's closure is tied to a larger university initiative emphasizing its undergraduate curriculum and deemphasizing its graduate programs.<a href="http://sciencecareers.sciencemag.org/career_magazine/previous_issues/articles/2013_05_01/caredit.a1300091?goback=%2Egde_48865_member_237339362#Ednote2" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">**</a> Newman disagreed with that characterization, but confirmed that the School of Arts and Sciences is working to expand and improve its undergraduate programs. There are plans to expand science writing courses for undergraduates beginning this fall, she says, with the goal of building up an extended undergraduate science writing program that would award a master's degree after an extra year of study, with concentrations in brain science, environmental science, and public health. Eventually, the standalone graduate program may be restored. "I consider this to be a hiatus more than anything else," Newman says, adding in an e-mail that it "is a considered decision to build where we think we have the greatest strength and then reconstitute our Master’s program at a more competitive level."</div>
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Finkbeiner chose to step down instead of overseeing this transition, contending that an undergraduate degree would be insufficient for a science writer to succeed professionally.</div>
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<a href="" id="Ednote1" name="Ednote1" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">*</a> <em style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Since posting this article, we've received a number of e-mails (and seen several tweets) from alumni and writing-program directors objecting to being left off the list of top programs. We also heard from the director of another Johns Hopkins science-writing program, <a href="http://advanced.jhu.edu/academics/graduate-degree-programs/writing/the-experience/science-medical-writing-at-hopkins/" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank">the online program based in Washington, DC</a>, which isn't closing. We're comfortable with our list of top programs</em><em style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">—</em><em style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">but there are many excellent science writing programs in the United States and beyond. No disrespect was intended in leaving them off our short list.</em></div>
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<a href="" id="Ednote2" name="Ednote2" style="background-color: transparent; border: 0px; color: #b42025; font-size: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">**</a> <em style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">When this article was first published, this sentence read, "Finkbeiner believes that the program's closure is tied to a larger university initiative emphasizing its undergraduate curriculum at the expense of its graduate programs." Finkbeiner contacted us to request a change, since she felt that this was a mischaracterization of her views. We decided to honor her request.</em></div>
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<em style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Michael Price is a graduate of the Johns Hopkins University Master of Arts in Science Writing Program</em>.</div>
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<span style="background-color: transparent; background-position: initial initial; background-repeat: initial initial; border: 0px; font-size: 11px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Michael Price is a staff writer for <em style="background-color: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Science</em> Careers.</span></div>
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10.1126/science.caredit.a1300091</div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-70022646871934119902013-05-09T14:16:00.001-07:002013-05-09T14:16:17.706-07:00<span style="font-family: Tahoma; font-size: 13px;">Dear Science/Humanities group,</span><br style="font-family: Tahoma; font-size: 13px;" /><br style="font-family: Tahoma; font-size: 13px;" /><span style="font-family: Tahoma; font-size: 13px;">Very briefly: Together with Jim Abbott, Curator and Director of Evergreen Museum & Library, I am exploring the possibility of expanding how we at Hopkins can take fullest advantage of the wonderful resource that Evergreen--on 25 splendid acres just a scant mile north of the Homewood campus--offers our faculty and students.</span><br style="font-family: Tahoma; font-size: 13px;" /><br style="font-family: Tahoma; font-size: 13px;" /><span style="font-family: Tahoma; font-size: 13px;">Jim and I are interested in tapping into these grounds as a resource for new course/research/project initiatives in areas the might include biology, environmental science, engineering (there is a problematic stream and bridge combination on the grounds), history, and the fine arts.</span><br style="font-family: Tahoma; font-size: 13px;" /><br style="font-family: Tahoma; font-size: 13px;" /><span style="font-family: Tahoma; font-size: 13px;">We are looking for a diverse group from campus, from a range of departments and backgrounds, to join us for a picnic/supper, tour of the Evergreen grounds, and conversation/brainstorming around how we might use the grounds in research and teaching.</span><br style="font-family: Tahoma; font-size: 13px;" /><br style="font-family: Tahoma; font-size: 13px;" /><span style="font-family: Tahoma; font-size: 13px;">If you are interested and available to do this over the summer, please drop me a quick note, along with a broad sense of your schedule. And, if you have colleagues whom you think might take a specific interest in Evergreen's grounds, pass their names on to me. I would be glad to include them.</span><br style="font-family: Tahoma; font-size: 13px;" /><br style="font-family: Tahoma; font-size: 13px;" /><span style="font-family: Tahoma; font-size: 13px;">Many thanks,</span><br style="font-family: Tahoma; font-size: 13px;" /><br style="font-family: Tahoma; font-size: 13px;" /><span style="font-family: Tahoma; font-size: 13px;">Elizabeth </span><br />
