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Rochelle W.'s picture

Last One

The backyard of the English house was covered in a thin layer of fog, on Saturday morning. The majority of the trees were completely bare of their leaves. The small tree with shiny leaves still had all of its leaves, they seemed to be more green than ever in the midst of the grey fog and the brown branches that surrounded it. The vines that hugged some of the trees was still alive and green. This was my last site sit and everything was damp and sad. I was slightly saddened by the fact that this was to be my last site sit (although it did not have to be, I can go back to the Backyard of the English house anytime I please, really). I would like to think that everything behind the English House was saddened by this fact as well, and that they would miss semi-scheduled presence.  Everything sure did look pretty sad back there. The grass was more droopy than usual, the trees hid themselves in fog, and everything was damp. But perhaps I’m just being self centered.

Anne Dalke's picture

Images of Holmesburg

et502's picture

Fielding

Guides for fielding, co-fielding, co-guiding, following, co-following, mutuality, reflection...

When do we need a guide? When do we guide ourselves?

We started the semester with Solnit's "Field Guide for getting lost" - and now, I think we are starting to create our own guidebooks/methods for discovery.  Though it was time consuming, deciding together how to structure our outings was a way of writing out our expectations and procedures… and while some of them didn't work exactly the way we wanted, I think the process of making group decisions was worthwhile. 

When we went to Ashbridge Park, we self-selected different activities to provide for the group - choosing how/when to be leaders. And choosing to let Carmen be our leader/guide/mentor - I think this is also a form of self-efficacy. 

1. Ashbridge Memorial Park - Field Trip

Trip: planned, activities, structure/purpose, destination

Barbara's picture

Watch out and Enjoy

I did not expect such a dramatic, unpleasant yet amusing experience for the last site sit for our ESem. I planned on taking pictures from faraway and close up since most of the time I stayed just at the Labyrinth, which is a rather confined space. I wanted to step back and look at the Labyrinth, in hopes to see something new. I started from the Campus Center and then crossed the Senior Row and reached the Labyrinth. I have always had hard time to orient myself in the area around the Labyrinth. From looking far away, I realized actually it was a very small space. It was the trees and slopes disguised the Labyrinth, making it seem to be sophisticated and unapproachable. I was so absorbed in the walk. Even winter is the season for lives, I could perce the activities going on of the creatures around me.
Maybe I was not outdoorsy enough to manage taking photo and walking on the muddy ground at the same time in a rainy day. Yes I slipped over and fell to the ground when I walked downhill...Obviously I did not feel so well. But I was not frustrated by this little accident - that must be my closest moment to the nature during this semester's site sit! I sat on the ground, looked up to the trees and the sky ,and thought there must be no way to escape from the control of nature and my unpredictable life...

ZoeHlmn's picture

The Vendetta Lost

Who am I? I have yet to figure that out. My role in the world, the universe, the environment, is still a question mark. Life is constantly changing, people die every day, and rarely do we think our family members will be the ones dying. Life adjustments need to be made as our lives plug further and further along. Rebecca Solnit proposes an answer to this question. In order to find oneself one needs to become lost. Where? When? And how does one go about doing this? Does a structured system such as a college allow us to openly search as Solnit suggests that one must do? Does Bryn Mawr College’s concrete, structured education provide room for what Solnit proposes in her Field Guide to Getting Lost. Which way is the best way to explore the self and can Solnit’s ideas coexist in a fixed college environment?

couldntthinkofanoriginalname's picture

More Thoughts on Silence

From the beginning of our 360 experience, I have always been curious as to why we, including myself at times, are uncomfortable with silence. I guess over the weeks, I have found general answers to this question especially from Chittister when she says, "Silence frightens us because it is silence that brings us face to face with ourselves." However, this does not give me any specific reasons. What about ourselves do we not want to face? Is it always something bad, for example a heartache or is it, at times, a positive--innate goodness? Why wouldn't we want to face the positive? What is questioned or what fundamental beliefs are challenged when we fully immerse ourselves in silence alone and with others?

I agreed with Chittister when she said that, in essence, daily noises "protect us from listenig to ourselves" but I think this statement does not acknowledge that the individual who is surrounded by noise has agency. It is not that the environment around us is forcing its noises on us, I feel like it is more of individuals allowing it to do so. As Professor Beard said, silence is "hardly quiet" so how and why do people go about choosing which noises, external or internal, they want to hear?

