On Thursday, Feb. ��20, Thursday Morning Roundtable, a weekly civic education program run out of the Office of Community Engagement, welcomed Mayor Ben Walsh of the City of ���ϲ�����. Mayor Walsh spoke about his work as mayor and his plans moving forward.

Nikita Chatterjee, left, and Brianna Howard

When visiting family in India, Nikita Chatterjee ’20 learned that even as improvements have been made to the country’s water system, large segments of the population still do not have access to safe drinking water.

“It’s an issue that is prevalent literally anywhere you go,” says Chatterjee.

Chatterjee and her roommate Brianna Howard ’20 had an idea that they believed could help. Many families in India use a traditional sari cloth to filter water.�� Lab tests have shown four layers of cloth can help filter cholera bacteria but still leave many contaminants behind. estimates that 21 percent of communicable diseases in India are linked to unsafe water sources.

“We both care about health care a lot, so why don’t we make this something that in one way or another impacts health,” says Howard.

During the six-week Invent@SU program, Chatterjee and Howard designed and built a prototype for an invention combining a traditional sari with advanced water filters built in. Recognizing that first-world solutions do not always work for developing countries, their PAANI device is simple, familiar and practical for families who already use sari cloth for filtering.

“They had this intuitive method that did work for them just not as efficiently as it should. And I think we wanted to enhance that but still keep that familiarity for them,” says Chatterjee.

When the filters in the PAANI device are used up, henna dye produces an “X” symbol on the cloth.

“The X we choose because everyone knows x means stop. There doesn’t have to be a language barrier,” says Chatterjee.

All ���ϲ����� undergraduates can apply to Invent@SU sessions on the main campus and at Howard, a public health major, and Chatterjee, an economics major, were one of ten teams to participate in the Invent@SU invention accelerator during the ���ϲ����� campus session. Each week the teams presented their work to guest evaluators during seven-minute presentations, and at the end of the program, a panel of judges voted on the top inventions. PAANI took first place and a $5,000 prize.

“Just to know these powerful people believe in the idea just felt so great,” says Chatterjee.

“This is something that is not only what we are doing right now, but it is bigger than us,” says Howard.

James Ruhlman and Hannah Erickson

Industrial and interaction design majors Hannah Erickson ’23 and James Ruhlman ’22 took second place with a unique drawing tool that allows the user to make music and art at the same time. They called their invention “Mystic Marker.”

“As you press down on the marker tip, it is spring-loaded, so that interacts with the pressure sensor inside and so the harder you press, the higher pitch the notes get,” says Erickson. “Then when you squeeze on the grip, the notes slow down and if you are not squeezing at all, the notes are really, really fast.”

Erickson and Ruhlman say special education teachers were interested in the markers potential as a creative tool for children with autism.

“Every time we would bring up the idea to someone, their face would light up,” says Erickson.

During Invent@SU, students receive assistance from faculty with the College of Engineering and Computer Science and the School of Design. Several of the teams plan to work with Blackstone Launchpad to move forward as small businesses.

“Even if you don’t know how to code or you don’t know how to engineer, you can learn all of those skills because at the end of the day you know how to make something, and this program is about making a prototype,” says Erickson.

Visit for more information on Invent@SU and past student inventions.

“I was thinking about my background as a Boy Scout and in hiking, so we wanted to have something that was just a piece of gear that was really compact: someone has it in a pouch, slip in your pocket, slip it in your backpack,” says Boise.

“The current options are just super large devices that you would never bring on a trip with you,” says Burns.

Their Porta-Splint device can be adapted to help with a variety of injuries from ankle sprains to broken limbs.

“You can change the shape of it and it will immobilize and support that injury to help you get back to safety,” says Boise.

Boise and Burns were one of ten teams working out of the Fisher Center in Manhattan to develop new inventions. The program is open to all ���ϲ����� undergraduates. With help from Mechanical Engineering Professor Yevgeniy Yesilevskiy and his graduate assistants, they constructed working prototypes and pitched them to guest evaluators each week.