<div style="font-family: Tahoma; font-size: 13px;">
<br /><div>
____________________________________<br />Elizabeth Rodini, Ph.D.<br />Teaching Professor, History of Art<br />Director, Program in Museums and Society<br />The Johns Hopkins University<br />Gilman Hall, rm. 363 (mail: rm. 301)<br />3400 N. Charles St.<br />Baltimore, Maryland 21218<br />410-516-4827/fax 410-516-7502<br /><a href="http://krieger.jhu.edu/museums/">http://krieger.jhu.edu/museums/</a></div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-19518177896239011302013-05-05T15:41:00.002-07:002013-05-05T15:41:22.848-07:00This Annual conference at Columbia University is close to what we are talking about:<br />
<br />
<br />
<span style="background-color: #dbdbdb; font-family: 'DIN Next W01 Medium'; font-size: 22px; line-height: 28px;"><a href="http://icls.columbia.edu/events/page/rethinking_the_human_sciences" target="_blank"> Rethinking the Human Sciences</a></span><br />
<br />
<span style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;">Each year the Institute for Comparative Literature and Society hosts an annual conference that brings together the finest scholars in the world to discuss issues of historical and contemporary relevance, joining the reading practices of comparative literary studies to those of the social theoretical disciplines. </span><br />
<span style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;"><br /></span>
<span style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;">The generally cultivated <b>skepticism about the contemporary pertinence of humanities-based education t</b>o current problems in social achievement and capacity to compete in a global sphere has energized the ranks of the Institute to seek new venues of re-conceptualizing and re-articulating the </span><em style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;">human sciences</em><span style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;">. </span><br />
<span style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;"><br /></span>
<span style="background-color: #dbdbdb; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 23px;">Indeed, the point is to rethink the humanities in broader fashion in order to address, not merely modes of learning that characterize the social sciences (historical methodologies, sociological and geopolitical conceptualizations, or anthropological figurations of culture), which has been the work of the Institute since the outset, <b>but increasing tendencies in all disciplines (including the life sciences) that problematize the permutations and boundaries of the human -</b> an enormous range of scholarship that includes meta-empirical discussions in neuroscience and cognitive science, the complex intersection of biotechnology, biopolitics, and bioethics; the geopolitical dimensions of epidemiology, public health, and human rights; the media and imaging technologies of human bodies; the emergent fields of ecology and ecocriticism, posthumanism and animality, and a great deal more.</span>Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-40685150100657014542013-05-01T13:09:00.003-07:002013-05-01T13:09:29.265-07:00<br />
<h2 style="background-color: white; border: 0px; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 18px; line-height: 20px; margin: 1.5em 0px 0.5em; outline: 0px; padding: 0px; text-rendering: optimizelegibility; vertical-align: baseline;">
Lecture:</h2>
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Thursday, May 2, 2013</div>
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<em style="background-color: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">"Why Humanist Scholarship in an Uncertain World: Reflections from the German Tradition" </em></div>
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A lecture by John Smith, University of Waterloo / UC Irvine</div>
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Location: Gilman 138-D</div>
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5:00-7:00PM</div>
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<br /></div>
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<br />
<a href="http://germanicandslavic.uwaterloo.ca/people/JohnHSmith.html" target="_blank">John H. Smith</a> is currently preparing a book on <span style="font-family: Verdana, Helvetica, Arial, sans-serif; font-size: x-small;"><i> </i></span><br />
<ul style="background-color: #e6e6e6; font-family: Verdana, Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0pt; margin-top: 0pt;">
<li>The Infinitesimal Difference: Calculus and Philosophy in Modern German Thought</li>
</ul>
Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-34255142609701570332013-04-29T15:31:00.000-07:002013-04-29T15:48:56.658-07:00<br />
<a href="http://www.nytimes.com/2013/04/26/science/francois-jacob-geneticist-who-pointed-to-how-traits-are-inherited-dies-at-92.html?_r=0" target="_blank"> François Jacob, Geneticist Who Pointed to How Traits Are Inherited, Dies at 92</a><br />
In <i>The Possible and the Actual (Le Jeu des possibles, 1981)</i>, French Geneticist François Jacob draws connections between science and myth. Scientific enquiry, he says, begins with inventing a <i>possible</i> world. The same happens with the creation of Myth.<br />