HSBurke's picture

What does a nun look like? Sound like?

My main Sunday post is here in response to Chandrea's but I just wanted to throw something extra out there. My friend, who is a student consultant one of the college's search committee for new professors, was shocked to find out that Linda-Susan, who has a position on the same committee, is a nun. I was intrigued that this fact had never come up in the many conversations they'd had together. After telling my friend about the topic of our discussion on Thursday, I asked if Linda-Susan seemed especially contemplative to her. This came out of Linda-Susan's answer to my question that the Sisters at her monastary take strides to bring contemplation and contemplative conversations into places that they don't seem to exist. While of course this was probably not something that could be exeptionally visible to my friend, she did say something interesting in that Linda-Susan often "played devil's advocate" during their discussions. So now I'm wondering -- what place does pushing back have in contemplation? Where does disagreement fit in? By playing devil's advocate does Linda-Susan attempt to prompt her colleagues into deeper contempation over a subject? 

mtran's picture

Rainy sunday morning

This morning I woke up without a slightest want to get up. Tangled in the bed, I checked weather forecast on my phone. 43F with rain… Oh I could hear the sound of the rain and could feel the freezing wind sneaking through the window. But well it not the right time to be a lazy cat though, I told myself. So with a cup of hot coffee, I visited my site, for the last time it was still a “site-sit”! In comparison with the first time I was there, the scene has obviously changed. Seasonal change. September weather was hot and the surrounding was lively and colorful. But today it is raining. No sun. Less green. Less colorful. The trees lost their leaves and the grass does not look very “happy.” But perhaps September next year when I come back to the place things will return to the beginning state when I got to know them. Or maybe not. Perhaps my perception and impression of nature is also influenced by my own feelings and my own thoughts? Next year when I come back, September was not the September the first year at college with all the excitement. I wonder what Rhoads will be like to me then? And even years after that? 

Wildness

About the Film
Year Released: 
2012
Running Time: 
74
Documentary/Fiction: 
Mixing Documentary and Fiction
Synopsis: 

"Wildness is a portrait of the Silver Platter, a historic, LGBT-friendly bar on the eastside of Los Angeles that has catered to the Latin immigrant community since 1963. With a magical-realist flourish—the bar itself becomes a character in the film—Wildness captures the creativity and conflict that ensue when a group of young, queer artists of color (Wu Tsang, DJs NGUZUNGUZU, and Total Freedom) organize a weekly performance art party, called Wildness, at the bar. What does “safe space” mean, and who needs it? The search for answers to these questions creates coalitions across generations."

-"Wildness," The Museum of Modern Art, accessed December 8, 2012. http://www.moma.org/visit/calendar/film_screenings/14573

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
n/a
Location: 
MacArthur Park area, Los Angeles, CA
Other Interesting Production Info: 
Tsang taught himself how to write and edit film: he had no experience prior to "Wildness." While "Wildness" has been incorporated into a number of museum exhibits, Tsang created it for the theater. He hopes ultimately to distribute the film digitally, "because I want a variety of people who are essentially like me in terms of media-consumption: a little lazy, non-film-buffs - to be able to access the film easily on demand." Of all films, Tsang finds Lizzie Borden's "Born in Flames" most inspiring.
Categories About the Film
Genre: 
coming of age
documentary
Keywords: 
activism and social justice
art and culture
coming of age
glbtq
history and memory
immigration
urban life
Racial/Ethnic Affiliation: 
African American
Asian-American
Chicano/a
Latin American
Latino/a
Mexican
Filmmaking Team
Writer's Name: 
Wu Tsang and Roya Rastegar
Producer: 
Kathy Rivkin, Daniel Carrera
Cinematographer: 
Michelle Lawler
Primary Cast: 
Narrator: Mariana Marroquin. Owner, director, and patrons of the Silver Platter: Koky Corral, Asma Maroof, Wu Tsang, Ashland Mines, Jose Morales, Daniel Pineda, Gonzalo Ramirez, Nora Ramirez (courtesy of variety.com).
Exhibition/Distribution Info
Distributor: 
n/a
Festivals/Awards: 

MoMA Documentary Fortnight (New York, NY; World Premiere); Outfest 2012 (the Grand Jury Award for Outstanding Documentary); SXSW (Austin, TX), Hot Docs (Toronto, Canada), SANFIC8 (Santiago, Chile).

