Arts - Buffalo State College

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impetus for my desire to delve deeper into this topic. Music was a constant presence, both in my home and at family gatherings. I have strong childhood memories of my uncle’s Ukrainian folk band (my great-grandmother was raised in Russia), in which the accordion, or Livenka, would come out and everyone would start dancing. My presentation will focus on music from the Eastern part of Russia and the Ukraine. The Ukraine did not achieve independence until 1991; Ukrainians are now the second largest ethnic-minority in Russia. The region therefore shares a similar history and culture as well as musical influences with the Russian folk genre. I will present both musical score and visual examples to illustrate my musical and cultural discussion points. Presentation Type and Session: Poster II Structure and Indeterminacy: The Musique Concrète Styles of Edgard Varèse and John Cage John Smigielski, MUS 303W: Music History 2 Faculty Mentor: Professor Carolyn Guzski, Music My paper will explore the similarities and differences in the compositional styles of Edgard Varèse (1883-1965) and John Cage (1912-1992). Although both composed in multiple genres, I intend to focus on the musique concrète works of each composer: Poème électronique (1958) by Varèse, and Williams Mix (1952) by Cage. I have used scholarly studies on Cage, Varèse, and the history of electronic music as source material for my investigation. Musique Concrète was invented (formally) in 1949 by Pierre Schaffer and Pierre Henry at the Radiodiffusion-Télévision française (RTF) studio in Paris. The RTF studio was at the center of pre- and post-World War II electronic music composition in Europe. The term “Concrète” refers to the use of abstract sound (derived from natural or electronic origins) as the primary focus of the composition. My preliminary research has revealed that Varèse and Cage employed very different structural approaches in their work with electronic media. In Poème électronique, Varèse utilized a structured, highly complex notated score in what he termed a work of “organized sound,” with subtle details that were carefully executed. Cage, on the other hand, composed Williams Mix using a technique known as indeterminacy, derived from Cage’s study of the I-Ching, (the ancient Chinese Book of Changes), yielding “chance music.” Although the composers had very different styles, they shared many similar influences and ideas. In my presentation, I will offer a brief history of both composers and their influences. I will then examine the two compositions, linking elements of each to their influences, and to each other. I hope to give my audience an understanding of this lesser-known musical genre, as well as insight into the ways in which two seemingly unrelated works are in fact related on many levels. Presentation Type and Session: Oral – Humanities III Arts They Have Never Stopped Living Under My Bed: A Sculptural Interpretation of Fears Francesca D’Angelo, HON 400: All College Honors Colloquium Faculty Mentors: Professor Darien Johnson, Design and Professor Andrea Guiati, Director, All College Honors Program I am a basement stairs sprinter, a bed jumper, and an under the covers hider. The spaces I encounter during the day come to life when the sun goes down and the lights are off. Lampshades open their eyes, and coat-racks grow arms with eager hands waiting to snatch those who pass. Fears manifest themselves into ankle grabbing, closet peeping, under the bed dwelling monsters that return night after night, morphing out of familiar objects into creatures of the dark. Through the manipulation of clay and glaze I will bring life to these ideas, producing tangibility where only ambiguity had existed. By doing this I will be better able to grasp what my fears are made of. Presentation Type and Session: Poster I Traditional Drafts Applied To Contemporary Weavings Tegan Ford, Fibers Faculty Mentor: Professor Jozef Bajus, Design Hand weaving is one of the oldest crafts known to man. Integral to human survival, cloth was created to shield our bodies from the natural elements. As our control of environmental conditions increased, the design of cloth transformed from being a necessity to an item of luxury. As a hand-weaver, I focus on how the materials, color and fabric structure are manipulated to create textiles that are desirable, comfortable and treasured. I am influenced by the graphic details in traditional weaving patterns as well as my research into contemporary colors that are used in the world of couture fashion. Looking at trends in the fashion industry informs me what hues are considered to be luxurious. How the colors interact within a fabric dictates which pattern is used for a particular weaving. Natural fibers, such as wool, silk and cotton, are also prevalent in my work because I feel that these materials create a fabric that is more alive. Rather then focus on the technological advancements in textiles (synthetics), I use natural materials to refer back to the earliest textiles. The combination of contemporary colors that relate to highend design and materials that are derived from nature, create a collection of works that will be cherished for years. Presentation Type and Session: Poster VI Traditional Non-Ferrous Alloys John Harris, Metals/Jewelry and Anthropology Faculty Mentor: Professor Tara Nahabetian, Design Alloys, or mixtures of metals, have been used throughout history and have spanned across the globe. While some alloys such as sterling silver are commonly used in contemporary jewelry design, other alloys are used far less. Though these alloys appear less often 39
40 Arts than modern alloys, history has taught us how to use and prepare these traditional metals. Using different percentages of metals allows for various working properties and aesthetic features that appear in each alloy. Samples of modern alloys such as high-zinc, jeweler’s brass and sterling silver will be displayed along side traditional alloys such as the Mayan tumbaga, ancient bronze and the Japanese alloy shibuichi. Presentation Type and Session: Poster V Use of Silicone With Ceramic Forms Robert Sturgess, Ceramics Faculty Mentor: Darien Johnson, Design I am interested in the use of different media including hair, nail polish, plastic, and more recently silicone. I explored the use of both household silicone caulking as well as a two-part silicone. I am interested in seeing how silicone can compliment and potentially change the feeling evoked by the ceramic form. My research focused around using silicone to encapsulate a ceramic form. To do this, I poured silicone into an “egg sack” plaster mold, similar to the plaster molds used in the ceramic field for slip casting (a technique where clay is made into a liquid and poured into a mold). I made several of these egg sack forms to create a “nest” of eggs that will be installed at my upcoming solo exhibition and perhaps accepted into other exhibitions. Ultimately I want the viewer to be intrigued by the unique feeling that the silicone evokes and take a closer look at my body of work. Presentation Type and Session: Poster IV We Are All Tied To Something Andrew Hutner, FAR 343: Advanced Sculpture Faculty Mentor: Professor Elena Lourenco, Fine Arts I make artwork based off of compulsiveness and irrationality, often allowing my subconscious take over and give me direction. There is a very raw, instinctual quality to my sculpture that I believe portrays the essence of human nature. I have discovered by creating my work quickly I can capture a moment in time, or a fleeting emotion. When I take my time and slow down with my process, my artwork has the power to tell a story. To impact such a narrative, I often choose more grotesque materials including wax, latex and human hair and my colors have lately been bright and audacious. I am attracted to more visceral materials because they feel very real to me; they reflect what I see as the unpleasant subconscious mind. For this project, with a better understanding of my working process and inspiration, I created a body of work that was exhibited as my senior thesis show. This show was one of the most ambitious and incredible projects I have ever created. The subject matter came from a very dark place in me, and it came out as an installation of large tightly bound figurative works: bound to themselves, to the floor and to the walls. My show was a room in which the viewer could experience the same sensation that had been plaguing me for months. In a way, my show was also a sort of “exorcism” of my anxious, knottedup feelings by applying these feelings to actual forms and setting them into a physical place. I entitled the show “We Are All Tied To Something” because I feel like everyone is bound to aspects of their lives. Whether it is a job, mannerism, addiction, or significant other, we all have things in our lives that we simply cannot let go of. Presentation Type and Session: Poster V
Page 2 and 3: Editor Jill K. Singer, Ph.D. Direct
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Page 12 and 13: Information Assurance Through Cyber
Page 14 and 15: Poster Sessions and Displays Butler
Page 16 and 17: Sooner Rather Than Later: The Role
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Page 22: Family: Portraits In High Dynamic R
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