Faculty and Graduate Research: An Evening of Pecha Kucha Presentations
by Cole WilsonThe American Studies Department tried out a new style of presentation this Friday the 6th, a PechaKucha Night. Designed by “Astrid Klein and Mark Dytham of Klein Dytham architecture” The first PechaKucha Night was held in Tokyo February, 2003 and consisted of seven minute presentations consisting of 20 slides lasting for 20 seconds each.[1] The Austin adaptation took place on the fourth floor of Burdine Hall in the American Studies conference room and featured seven varying, thought-provoking, and engaging presentations by AMS faculty, Ph.D. candidates and masters students. Like the original invented in Japan, UT Austin’s PechaKucha Night presentations were limited to 20 slides, lasting for 20 seconds each. The topics varied from American students in Vienna, Austria to modern day interpretations of Tiki drinks and its allusions to cannibalism. Every presentation was jam packed with information that both captivated the attending audience and propagated a lively discussion following the event. Here’s a recap:Masters student Kerry Knerr connected the contemporary constructs of tiki with cannibalism through her argument that “consumption [of the contents of the iconic tiki cup] inhabits the being of the cannibal” while also carrying out the act of “consume[ing] the cannibal” itself. Knerr offered a glimpse into the history of Tiki as a physical artifact and as a romantic notion constructed by western entrepreneurs “Trader Vic” and “Don the Beach Comber.”Following Knerr was Department Chair, Dr. Steve Holescher who presented on his bi-annual maymester course in Vienna. Dr. Hoelscher outlined his course objectives: understanding memory, the city’s adaptive reuse, and the cultural norms that have grown out of Vienna complicated past. He went on to discuss how he goes about reaching these objectives. Dr. Holscher pointed to Nazi era anti-aircraft towers standing stories above the tallest buildings in the city’s center, which are impossible to remove due to the dense urban landscape, and poses the question: how does the city of Vienna deal with this permanent reminder of the past? During his class students visit sites like the Jewish Monument against fascism, the Nameless Library,[2] and Mauthausen Gestapo camp. As a former participant of Dr. Holescher’s Viennese course I can safely say each and every day is filled with impactful and insightful lessons all revolving around the city and its concept-of-self. Dr. Holesher states that students in his course are constantly prompted to answer the question: how is Viennese memory displayed and interpreted at these location.Ph.D. candidate Andrew Gansky presented a portion of his dissertation titled “Apple helps those that help themselves” next. He opens with a provocative question: “why do teachers love Apple?” Gansky goes on to argue that the answer lies somewhere in Apple-funded educational grants, a teacher-centric acknowledgement campaign, and a business model that made “people feel good consuming.” Gansky states that Apple continued their marketing techniques from the early 1970s through the 1990s, each year gaining more clout in the world of educators through their marketing grant-based, publicity-driven, education-focused business model.Next, Dr. Lauren Gutterman presented on the case of Jeannance Freeman, a lesbian woman who charged with the murder of her two children in 1960, with the aid of her lover, and mother of the children, Gertrude Nunez Jackson. Freeman was the first woman sentenced to death in the history of Oregon’s penal system; however, the sentence was reduced to life in prison four years later. Dr. Gutterman argues that Freeman was considered a villain but later became a victim in the public’s eye. Dr. Gutterman touched on Freeman’s transition from villain to victim and how that change relates to her sexual orientation. She also explored how capital punishment was distributed unto the LGBTQ community in the 60s and sheds light on Oregon’s LGBTQ population’s progress throughout the decade. For more information check out Gutterman’s synopsis through the University of Michigan here.[3]Dr. Jeff Meikle was next to present, and he did so on G.I. Pitchford’s iconic 4x6 inch portraits of the American southwest. Dr. Meikle explains that Pitchford sold (in bulk), captured, colored, and altered the post cards that would later create Americas notions of the “open road,” perhaps anticipating Jack Kerouac’s widely read On the Road. From his iconic, almost generic, sunset, to his incorporation of blossoming American technology like the automobile, highway, city center, or, in one famous instance, Hoover Dam, Pichford’s work has captivated the American imagination and instilled a picturesque romanticism of the continental southwest unlike any other artist before him or scene.Masters student Josh Kopin presented on portions of his thesis concerning Charles M. Schulz’s Peanuts gang and their allegorical ode to adulthood. Kopin argues that Charlie Brown counters the American nuclear family by presenting an allusion to the American worker, similar to Charlie Chaplin’s “Industrial Man.” By becoming consumers, fulfilling parental roles, and their acknowledgement of finite American cultural minutia (as evident in the gangs interest in works like “War and Hate”) the Peanuts are both children, and adults, possibly more so than Chaplin’s Industrial Man.Lastly, Dr. Randy Lewis’ centered his presentation around the artistic interpretation of modern day surveillance. Dr. Lewis remarked on how artist action is at its heart a cultural barometer and went on to discuss how contemporary artists like Zach Blas[4], Karin Krommes[5], and Josh Kline[6] have thus expressed an uneasiness surrounding the practice. From drones to street cameras, artists have taken on the task of digesting and presenting these surveillance practices.If you missed out, that’s alright! There is a PechaKuch Night planned for the Spring you can catch next semester. Keep in touch with the blog, the UT AMS website, our Facebook page, twitter feed, or wherever you get your UT Austin AMS news for more info on the next PechaKucha Night.