<br />
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possible</i>. <o:p></o:p></span></div>
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<b><span style="color: #522603; font-family: Arial;">— François Jacob<o:p></o:p></span></b></div>
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<span style="color: #565656; font-family: Arial;">The
Possible and the Actual</span><span style="color: #565656; font-family: Arial;">
(1982), 9.</span></div>
<!--EndFragment-->Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-21604954775909586372013-04-29T11:17:00.002-07:002013-04-29T15:52:15.736-07:00<div style="text-align: left;">
<span style="font-family: Times, Times New Roman, serif;">Four articles reflecting the constant exchange between science, art and ...being human </span></div>
<div style="text-align: left;">
<span style="font-family: Times, Times New Roman, serif;">suggested by Brenda Rapp:</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.npr.org/blogs/13.7/2013/03/27/174647716/how-to-see-the-world-in-a-grain-of-sand" target="_blank"><span style="font-size: large;">Noticing: How To Take A Walk In The Woods </span><span style="font-size: small;">by ADAM FRANK</span></a></span></h3>
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<span style="background-color: white; color: #111111; font-family: Times, Times New Roman, serif; font-size: 16px; line-height: 24px;">A few excerpts:</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #111111; font-size: 16px; line-height: 24px;"> </span><span style="background-color: white; color: #111111; font-size: 16px; line-height: 24px;">As the poet Rilke once said, </span></span></div>
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<span style="background-color: white; color: #111111; font-family: Times, Times New Roman, serif; font-size: 16px; line-height: 24px;"><i>Try to love the questions themselves, like locked rooms and like books written in a foreign language.</i></span></div>
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<span style="background-color: white; color: #111111; font-family: Times, Times New Roman, serif; font-size: 16px; line-height: 24px;">Questions raise our pulse and sharpen our delight. [...]</span></div>
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<span style="background-color: white; color: #111111; font-family: Times, Times New Roman, serif; font-size: 16px; line-height: 24px;">Refining our capacity to <b>notice</b> is an act of reverence that we can bring to everywhere and everywhen. It's an invitation, bringing the world's most basic presence into view, opening our horizons and restoring our spirits. And that is what science is really there for.</span></div>
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<span style="background-color: white; color: #111111; font-family: Times, Times New Roman, serif; font-size: large; line-height: 24px;"><b><a href="http://www.npr.org/blogs/13.7/2013/03/27/174647716/how-to-see-the-world-in-a-grain-of-sand" target="_blank">How To See The World In A Grain Of Sand</a></b></span></h3>
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<span style="font-family: Times, Times New Roman, serif;">More than two centuries ago, the great poet William Blake offered the world the most extraordinary of possibilities:</span></div>
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<span style="font-family: Times, Times New Roman, serif;">To see a world in a grain of sand</span></div>
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<span style="font-family: Times, Times New Roman, serif;">And a heaven in a wild flower,</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Hold infinity in the palm of your hand,</span></div>
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<span style="font-family: Times, Times New Roman, serif;">and eternity in an hour.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Yeah, that would be nice.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Unfortunately, most of us don't know how to hold eternity in the palm of our hands. In fact, most of us feel lucky if we can just <em style="border: 0px; box-sizing: border-box; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">hold it together</em> until the end of the day. The problem, of course, is that mostly we've lost our minds. And I mean that literally. Our attention is endlessly lost in the endless blur of appointments, to-do lists, worry, concern and agitation that makes up modern life.[...]</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Can we really see the whole world in a grain of sand?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Through the lens of science <em style="border: 0px; box-sizing: border-box; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">we can</em> see how even the smallest thing can be a gateway to an experience of the extraordinary, if only we can practice <em style="border: 0px; box-sizing: border-box; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">noticing</em>.</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;"><a href="http://www.npr.org/blogs/13.7/2012/02/07/146480823/where-art-and-science-meet-exactly" target="_blank"> Where Art And Science Meet, Exactly</a></span></b></h3>
