“Would we be able to detect music without the ear? Of course not. Well, we are surrounded by things whose existence we never suspect, because we lack the organs that would reveal them to us.” – Guy De Maupassant
De Maupassant’s quote provides an interesting touchstone for Yael Erel’s exhibition, Light Topographies, on show in the John Hartell Gallery. In this unique exhibit, the artist seeks to explain the subtleties of light, texture, sound and their relationship to one another.
For the inaugural Cornell Concert Series performance of 2017, Grammy-winning bassists Christian McBride and Edgar Meyer will take to the stage at Bailey Hall on February 3. Although both musicians helm their respective vessels in nominally different streams, together they have created something as fresh as their foundations are solid. Where McBride is something of a musical chameleon, rooted in the backyard of the blues yet stretching his branches over into every willing neighbor’s property, Meyer has turned his classical wheelhouse into a kaleidoscope of interpretive possibilities. I had the opportunity to speak with both bassists — first to Mr. McBride on the phone, followed by Mr. Meyer via e-mail — as an overture to what promises to be an engaging night from this rare combination of instruments. The Sun: One of my all-time favorites from your discography is Live at Tonic.
RAW EXPO can perhaps best be described as a gathering of creators and question-askers deconstructing barriers to collaboration. In the wide concrete dome of Milstein Hall, over 50 groups of and individual artists, publishers, engineers, developers, musicians, architects and people who came simply due to curiosity conversed and tested out products and processes. Simply put, a desire to create a fully interdisciplinary environment undergirds RAW EXPO. Now in its second year, RAW EXPO was hosted by and served as a kickoff for Medium Design Collective, a group of students that champions collaboration and design-oriented creation. Many members of ASSOCIATION, the group that organized RAW EXPO’s inauguration last year, remain in Medium.
It’s funny: both this article and its subject matter arrived far later than they should have. The Ithaca Pan Asian American Film Festival ran last weekend, from April 15 to 17. I’m just now giving it the attention it so completely deserves. Likewise, the festival — which began just last year — sheds long-overdue light on a major problem in the American film industry: a lack of Asian American representation, especially onscreen. The event was inspired by Katie Quan, an alumna of Ithaca College and current grad student at San Francisco State University.
The stage at the State Theatre had a simple set-up — four microphones set up across the stage, a portion partitioned off by an arrangement table for music, a simple curtain as backdrop and speakers strategically placed to reverberate in the eardrums of the audience. Simple, neat and sensible for the live show “Ghost Stories” of the popular podcast Welcome to Night Vale. Welcome to Night Vale is a bi-monthly podcast — usually airing the 1st and 15th of every month — which follows the happenings of the fictional desert town of Night Vale through a community radio show hosted by a man named Cecil Gershwin Palmer (voiced by Cecil Baldwin). Started in 2012 by Joseph Fink and Jeffrey Cranor, the podcast is extremely charming and has a dark, deadpan sort of humor. It constantly plays with the subjects of the surreal, as Night Vale is filled with the unreal and the very, very weird, from the Sheriff’s (not so) secret police to a recently discovered civilization underground, accessible via the town’s bowling alley.
After a screening of Hitchcock/Truffaut last week at Cornell Cinema, Sun Staff Writer Mark DiStefano ’16 was fortunate enough to speak with the film’s co-producer and editor, Rachel Reichman. The conversation encompassed favorite films, a liberal arts education, the process of film editing and the nature of art itself. The Sun: What do you see the essential job of an editor to be? Rachel Reichman: Well, for every film it’s different. In documentaries of course, the editor is a stronger participant in the storytelling than they are in narrative work.
Of Semi Chellas’ numerous accolades, the one by which I was most impressed was that she was the writer of the first and only screenplay to ever be published by Cornell’s reputed Epoch magazine — and it was the first screenplay she had ever written. Perhaps this is an indication of someone who truly has an instantly-recognizable talent, a talent that, in Chellas’ case, propelled her towards becoming co-producer and writer for the brilliant, Emmy-winning Mad Men in its fifth season. Chellas talked about this experience in her Thursday talk, “Telling Secrets: Notes from the Writers’ Room.”
That’s what we — the die hard fans, the aspiring writers — wanted to know: what is the secret to a show like Mad Men? Mentioning the high level of secrecy surrounding the show, Chellas joked how strange it was for her to be revealing these secrets to us. Her informal, engaging talk was punctuated by short clips, mostly from Mad Men, which she used to illustrate larger creative processes or to explain what went into a particular scene.
Catrina Corley ’16 is a Fiber Science and Apparel Design major and a Theater Production minor. Hailing from Houston, Texas, Corley had a business designing costumes before coming to Cornell, and now seeks to balance extravagance and fun with everyday-wearability in her designs. The Sun spoke with Corley about Cornell, her fashion philosophy and her D.C.-inspired designs in the upcoming Cornell Fashion Collective Runway Show. The Sun: How did you get started with designing, and what made you decide that you wanted to pursue it as a career? Catrina Colrey: I got my start making costumes for science fiction fans.
Robin Reynolds ’16 believes in the personal, the intimate, the individual — and their capacity to triumph over conformity and conventionality through design. Compelled to pursue a career in clothing design as a result of her experiences as a pre-professional dancer, creating and altering clothing for herself and other dancers, Reynolds seeks to articulate wearers’ multidimensional identities and depth, through her luxurious detail, defining surface elements, textile layering and deliberate construction. Her senior collection will feature eveningwear and lingerie inspired by the shapes and subtleties of glass in its various forms. The Sun had the opportunity to speak with Reynolds about her design aesthetic, senior collection, and the journey of her transfer to the Cornell Fiber Science and Apparel Design from a pre-medical track. The Sun: When did you first start designing? How did you end up at Cornell for design?
Throughout her time on the hill, Caroline Donelan ’16 has always sought to take advantage of Cornell’s opportunities, both academic and extracurricular. Her various interests have led Caroline to take various classes outside of the Fiber Science and Apparel Design major, such as Introduction to Wines and Vines, and to join Cornell’s running club. Donelan’s interest in running and athletics greatly influenced the senior collection — which features a number of different sportswear garments — that she will display at Cornell Fashion Collective’s runway show this Saturday. After graduation, Caroline plans on continuing to work with sportswear in a technical design position at Nike. The Sun: What got you into fashion, was it always a part of life, or was there one moment when you decided that you wanted to study it?