The Bucknellian

By Courtney Bottazzi

Staff Writer

“Influx.” An interesting name choice for an art exhibition, yet one that carries meaning beyond the obvious.

“The title refers to the influx of information but also at the same time, in flux and constantly changing,” artist Joe Meiser said.

On Feb. 3, Meiser opened his art exhibition in the Samek Art Gallery. The audience, filled with Meiser’s family, friends, colleagues and students, sat in fascination as Meiser described the input of his creative process for the exhibition.

Meiser explained that he tried to relay the type of paradox found in the title of his exhibit throughout his artwork. He was interested in exploring the tensions relevant to the human condition and the coexistence of contradictory concepts, such as beauty and terror, within our modern world.

Meiser also focused on our limitations as human beings. During his lecture, he suggested that one strong example is flawed reasoning.

“Humans may be eluded and enlightened,” Meiser said.

Pushing this idea further, Meiser began to investigate what death means in our era. He questioned the idea of the soul and, with scientific advancements, whether immortality could one day be achieved. The philosophical and scientific research that kick-started Meiser’s creative process was helped by a virtual program called Rhinoceros 3-D. The software allowed him to digitally conceive his ideas and make them a reality.

The extremely compelling artwork produced by Meiser included pieces such as “Stephen Hawking as Elijah, Ascending to Heaven on a Chariot of Fire” and “The Two Deaths of Socrates.” The latter paid homage to Socrates’ concept of dualism, including an air vent through which Socrates’ soul will live on.

Other pieces shifted towards the question of whether non-human animals and artificial intelligence can possibly retain souls. Meiser reflected his answer in pieces called “Hominid and Simian Souls” and “Johnny5.” “Hominid and Simian Souls” were perfectly constructed, yet warped skulls of primal animals. “Johnny5” consisted of photos of a robot going through seemingly mundane human activities, such as brushing its teeth and contemplating its life.

Another project that leaves turbulent waves of contemplation in its wake is the “Robotic Cuckoo Vulture.” This vulture counts down to the end of humanity, or as Meiser joked, to the end of the year 2012. Each of the pieces reminds its viewers of the human condition.

“We strive for permanence even though it’s not possible,” Meiser said.

The depth of Meiser’s creative influences has also reached through to his students.

“He’s very good at getting his students to think creatively. I definitely have been thinking more conceptually and that started with Joe pushing our creative ideas,” Jenna DeLuca ’13 said.

“I’ve only taken a drawing class with Joe and taking a few hours to draw and looking at things in a different way have slowed things down,” Grace Toolan ’13 said.

As viewers walked around the Samek Art Gallery, it was clear Meiser’s art work had this effect on everyone: a chance to slow things down and contemplate our human existence. This captivation was only interrupted by the loud popping of balloons that covered the floor of the gallery, a clear reminder to pay attention to the present moment.

“The awareness of mortality can make each day count,” Meiser said.

By Robert O’Donnell

Columnist

It’s not often that I admit what I write pales in comparison to somebody else’s writing. However, when it comes to Tyler, The Creator’s album, “Goblin,” I am speechless. Fortunately, Sara Quin from the band Tegan and Sara was not, and wrote an open letter on her online blog. Despite the fact that the twin sisters in Tegan and Sara are lesbians, they are not a political band.

“I’ve asked myself a thousand times why this is pushing me over the edge … Maybe it’s because I’m a human being, both a girl and a lesbian. Maybe it’s because my mom has spent her whole adult life working with teenage girls who were victims of sexual assault,” Sara said.

For me, a popular artist spewing hatred should not be ignored, so I felt compelled to write this article. And the worst part, the thing that sealed my decision, was that everyone else was indeed ignoring this spewing hatred. When my friends tell me I don’t understand, or at least need to respect Tyler, The Creator as a creative genius, it makes me furious.

Remember Mel Gibson’s awful anti-Semitic tirade? Remember Michael Richard’s disgusting racist tirade? Yet, when Tyler does the same thing about rape and homosexuals, and puts a beat behind it, everyone dances. The same media that vilified Richards and Gibson, are now giving glowing reviews to Tyler, who is saying the same kind of terrible, unforgivable things as the others.

“When will misogynistic and homophobic ranting and raving result in meaningful repercussions in the entertainment industry?” Sara said.

He might hide behind the excuse that his lyrics are like a movie, but I don’t buy it. Every person should be held accountable for his or her words, no matter how artistically gifted he or she is. I do not care if he claims that he does not believe his lyrics; he is still singing them and turning rape and homophobia into a twisted sort of joke, when they are extremely serious issues in reality. People like Matthew Shepard have been brutally killed due to the homophobia rampant in our culture and even if Tyler is not homophobic himself, he is perpetuating the hatred. If he doesn’t believe it, then he shouldn’t say it.

