Year 1

FUSE 101: Frontiers

FUSE 101 Artifact

Delving into Data

FUSE 101 was my introduction to the honors program. Having come from a small high school with a high GPA, I did not anticipate much of a challenge in this course, which was reflected by my first collegiate "incomplete." This placed the rest of my collegiate career into perspective: If I was going to succeed, I would need to accept that I was going to be challenged. Not only would I have to be comfortable with this, but I would also need to anticipate it. As FUSE 101 continued, I continued to be challenged, and I continued to learn how to be comfortable stating, "I don't know, but I would like to learn."

Throughout the class, we used Big Data as a topic through which to learn about information literacy and college-level writing. Although college-level writing typically concerns academic writing, Dr. Schur wanted us to be comfortable with experimenting with multiple forms of writing. I had never been comfortable writing narratives, so I felt that this was the best opportunity to challenge myself. So, for the final for his class, I chose to write using a narrative voice, which is a skill that I wanted to master but was not yet comfortable with.

The language is perhaps a bit too earnest, but it does reflect growth from the beginning of the semester.

FUSE 102: Intersection

Conspiracy to Lie.edited.docx

Identifying Conspiracy Theories

In FUSE 102, we had the opportunity of learning from two professors, which provided two different, collaborative perspectives on the content of the course, which was a continuation of FUSE 101. The difference here, however, was the opportunity to learn about writing and information literacy through examining conspiracy theories.

For the final of this class, I chose to study the Sokal Hoax, which is a lie that originates from Academia. Sokal proposed this theory by suggesting that, due to the lack of recorded history during the so-called "Dark Ages," that they were actually developed by the Catholic Church to promote the Gregorian calendar, therefore centralizing the concept of time around a Euro-Christian perspective. This theory loses viability when the records from Africa and Asia are considered as, especially in the Muslim world, this was a period of major cultural development. Rejecting the existence of the Dark Ages also rejects the existence of these cultural epicenters and also centralizes Europe as the sole subject of Historical study. It also rejects the rich history of smaller European communities that eventually contributed to the Renaissance.

I also studied Holocaust Denial, which is another hoax that started within the realm of academia. This hoax is based in the belief that the Holocuast never happened, providing another revision on history. The evidence for this hoax tends to be self-sustaining, meaning that each item supports another item without any form of actual, tangible evidence. The evidence is also generated by alt-right thinkers and neo-nazi supporters, further demonstrating the bias of the proponents.

This project gave me an opportunity to study History through an analytical lense for the first time. It also gave me the opportunity to consider cognitive biases that turn stories and lies into conspiracy theories or that allow misinformation to spread so easily in the digital age. Likewise, it also gave me an exciting idea to pursue during the beginnings of the stay-at-home order and the pandemic.

Beyond Honors

Returning to the Theater

I have always loved theatre, but I did not expect to be able to enjoy this love in college. I was full-time education student, meaning that I was in harder classes than I had ever been in and I was in an education practicum. Balancing being a practicum student in local high schools and a bigger course-load than I expected, I did not anticipate the privilege of participating in two shows during my first year of college, let alone being a lead in one of them.

And yet, here they are!

The picture on the right is of me in my first college show, Arlington; A Love Story. The image depicts the opening of the third act where my character, Young Man, gets woken up by my dystopian overlord, which is the building that I used to be a caretaker for. Throughout the production, I had the opportunity to learn how to create theatre outside of the realm of realism while maintaining a haunting level of intimacy. To do this, we staged the production in the Sunderland Studio theater, which does not have a proscenium. We then built the stage and the audience in superimposed "L" shapes, allowing for that unsettling intimacy. We also built two of these, splitting the lines of two characters between four actors to create a disorienting experience as our characters tried to understand a world of progress without purpose while trapped in solitary rooms. I had to learn how to collaborate with actors who were playing the same roles, as well as the technicians who built the world as we performed. I had to learn how to portray a character who was being tortured in bizarre ways, such as dancing to a terrifying song while sleep deprived. I learned more than I could have predicted from this production, which only encouraged me to create more theatre. I am also certain that this was the first ever amateur performance of this play in the world.

The picture on the left depicts the debut performance of Family Style, by Larry Linda, meaning that this script had never been staged until we built it. I played a character named Joey, who was a supporting role. At first, I was embarrassed to have been cast in a supporting role after being a lead in my previous production. However, as rehearsals began, I realized the value of a supporting role. Likewise, I realized how little room I had in creating my character compared to a lead. A leading character tends to be the most developed. I usually found plenty of creative freedom in playing these characters, but I had never had the opportunity to create my own backstory and mannerisms. So, I determined that Joey was the wedding photographer, that I was here as a guest/special favor for one of the protagonists, and that I had been just too young to fight in the war compared to the protagonist, who fought in the infantry. As the play develops, it is clear as to why I am apprehensive about leaving his side as I fretted the entire time he was gone.

These experiences developed my ability to collaborate. They also provided space away from academics, allowing me to create something that I could share with a community and that I could remember fondly throughout the rest of my academic career.