“This is real. This is like real life, this is hands-on stuff, says Jenniviv Bansah ’22. “You would be surprised by how much stuff that can change.”

After six weeks, all 10 teams presented their inventions to a panel of entrepreneurs, engineers and business leaders. Boise and Burns’ Porta-Splint took first place. Bansah and Skyler Hall ’21 took second place with a device to help people with hand tremors drink from a cup or bottle.

“It’s such an empowering device that if we can make it customizable for people it can really uplift their confidence and just make them happy,” says Bansah.

Several of the Invent@SU teams plan to work with Blackstone Launchpad in Bird Library to move forward as a business.

“I think it is great for anyone no matter what they study, no matter what their discipline,” says Boise.

“It makes you realize that a lot of things that seem super daunting, creating your own product, something you never could do–you totally can,” says Burns. “It is a good kick-start into the entrepreneurial world for sure.”

Kevin Du, right, has trained thousands of educators from around the world on the latest cybersecurity techniques using his custom-designed labs

A cyberattack is happening right now. At every moment of every day, increasingly sophisticated hackers are trying to gain access to the networks of businesses and institutions around the world. To combat them, College of Engineering and Computer Science Professor Kevin Du says learning how to protect a network is not enough. To fully understand cyberattacks, you need to think like a hacker and know how to break in.

“As educators, what we are actually trying to teach students is–what are the problem areas? How the attacker can attack. We don’t just teach them on paper, we really say you have got to do it because otherwise, you don’t know how to defend,” says Du.

Since 2002, Du has trained thousands of educators from around the world on the latest cybersecurity techniques using his custom-designed labs.

“Students learn better from doing but to actually do that is very hard so this lab serves that purpose,” Du says.

In his workshops on campus funded by the National Science Foundation, participants can safely attack and defend networks without the risk of doing any harm.

“What I provide is a contained environment. They launch an attack inside their own computer. So inside their computer, they have multiple computers actually,” says Du. “So they are attacking from one computer to another which sometimes we simulate some of the servers for example google.com but they actually on the inside of our computer.”



The goal is to boost the next generation of computer scientists and cybersecurity students–making sure they have are ready to adapt in the rapidly changing online security landscape.

Professor Dan Bennett from Edinboro University came to the ���ϲ����� campus to participate in Du’s workshop. He says his opportunity to work with a worldwide leader in cybersecurity education will benefit his students at home in Pennsylvania.

The goal of Kevin Du’s workshops are to boost the next generation of computer scientists and cybersecurity students.

“I hope to take some stuff that I can take and put in the class pretty directly,” says Bennett. “One of the things that is going to be wonderful is that we teach them techniques but then when they see these they will understand much better why we teach them software techniques.”

Educators say the material in Du’s workshop can benefit students across several tech disciplines since all need to be thinking about security.

“In your computer, there are a lot of doors, and many doors are not locked,” says Du.

Du just published the second edition of his computer security textbook that is currently being used by more than 80 schools.

Ben Russell, “Good Luck (Portraits),” 2017

Due to the 140-minute duration of the piece, the reception will precede the film at 5 p.m. The screening, opening with an introduction by the filmmaker, will start promptly at 5:30 p.m. Russell will join us in person to introduce the film and for a brief a Q&A following the screening. The event is free and open to the public.

This event is held in conjunction with the exhibition of the related new commissioned work “Good Luck (Portraits)” at UVP’s outdoor architectural projection venue on��the Everson Museum Plaza. The exhibition will be projected onto the northern facade of the at 401 Harrison St.��through May 26, Thursday-Saturday, dusk-11 p.m.

ACCESSIBILITY
The screening will take place in a wheelchair-accessible auditorium. The film is subtitled for all spoken dialogue. CART services for the intro and Q&A portions are available upon advance request; call: 315-443-1369 or email: info@urbanvideoproject.com

“Good Luck” takes the audience on a mind-bending journey deep into the unforgiving copper mines of Serbia and emerging thousands of miles away among an illegal band of gold miners in the Suriname jungle.