I’ve been accused of being too uptight and too sensitive about his music, but the fact of the matter is I absolutely despise violence, homophobia and sexual assault. And those are the only things I hear when I listen to his album. How is the music? It is distinct and intriguing, and if the album was instrumental, then I would listen. But I do not and will not ever respect a single thing I hear in this album. I will not go along with a vile message because I am afraid that people will accuse me of not understanding or being too conservative. Sara says that she was reluctant to speak out about it.

“At the very least, I will know that my voice is on record,” Sara said.

And now, mine is too.

By Carolyn Williams

Staff Writer

Ann Patchett’s sixth novel, “State of Wonder,” is a decided departure from her previous body of work. Best known for her beloved “Bel Canto” and her memoir, “Truth and Beauty,” Patchett explores a new world (literally) in “State of Wonder,” delving deep into the Amazon in search of scientific progress and personal growth.

Marina Singh is a middle-aged doctor employed by the Minnesota pharmaceutical firm Vogel, where she does some mild-mannered studies of cholesterol levels until she receives news which permanently alters the course of her life. Her lab partner, Anders, has perished while on an assignment for the company in the Amazon. The firm is forced to send a replacement: Marina.

Mr. Fox, the bland, suit-wearing corporate head of Vogel (and coincidentally Marina’s equally bland, older lover) has chosen Marina as Anders’s replacement because of her relationship to the mission itself. Vogel has been funding the noted scientist Annick Swenson’s extremely secret work for upwards of seven years, and the company has decided that Swenson’s freedom has gone on long enough. Anders was sent to check up on the progress of the development of Swenson’s purported Amazonian fertility drug. As Swenson’s former pupil, Marina is theoretically the most likely to be able to coax some information out of her. However, because the intractable Swenson played a critical role in an accident that derailed Marina’s career, Marina herself is not very confident about her prospects.

Upon arriving in Brazil, Marina promptly realizes that she has lost her luggage, forcing her to literally start from scratch in the city of Manaus. She has to wait weeks before Swenson returns with supplies before she can access the well-hidden tribe of the Lakashi people. In this tribe, due to an extremely rare tree bark, women are able to give birth well past menopause, a fact which has unheard of potential for fertility drugs and is the subject of Swenson’s extensive research. As she becomes more comfortable in her own skin, Marina allows herself to grow and to explore the wild possibilities of the jungle. The trip she never wanted to make becomes the one which finally acquaints her with her true self.

While not the magical, lyrical beauty of “Bel Canto,” “State of Wonder” is still a very worthwhile read. Patchett keeps her readers on their toes between swarms of insects, cannibal tribes, the truly terrific character of Swenson, anacondas, things that go bump in the night and a completely unexpected ending. If perhaps the scope of this adventuresome novel detracts from Patchett’s brilliance as a writer, Marina’s experience does, at times, redeem the book as it reveals the state of wonder she finds in the jungle.

By Jen Lassen

Arts & Life Editor

Jazz music extends far beyond easy listening when watching live performers.

On Feb. 1, the Jazz at Bucknell series welcomed the Gary Thomas Trio. The trio, which includes saxophonist Gary Thomas, bassist Blake Meister and drummer Nasar Abadey, filled Bucknell Hall with tremendous sound and captured the audience’s attention for an unforgettable and one-of-a-kind jazz experience.

Phil Haynes, director of the University pep band and BIIE, lecturer in music and a Kushell Jazz Artist-in-Residence, warmly welcomed the trio.

The trio began with a slow, soft melody, making it obvious that something impressive would occur soon after they’d begun. Abadey created a steady rhythm that contrasted Thomas and Meister’s smoothness, yet for some reason this juxtaposition worked in perfect harmony, capturing the audience’s ears.

As the trio continued playing, the melody and rhythm sped up, growing more intense with each second of musical collaboration.

In their performance, there was no sense of individualism; each of the three musicians seemed content with sharing the spotlight with one another; no one musician overpowered the performance. Although there were points during the performance where either Thomas, Abadey or Meister were individually featured, none of them took up too much as a soloist. The collaboration was something the audience could both see and feel.

“I don’t always bring jazz that’s typical or easy listening; I want students to feel like they’ve gone to New York or Berlin to experience it,” Thomas said.

As the audience was watching the trio work their magic, they seemed to take Thomas’ comment to heart and really feel the music rather than just listen to it. Music, although powerful, is only as effective as the people who believe in it. Luckily, the Gary Thomas Trio was treated to a room full of believers and appreciators of the art of song.

By Jen Lassen

Arts & Life Editor

Shiny brass bells have long been a traditional symbol of the University, right up there with bison, the Bertrand Library clock tower and Rooke Chapel itself.