Reassemblage: From the Firelight to the Screen

About the Film
Year Released: 
1983
Running Time: 
40
Documentary/Fiction: 
Documentary
Synopsis: 

“Trinh T. Minh-ha’s first film, Reassemblage (1982), poses the question: how does the prism of observation we traditionally bring to viewing cultures outside of our own disturb them? Clarifying her intentions in a voiceover at the film’s outset, the film-maker states that she does not want to “speak about,” but rather “just speak nearby” her subject. Thus, Reassemblage disorients the viewer by eschewing any trace of narrative linearity in its representation of the Senegalese culture. In place of the omniscient voice-over we have been conditioned to expect from traditional ethnographic documentaries, a largely non-verbal, discontinuous soundtrack of music and silence accompanies the film’s montage of fleeting images of the Senegalese women, to which no stable meaning is or can be assigned. In the forty-minutes of footage, the lighting and camera angles are constantly changing, always before we can focus our gaze.”

 

- “Trinh T. Minh-ha,” La Triennale—Between the Near and Far: Concerning Ethnographic Poetics (traveling exhibition; “Palais de Tokyo and other venues 20 April–26 August 2012”), accessed December 8, 2012, http://www.latriennale.org/en/artists/trinh-t-minh-ha

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
“I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z.”—Trinh T. Minh-ha --Spangler, Tina. “Interviewer Interviewed,” Latent Image-Winter 1993, accessed December 8, 2012. http://pages.emerson.edu/organizations/fas/latent_image/issues/1993-12/print_version/trinh.htm
Location: 
Senegal, Africa
Other Interesting Production Info: 
Reassemblage was shot on 16-millimeter film
Categories About the Film
Genre: 
documentary
Keywords: 
activism and social justice
art and culture
interracial relations
rural life
Racial/Ethnic Affiliation: 
African
Filmmaking Team
Writer's Name: 
Trinh T. Minh-ha
Producer: 
Trinh T. Minh-ha and Jean Paul Bourdier
Cinematographer: 
Trinh T. Minh-ha
Primary Cast: 
mostly female villagers in Senegal
Exhibition/Distribution Info
Distributor: 
Primary distributors: Third World Newsreel, Women Make Movies
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

New York Film Festival; Asian American Film Festival Humboldt (Honorable Mention); Festival Dei Popoli, Florence; Tyneside Film Festival (UK); Hong Kong Film Festival 

Analysis
Personal Film Review and Cultural Context: 

 “I do not intend to speak about, just speak nearby.”  This is how Trinh T. Minh-ha frames her 1982 documentary, Reassemblage.  Her images of life in a Senegalese village do not claim to know a culture, and actively resist an ethnographic gaze habituated by many Western audiences.  Trinh, a renowned feminist and postcolonial theorist, narrates the film with surrounding sound, alternated with intermittent observation reflected in a thoughtful, composed voiceover.  She uses simple shots to articulate complexities of everyday life - especially those in the day-to-day lives of women. In an experimental 40-minute journey of colors and sounds, Trinh connects us with the eyes of people looking back.  Reassemblage is Trinh’s first film; she has also directed Naked Spaces - Living is Round; Surname Viet Given Name Nam; Shoot for the Contents; A Tale of Love; The Fourth Dimension; and Night Passage.

-Ariel Kraakman

Readings: 

Khadidiatou Gueye, “Ethnocultural Voices and African Aesthetics in Trinh Min-ha’s Reassemblage: From the Firelight to the Screen,” in Research in African Literatures (Indiana: Indiana University Press, 2008), 39.  http://www.jstor.org/discover/10.2307/20109620?uid=3739696&uid=2129&uid=2134&uid=2&uid=70&uid=4&uid=3739256&sid=21101335842963

Louie Yang, “Reassemblage: The Enlightenment of Documentary,” John S. Knight Institute for Writing in the Disciplines at Cornell University, accessed December 8, 2012. http://www.arts.cornell.edu/knight_institute/publicationsprizes/discoveries/discoveriesfall1997/02louieyang.pdf

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