2013 staff photo

2012–2013 Staff
Amaris Ketcham, Faculty Advisor
Austin Evans, Editor in Chief
Amy Sullivan, Managing Editor
Sara Crespin, Digital Editor
Kara Filipas, Office Manager
Taylor Bui
Jordan Burk
James Epps
Rosario Marroquin-Flores
David Garcia
Gianna May
Nicole Perez
Julia Skillin
Claire Stasiewicz
Michael Sol Warren

2013

Historical Facts:
Scribendi won its second Associated Collegiate Press National Pacemaker Award.
Amaris Ketcham, the first student staff member to serve in Scribendi for four years, returned as the Scribendi Faculty Advisor.
Open Media was included as a submission category for the first time.
2013 introduced the iPad edition of Scribendi, which is available on the LitRagger app.

You can get your own copy of the current edition of Scribendi here. We appreciate your support!

Below are our Open Media pieces for this year. Enjoy!

The Spirit in the Wild

Emily Weeks
Washington State University 

For my whole life, I have felt a mysterious connection to the beautiful land of my home in western Washington. This film is a desire to express the sense of awe and revitalization I feel when I am in the land and to portray this specific geography in a way that counters homogenization, exploitation, and despair. The story of the film concerns the pain resulting humans' divorce from nature and more ancient or traditional ways of living. 

Peripheral Revolutions

Adrian Carcione
Moorpark College
WRHC Award Winner: Open Media 

I consider music to be a cognitive exchange of the form of thought between listener and composer. Music evolves through this exchange as new patterns that are slowly assimilated into the modern ear. Composers are the proponents of the evolution of music throughout time. 
One of the themes in "Peripheral Revolutions" has an important visual association. I see the four transpositions of the melody as four similar polygons, so that the relationship between them is quantifiable through the transposing interval, or proportion (in the case of the polygons). These polygons are superimposed and joined on corresponding sides, resulting in a spiral, since the melody is continuous. 

Apollo and Daphne

Alexander Kusztyk
Saddleback Community College

During a recent sojourn in Rome, I was elated to visit Villa Borghese. This grand home displays some of Italian master sculptor Gian Lorenzo Bernini's most famous works. Among them is the sculpture Apollo and Daphne, the inspiration for this piano piece, which is a musical recounting of the mythical story. Bernini sculpted it in such a way as to make everything seem alive and in motion. The branches and roots growing from Daphne's hands and feet are so delicate. Both bodies are soft and perfect. I wrote this piece to honor Bernini's masterpiece and to convey the emotional story behind Apollo and Daphne

Dreams TM: A Trayvon Martin Story

Izzy Pollak
Loyola Marymount University

I made Dreams TM: A Trayvon Martin Story to pose this question to the audience: Who is at fault? Such a question was paramount throughout the discourse of the legal case, so I figured taking all of the known facts and statements from both parties and placing them in the narrative format would help people understand the nature of the event. Maintaining an objective point of view throughout the film was important to me because I wanted members from both sides of the argument to watch it and take something from it 
My personal belief is that both men were victims of fear, and that is what I believe led to the eventual death of Trayvon Martin that evening. It was an absolute tragedy that this young boy was cut down in his prime, but this message is one that has rung clear throughout the course of history, continues to sustain loudly today, and will continue projecting into the future until a paradigm shift occurs; the shift that must take place is the acknowledgement of the homogenous nature of life. 

Sweater Wolf

Emily Weeks
Washington State University

Sweater Wolf is an expression of loss and hope. Saoirse, a young woman, lives as a hermit in a frozen wood, hiding from the world and the pain of her memories. 
The film combines a variety of imagery to tell the story. Deer motifs run throughout the piece, and I tried to incorporate as many warm textures and as much cabin imagery as I could. I animated on paper with pencil, scanned in the frames, and colored them using Photoshop. Slight shifts in color imitate the inconsistency of real paint. I cut the snowflakes out of paper and scanned them into the computer to create the falling snow effects, though in the final film, they are not very visible. I knitted the end credits. 

Bridge of Sighs

Alexander Kusztyk
Saddleback Community College

This past summer, I spent four days in Venice, Italy. One of my favorite sites, the Doge's Palace, evokes spectral images of a glorious, but oftentimes dark and haunting, past. The Bridge of Sighs, an equally captivating place, is an enclosed bridge connecting the palace to the prison. In the times of the Doges, people were often wrongly accused of crimes and were torn from their families, friends, and the magic of Venice. This piano piece, "The Bridge of Sighs," attempts to give voice to those anguished souls, the souls of those who had once attended masked balls in the grand palaces and basked in the splendor of Venice. As a world so cherished and loved is left behind, a final glimpse from the bridge brings the condemned a rush of memories and a wistful sigh.