Posts tagged independent study

This is the most beautiful thing to see on a Sunday Night. Amelia’s advanced work involves the making of medicinal soups. Today she made a few varieties from her cookbook for a soup-centric photo shoot and we got to enjoy the fruits of her labour. soup Soup SOUP SOUP SOOOOOOOOOOUUUUUUUUUUUPP!! Soup Drunk! -Janiele

This is the most beautiful thing to see on a Sunday Night. Amelia’s advanced work involves the making of medicinal soups. Today she made a few varieties from her cookbook for a soup-centric photo shoot and we got to enjoy the fruits of her labour. soup Soup SOUP SOUP SOOOOOOOOOOUUUUUUUUUUUPP!! Soup Drunk!

-Janiele

Independently studying in Brooklyn….

I am a writing machine! This FWT has been so awesome. Basically I’m writing an album based on the 7 principal lines of palmistry. So a song per line (heart, head, life, saturn, sun, liver, venus’s ring) and a song per mount which are the little spaces in between lines ( mercury, sun, saturn, jupiter, mars negative, mars positive, the moon, venus). 

 

Today I am going to my faculty supervisor’s house for the first time to get my work critiqued by her and the other students working with her this FWT.

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This FWT I am doing an independent study where I get to sit in a sunny apartment in Brooklyn and play music all the time (BEST THING EVER?!?!?!? Awwww yeah). Every other week I meet with the other people studying with Kitty Brazelton (Bennington faculty and my supervisor) to hear new music and give each other feedback. I also heard we might do some eating, which I feel like I do a lot of in this city. In fact, mostly eating, sleeping and writing music. And hitting the streets for inspiration (and more food) of course.  Paradise and learning all in one convenient and FWT shaped package. I haven’t had my first group meeting yet, but I’m really excited about what I’ve been working on so far — an album based around natural vs. man-made lines… and the lines on our own palm. Of course things might change, but for now….lines. Check my old work at www.rileyskinner.bandcamp.com if you’re interested! 

This FWT I am doing an independent study where I get to sit in a sunny apartment in Brooklyn and play music all the time (BEST THING EVER?!?!?!? Awwww yeah). Every other week I meet with the other people studying with Kitty Brazelton (Bennington faculty and my supervisor) to hear new music and give each other feedback. I also heard we might do some eating, which I feel like I do a lot of in this city. In fact, mostly eating, sleeping and writing music. And hitting the streets for inspiration (and more food) of course.  Paradise and learning all in one convenient and FWT shaped package. I haven’t had my first group meeting yet, but I’m really excited about what I’ve been working on so far — an album based around natural vs. man-made lines… and the lines on our own palm. Of course things might change, but for now….lines. Check my old work at www.rileyskinner.bandcamp.com if you’re interested! 

This is me (with faded cat make-up from Bingham Halloween coffee hour) being VERY excited about having the phone number of Dr. Julian Raby, the director of the Freer and Sackler Galleries at the Smithsonian. This field work term, I’m going to do an independent study in Washington, D.C. to either work with or interview Dr. Raby (if he’ll let me) on his proposed exhibition of the Belitung shipwreck, “Shipwrecked: Tang Treasures and Monsoon Winds.” The Belitung shipwreck dates to between 700 and 900 CE, and is one of the most important shipwrecks in Southeast Asia. It’s 60,000 Chinese ceramics in an Arab dhow ship indicate there was sea trade between the Tang Dynasty in China and the Arab world. However, the shipwreck was unscientifically excavated by a commercial salvage company hired by Indonesia, which has created a backlash among U.S. academics who don’t want to see unscientifically excavated objects exhibited in the Smithsonian. I think this exhibition is significant because it may actually be a tipping point in the rift between the museum world and archaeologists, and could possibly revolutionize how museums approach the origins and histories of ancient objects. I am focusing on “Shipwrecked” as a case study to research how a single institution reacts to the criticism of colleagues and the public, how it will eventually approach the objects in this controversial collection, and what this particular instance says about the relationship between museum professionals and archaeologists and the slowly altering ethics of museums in the 21st century.  As you can see, THIS STUFF REALLY EXCITES ME. You can read more about my excitement, my research, and my mouthing off to bitchy commenters on my blog: www.thingsyoucanttakeback.com.  - Meg

This is me (with faded cat make-up from Bingham Halloween coffee hour) being VERY excited about having the phone number of Dr. Julian Raby, the director of the Freer and Sackler Galleries at the Smithsonian. This field work term, I’m going to do an independent study in Washington, D.C. to either work with or interview Dr. Raby (if he’ll let me) on his proposed exhibition of the Belitung shipwreck, “Shipwrecked: Tang Treasures and Monsoon Winds.”

The Belitung shipwreck dates to between 700 and 900 CE, and is one of the most important shipwrecks in Southeast Asia. It’s 60,000 Chinese ceramics in an Arab dhow ship indicate there was sea trade between the Tang Dynasty in China and the Arab world. However, the shipwreck was unscientifically excavated by a commercial salvage company hired by Indonesia, which has created a backlash among U.S. academics who don’t want to see unscientifically excavated objects exhibited in the Smithsonian. I think this exhibition is significant because it may actually be a tipping point in the rift between the museum world and archaeologists, and could possibly revolutionize how museums approach the origins and histories of ancient objects. I am focusing on “Shipwrecked” as a case study to research how a single institution reacts to the criticism of colleagues and the public, how it will eventually approach the objects in this controversial collection, and what this particular instance says about the relationship between museum professionals and archaeologists and the slowly altering ethics of museums in the 21st century. 

As you can see, THIS STUFF REALLY EXCITES ME. You can read more about my excitement, my research, and my mouthing off to bitchy commenters on my blog: www.thingsyoucanttakeback.com. 

- Meg