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<span style="font-family: Times, Times New Roman, serif; font-size: 16px;">There are deep connections between meaning-making and object-making. Those connections are exactly where the resonances between art and science find their potency. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">The <a href="http://getty.edu/conservation/" style="-webkit-user-select: none; border: 0px; box-sizing: border-box; color: #4774cc; font-size: 16px; font: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Getty Conservation Institute</a>'s exhibit <em style="border: 0px; box-sizing: border-box; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.getty.edu/pacificstandardtime/exhibitions-and-events/from-start-to-finish/" style="-webkit-user-select: none; border: 0px; box-sizing: border-box; color: #4774cc; font-size: 16px; font: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">From Start to Finish: De Wain Valentine's Gray Column</a></em> details the creation of one twelve-foot high, eight-foot wide, 3,500 lb. work with the appearance of a gigantic burnished prism.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Taking in the "Gray Column" from all angles of the gallery, it's clear that Valentine's work is, essentially, a protracted experiment in the relationship between light and matter. As the artist once said, his goal was to "take a big saw and cut out a piece of sky."</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Fundamentally, both art and science are about encounters with the real world — the one we live in and experience as colors, textures, shapes and sounds. Every artistic creation and every scientific study is a record of experimentation. At their best those experiments are rooted in two vital qualities: interest and attention.[...] </span></div>
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<span style="font-family: Times, Times New Roman, serif; line-height: 1.5;">Interest and attention allow us to live lives that are rich in meaning, lives that are passionate about noticing the everyday miracles right in front of us. No wonder, then, that both science and art have such power over us.</span></div>
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<a href="http://www.npr.org/blogs/13.7/2012/11/06/164398469/from-a-tennessee-forest-singing-the-beauty-of-nature-and-science" target="_blank"><span style="font-family: Times, Times New Roman, serif;">From A Tennessee Forest, Singing The Beauty Of Nature And Science by BARBARA J. KING</span></a></h3>
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<span style="font-family: Times, Times New Roman, serif;">David Haskell conversed with me about his experiences in the forest. Here are some highlights from our exchange, starting with his observation that the most numerous woodland creatures were not the most obvious:</span></div>
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<i><span style="font-family: Times, Times New Roman, serif;">The forest is ruled by the inconspicuous small creatures. Birds and mammals are more eye-catching, but the vast majority of the animals present were tiny insects, snails, worms and other invertebrate animals. Getting down on my belly with a hand lens pressed to my eye was the best way to see this.</span></i></div>
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<span style="font-family: Times, Times New Roman, serif;">But it's not only the animal species that are inter-connected; Haskell, too, became part of the forest ecosystem.</span></div>
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<span style="color: #444444; font-family: Times, Times New Roman, serif; line-height: 1.571;"><i>A deer walked right up to me — I was sitting very still and it did not see me — then took alarm and snorted. The deer's call was picked up by chipmunks, then squirrels above me, then wood thrushes downslope, spreading like a wave from a rock thrown into a lake. It took more than an hour for the wave to settle, especially for the chipmunks. From then on, I could tell when hikers were approaching by the bow wave of alarm that preceded them</i></span></div>
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Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-55330254467283201162013-04-22T11:39:00.000-07:002013-04-22T11:41:23.145-07:00Mathematics: The music of reason.Greetings all, and thank you, Kristin, for opening this forum. I definitely have an interest in creating a more holistic learning environment here at Hopkins, and think that communities like this one may be a fruitful place to start. Maybe my sole contribution to this forum will be to give mathematics a voice from the inside. Works for me.<br />
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Perhaps my place to start is a quote I placed on my faculty webpage that seems to have caught Kristin's eye: The quote is from <a href="http://bit.ly/btRi8I">A Mathematician's Lament</a>: <br />
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Mathematics is the music of reason. To do mathematics is to engage in an act of discovery and conjecture, intuition and inspiration; to be in a state of confusion— not because it makes no sense to you, but because you gave it sense and you still don’t understand what your creation is up to; to have a breakthrough idea; to be frustrated as an artist; to be awed and overwhelmed by an almost painful beauty; to be alive, damn it. Remove this from mathematics and you can have all the conferences you like; it won’t matter. Operate all you want, doctors: your patient is already dead. </blockquote>
This sentiment speaks to me, and is part of a long and very strong essay penned by Paul Lockhart, a mathematician currently teaching at Saint Ann's School in Brooklyn, New York. It was written in 2002 and only published by the<a href="http://bit.ly/ZK5Sd3"> Mathematical Association of America</a> in 2008. The whole essay is a complete analysis of why the mathematics we, as mathematicians, "see" is definitely not what is presented in school. It also talks about what a huge failing this is, and what we may be able do about it. <br />