The Chapel bells symbolize the talented, dedicated and well-known Rooke Chapel Ringers handbell choir that has been a distinguished and wonderful group the University has the pleasure of calling its own.

The group consists of 16 talented current and former University students all fully committed to one of our finest traditions.

“We trust each other to do well, and that trust pulls through each time we play a piece,” Maria Thomas ’12 said.

Organized in 1983 under the direction of Dr. William A. Payn, director of choral studies, the group has performed at countless services and events. The Rooke Chapel Ringers regularly perform at the Protestant worship services on campus, but their big event each year is the traditional Christmas Candlelight Service in Rooke Chapel each December. This program, which has been taped and repeatedly televised by PBS, has been nominated for two Emmys, giving the group some serious bragging rights. The Ringers have earned a dignified spot in the University’s heritage, and for good reason.

“Their performances are always beautifully executed with lots of ‘connection’ with the audience. The PBS presentations, viewed throughout the country, are extremely professional … produced and directed by a very creative team. The ringer’s project the joy of ringing in their faces and their musical ability is unmatched by other college or university handbell ensembles. Audiences are always immediately on their feet at the end of performances,” Payn said.

“I think it’s because handbell ringing is usually kept to churches and isn’t widely publicized that seeing a very good handbell group such as the Rooke Chapel Ringers surprises people and makes them remember us,” Thomas said.

Other performances by the Ringers include a holiday tour through the seniors’ hometowns, a spring concert to be held on Sat. April 28 and a showing at this year’s Baccalaureate on Sat. May 19. The group has also traveled far and wide–-from New York City to Switzerland and Austria–-to perform for various audiences.

“I can’t even begin to express what a privilege it is for me to travel with these 16 young students. They represent Bucknell so very well. Most are not music majors, but represent most of the fields of study at Bucknell. It is indeed impressive and it is very obvious to the audience that these students are extremely passionate about their music-making as well as their studies,” Payn said.

Just like a well-balanced lifestyle is characteristic of University students, the Rooke Chapel Ringers will forever be a shining characteristic of the University’s past, present and future for many years to come.

By Jen Lassen

Arts & Life Editor

Sure, we live in Central Pennsylvania, but it only takes a bit of believing and a whole lot of music to transport us to Cuba.

This is exactly what happened on Friday, Feb. 3 when the three-time Grammy nominated, all-Cuban timba band Tiempo Libre performed at the University. The Weis Center for the Performing Arts was transformed from Lewisburg’s best concert hall to an Afro-Cuban celebration where audience members could not help but join in on the fun.

Right from the start, pianist and musical director of the group Jorge Gomez said “this isn’t going to be a regular concert; it’s going to be a Cuban party!”

And boy, was he right. The group, comprised of Gomez, Joaquin “El Kid” Diaz (lead vocals), Tebelio “Tony” Fonte (bass), Luis Beltran Castillo (saxophone and flute), Leandro Gonzales (congas), Raúl Rodríguez (trumpet) and Armando “Pututi” Arce (drums), confidently began performing with such intensity and flavor that audience members had no choice but to tap their feet, snap their fingers and jump out of their seats to dance along to the beat. University students danced down the aisles shaking their hips to the melodies, while older couples swayed to the music together in the balcony and audience members hopped out of their seats to bust out moves of their own, creating a uniting cultural experience for all.

It quickly became apparent how well the group collaborated together to form their own unique, high-voltage, Afro-Cuban sound. The group started their performance with an upbeat instrumental piece; then Diaz joined in and began singing beautiful and impassioned Spanish lyrics that captured the audience’s attention. Although the majority of the audience probably had no idea what was being said, Diaz’s soul, passion and dedication to his vocals were mesmerizing.

The group’s Cuban roots certainly were showcased on stage; all members of the band–including the drummer–were dancing in classic Cuban style and singing in Spanish throughout the entire show.

“[They] listened to Cuban music and grew up with the culture,” Gomez said.

Above all, Tiempo Libre exuded pure joy while performing. Their enthusiasm for their music was infectious: shortly after they began playing their instruments the audience seemed to get up, one by one, to participate in the “Cuban party” created by Tiempo Libre.

“The upbeat rhythms and passionate vocals really reflected the energy and dynamism of Tiempo Libre. Their entire performance was inspiring–I loved every minute of it!” Emily Heller ’15 said.

Even though our “bubble” is small and fairly isolated from foreign places like Cuba, Tiempo Libre’s performance had the power to take us there within minutes. The artists seemed to invoke “mucha felicidad” (much happiness) into the lives of the listeners,transformed into Cuban dancers. Those who attended would agree that the experience was a positive “culture shock” we all need once in a while.