[1] PechaKucha.org. “PechaKucha About” Klein Dytham Architecture. http://www.pechakucha.org/faq[2] “Holocaust Monument a.k.a. Nameless Library (2000)” University of Florida school of Art and Art History, http://art-tech.arts.ufl.edu/~kecipes/whiteread/holocaust.html.[3] Gutterman, Lauren “Saving Jeannace June Freeman: Capital Punishment and the Transformation of Homophobia in Oregon, 1961-1964.” University of Michigan. https://lsa.umich.edu/women/news-events/all-events/archived-events/2015/03/saving-jeannace-june-freeman--capital-punishment-and-the-transfo.html[4] Blas, Zach. “Facial Weponization Suit” http://www.zachblas.info/projects/facial-weaponization-suit.[5] Facebook. “Karin Krommes” https://www.facebook.com/karinsabinekrommes/[6] Kline, Josh. http://47canal.us/main.php?1=jk&2=pics
Stories from Summer Vacation: Steve Hoelscher, "Meeting Denise on Morzinplatz"
Today, we're delighted to share with you an incredible and powerful story from Dr. Steve Hoelscher, who spent part of the summer teaching in Vienna:I spent part of this summer, like three others, teaching a study abroad course in Vienna, Austria. Beyond the obvious pleasure of living in what is arguably the world’s “most livable city,” the course gives me the opportunity to connect different areas of teaching and research interests that often remain separate. Urban geography, cultural memory, and transnational exchange entwine as my students (who are always superb, and this class was no exception) use the city as a living laboratory. We don’t just read about socialist housing in “Red Vienna,” for example; we study the Karl-Marx-Hof by holding class in one of its dozen courtyards, by talking with the curator who singlehandedly opened a new exhibition in one of its former collective washrooms, and by finding the bullet holes, which remain from the 1934 civil war (an event that ushered in Austrofascism and eventually Nazism). The geographer in me—born and bred in the tradition of fieldwork—comes alive when I leave behind the classroom and enter the blooming, buzzing confusion of the world beyond the ivory tower’s womb.To be sure, there are risks with this approach. It sometimes rains when you’ve got a three-hour walking tour planned. Occasionally students get on the wrong streetcar and end up misplaced on the other side of town. Once in a while a beloved theoretical position doesn’t jibe with empirical reality as it’s lived on the street. Sometimes, though, serendipity brings it all together in a way that’s both unexpected and invigorating.One such moment took place on the 12th of June this summer. The theme of the week took the somewhat cumbersome, but hopefully explanative, title of “Remembering Hitler’s Vienna: The Collapse of Monarchy and the Rise of Competing Political Movements, 1918-1945.” We had just had a class meeting at Berggasse 19, Sigmund Freud’s house until he escaped Nazi persecution in 1938. Reluctant to leave the home he had lived in and had practiced psychoanalysis for nearly 47 years, Freud finally took action after his daughter, Anna, survived a daylong interrogation by the Gestapo. Today, all that remains of the former Gestapo headquarters is a rather bleak park on the edge of the central city. Here, on Morzinplatz, stands the first of three Holocaust memorials that trace the changing textures of Austrian cultural memory and its participation in World War 2. Narratives of victimhood and perpetrator, of evasion and responsibility, of redemption and hopeless despair—in other words, many of the central themes that run through discussions of the Holocaust—are written in stone here, and at Albertinaplatz and Judenplatz.To encourage my students to look closely at such memorial landscapes and to think about what they’re seeing, I ask that they spend a half hour drawing them. (I steal this practice from one of my graduate school mentors, Ted Relph, who convinced me of the importance of “seeing, thinking, describing landscapes,” as a way of understanding them) Although some students initially balk at the assignment—“I’m not an artist” or “I can’t draw” are frequent, understandable complaints—most find it a compelling way to defamiliarize the taken-for-granted. Or, in this case, to make sense of something strange. The site-specific Nameless Library on Judenplatz, for example, only makes sense when seen in its geographic setting; the steel and concrete design comes alive only when one notes that the books’ spines are facing inward, and thus hiding their contents; the power of the place as a void—as a space where things are missing, like handles to the entrance, or the 6 million people it commemorates—can only be felt when you’re viewing it from both up close and at mid-distance (and not, I would argue, online).
The quiet, somber landscape, which gestures toward loss and emptiness, contrasts with the more traditional memorial on Morzinplatz, with its inscription of Austria’s resurrection and its chained figure breaking the bonds of tyranny. In one, the focus is on Jewish genocide; at the other, the state of Austria is written as Hitler’s first victim—a preposterous claim, but one at the center of Austrian nationhood for more than a half century. Such, at any rate, were some of the things we talked about at each memorial. That is, until we noticed a couple eavesdropping on our discussion at Morzinplatz. After I explained, in German, that we were an American university group studying the history of Vienna, the woman answered, in Australian English, “well, I gathered that.”
Thus began one of the most remarkable conversations I’ve had in a college course. Denise introduced herself and her cousin, whom she was visiting for the first time.After the long flight from Australia, it was Denise’s first full day in Vienna and her cousin was bringing her to the site where his father and her father, like Anna Freud, had been questioned by the Gestapo shortly after the 1938 Anschluß. But unlike the Freuds, these Jewish brothers were not allowed to leave, but instead were sent to Dachau. How they escaped the concentration camp was not made clear, but each spent the rest of the war in England, with one eventually returning to Vienna and the other immigrating to Australia.
My students and I were spellbound by Denise’s story, which seemed to embody the themes of the course. Memory really does seem anchored in places. It’s both personal and collective. And it’s fraught with unpredictability. But Denise’s story did more than just illustrate themes we had read about in books by James Young or Pierre Nora. It also made scholarly concepts real. This is important, and I’m not talking here just about convincing lunatic Holocaust deniers of what happened. Making theories concrete, breathing life into histories that appear ancient, giving voice to experiences that seem unfathomable: all that happens when you meet someone like Denise on Morzinplatz (or Judenplatz, where we ran into her later that day). That’s why I like to teach in Vienna during my summer vacation. And it is a nice place to live.