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It is a long 25 pages. But the first page is a rather eye-catching analogy between how we approach the teaching of math at early ages, and how we approach the teaching of music.<br />
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Try it. Richard Brownhttp://www.blogger.com/profile/02890750341504212951noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-70271001696002313262013-04-18T16:50:00.003-07:002013-04-29T14:09:52.087-07:00Minutes from our meeting [please change your phrasings if they are not totally correct, or add what I did not take note of]<br />
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<b><span style="font-family: "Times New Roman";">Meeting <o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman";">Friday, April 12, 2013, 1-3 pm Gilman 479<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">The Johns Hopkins University<o:p></o:p></span></div>
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<b><u><span style="font-family: "Times New Roman";">TOPIC</span></u></b><b><span style="font-family: "Times New Roman";">: how to bridge the sciences
and the humanities at Hopkins?<o:p></o:p></span></b></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman";">Participants:<o:p></o:p></span></i></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Mathematics</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">:
Richard Brown<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Public
Health Studies</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">: Lisa
Folda. Mieka Smart (absent)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Cognitive
Science</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">: Brenda Rapp, Géraldine Legendre (Linguistics)
(absent)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Geography
and Environmental Engineering: </span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Erica Schoenberger<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Biology</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">:
Karen Beemon<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Biomedical
Engineering</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">: Harry
Goldberg (absent), Joel Bader (absent)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">GRLL</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">:
Bill Egginton (Spanish) (absent), Jacques Neefs (French), Derek Schilling
(French), Elisabeth Strowick (German) Kristin Cook Gailloud (French)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Department
of Otolaryngology/ Peabody</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">: Monica Lopez-Gonzalez<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Physics
and Astronomy</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">: Bruce Barnett, Rosemary Wyse, Brice Ménard<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Department
of Chemistry: </span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Paul Dagdigian, Kit H. Bowen<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Department
of Special Collections, The Sheridan Libraries, & Department of History</span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">:
Earle Havens (absent)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">Students
with double majors/minors </span></b><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">in GRLL and Science: Richard Kumapaley <o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Richard Brown: </span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Points out the
importance to teach students to learn how to formulate a <u>written</u>
argument (<i>many agree</i>)<b><o:p></o:p></b></span></div>
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<br /></div>
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<b><span style="color: #282828; font-family: "Times New Roman"; font-size: 11.0pt;">Jacques
Neefs</span></b><span style="color: #282828; font-family: "Times New Roman"; font-size: 11.0pt;">: what is the reciprocity of this undertaking – students from
the sciences are interested in literature, but we cannot easily imagine the
reverse. It is necessary to created bridges on both sides<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Brenda Rapp</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: Stanford has made a
strong commitment to the humanities<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 10.0pt;">Addendum
FYI: [<a href="http://shc.stanford.edu/about/history/">http://shc.stanford.edu/about/history/</a> <span style="color: #282828;">At Stanford, all
incoming freshman are exposed to the humanities through the required </span><a href="http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_ual/thinkingmatters"><span style="color: #97131a; text-decoration: none; text-underline: none;">Thinking Matters</span></a><span style="color: #282828;"> course. </span><a href="https://undergrad.stanford.edu/programs/thinking-matters">https://undergrad.stanford.edu/programs/thinking-matters</a><span class="MsoHyperlink">]</span><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 10.0pt;"><a href="http://humanexperience.stanford.edu/why">http://humanexperience.stanford.edu/why</a><o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Richard Brown</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: our conversation can
center on the topic of Beauty, for example: the beauty of electricity, of
mathematics etc.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">We
could create a <i>Seminar Series</i> and
consider the notion of “beauty”; Math is an art form<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Jacques Neefs</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: There is a strong link
between math and music in Ancient Greece<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Richard Kumapaley</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"> (answering my question
about whether the word <i>beauty </i>is
relevant to young people): perhaps the word “creativity” is better; mentions
that Erica Shoenberger’s class [Introduction to Engineering for Sustainable
Development class?] was appealing in
that it presented problem solving and strongly encouraged creativity. Richard explains
how he has learned from the variety of classes he has taken at Hopkins in order
to construct his own thinking. [Richard won an award for an online teaching
project in epidemiology]<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Lisa Folda</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: praises Richard’s
intelligence and “anomalous” pattern<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Monica Lopez-Gonzalez</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: Support is an issue: interested
students are out there, but can we gain (financial and administrative) support?<o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Times New Roman";"><b>Derek Schilling</b></span><span style="font-family: "Times New Roman";">: brings</span><span style="font-family: Helvetica;"> up the fact that across the disciplines we engage in common forms of reasoning, but employ these to different ends with varying degrees of rigor. Humanists, and literary scholars in particular, are notorious for their reliance on inductive reasoning. They set forth conclusions that are not demonstrably true but merely "probable." What many would consider to be faulty logic (presence of confirmation bias & availability heuristic) is what allows literary scholars to connect texts poetically. One thing we could do to attune students to commonalities among our disciplines is to address, reflexively and through example, the forms of reasoning we most often put to use.</span></span><br />
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Kit H. Bowen</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: the world breaks into
2 parts, the physical on one side, mankind on the other. The latter part is
small. Man is all about emotions (and not easy to grasp). That is why I am here
<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Richard Brown</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: how to sell this to
the administration? We should show there is popular demand. <o:p></o:p></span></div>
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<b><i><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Water</span></i></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"> is an important issue
one of the 5 university-wide “signature initiatives” (= individualized health,
the science of learning, the institute for the American city, global health, and water). We could integrate
this into a Seminar Series.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Jacques Neefs</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: Elisabeth Strowick recently
gave a talk on “Clouds in Goethe” [A
lecture on Goethe's attempt to 'understand' cloud formations and its
implications for the literary discourse] at the Literature and Cosmology,
hosted by the German program at the Johns Hopkins University. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">[Entrepreneurship
& Management Minor?]<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Joel Bader</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: the topic could be
ETHICS, an all-important in all fields today<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Jacques Neefs</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">: ethics is not the root
of the problem, it does not encompass the whole field of inventing and
creativity<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Conclusion: we will continue
this conversation on Friday May 3<sup>rd</sup> at 1pm in Gilman <u>75</u> this
time (food wine and will accompany us)<o:p></o:p></span></b></div>
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<!--EndFragment-->Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0tag:blogger.com,1999:blog-8363178061437930975.post-27287684645356024042013-04-16T15:26:00.003-07:002013-04-17T16:20:26.401-07:00<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 15px;"><b>From Lisa Folda:</b> </span><br />
<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 15px;"><br /></span>
<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 15px;">If the group is interested, this is the collaborative event that I mentioned last Friday – perhaps not exactly what we would imagine for a Science/Humanities collaboration, but a good example of a wide range of participants from multiple sectors across the University and the community.</span><br />
<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 15px;"><br /></span>
<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 15px;"><br /></span>
<span style="color: #1f497d; font-family: Calibri, sans-serif; font-size: 15px;"><a href="http://urbanhealth.jhu.edu/_PDFs/SDHprogramfinal.pdf" target="_blank">The Second Annual Symposium on the Social Determinants of Health aims to raise awareness about the impact and importance of the social determinants of health and to identify actionable items that can be undertaken to reduce health inequalities. </a></span><br />
<br />Kristinhttp://www.blogger.com/profile/04269141831447146592noreply@blogger.com0