��GOOD LUCK (PORTRAITS)
Derived from a four-channel installation first presented in Kassel, Germany, in 2017 at the international art biennial, documenta 14, this single-channel looping projection presents a series of intimate black-and-white S16mm portraits of miners, as recorded between a state-owned large-scale underground copper mine in the war-torn state of Serbia and an illegal gold mining collective in the tropical heat of Suriname. Made in the style of Andy Warhol’s “Screen Tests” and filmed on site (both under-and-aboveground), these hand-processed portraits are accompanied by a visceral soundscape drawn from the chaotic working environment of the men pictured. ��In “Good Luck (Portraits),” the film’s subjects briefly pause in the infinite labor of mineral extraction to give us a subjective vision of their inner selves—a vision controlled by their own hand. ��Here is the human foundation of capital, revealed.

ABOUT THE ARTISTS

(b.1976, USA) is an artist and filmmaker whose work lies at the intersection of ethnography and psychedelia. His films and installations are in direct conversation with the history of the documentary image, providing a time-based inquiry into trance phenomena and evoking the research of Jean Rouch, Maya Deren and Michael Snow, among others. Russell received a 2008 Guggenheim Fellowship, a FIPRESCI International Critics Prize (IFFR 2009) for his first feature film “Let Each One Go Where He May.” His second feature film, “A Spell to Ward Off the Darkness”��(co-directed with Ben Rivers), premiered at the Locarno International Film Festival in 2013. Curatorial projects include “Magic Lantern” (Providence, USA, 2005-2007), “BEN RUSSELL” (Chicago, USA, 2009-2011), and “Hallucinations” (Athens, Greece, 2017). He currently resides in Los Angeles. In the summer of 2017 he was an exhibiting artist in documenta 14.

About ���ϲ�����

���ϲ����� is a private, international research university with distinctive academics, diversely unique offerings and an��undeniable spirit. Located in the geographic , with a global footprint, and��, ���ϲ����� offers a quintessential college experience. The scope of ���ϲ����� is a testament to its strengths: a pioneering history dating back to 1870; a choice of more than 200 majors and 100 minors offered through 13 schools and colleges; nearly 15,000 undergraduates and 5,000 graduate students; more than a quarter of a million alumni in 160 countries; and a student population from all 50 U.S. states and 123 countries. For more information, please visit .

Pearsall is an Air Force veteran who served three tours in Iraq, enlisted at age 17 and became a combat photographer traveling to 41 countries and capturing over 500,000 images, many of which were distributed around the world. She is the first woman to twice be named Military Photographer of the Year. She is also a 2004 graduate of the military photojournalism program at the .

Pearsall’s career came to an abrupt halt when she was injured in Iraq and later decorated with the Bronze Star and the Air Force Commendation with Valor. As she lay in the hospital and spent hours in waiting rooms listening to the war stories of veterans from every generation, every branch of service and every conflict, she realized she could use her photography to honor these veterans in a very personal way.

About ���ϲ�����

���ϲ����� is a private, international research university with distinctive academics, diversely unique offerings and an��undeniable spirit. Located in the geographic , with a global footprint, and��, ���ϲ����� offers a quintessential college experience. The scope of ���ϲ����� is a testament to its strengths: a pioneering history dating back to 1870; a choice of more than 200 majors and 100 minors offered through 13 schools and colleges; nearly 15,000 undergraduates and 5,000 graduate students; more than a quarter of a million alumni in 160 countries; and a student population from all 50 U.S. states and 123 countries. For more information, please visit .

The NVRC, when complete, will be the first-of-its-kind facility in the United States and a leading example of academic, government and community collaboration committed to supporting research, programming and community initiatives to serve the nation’s veterans and military-connected families. Torrance was deployed in Afghanistan when he was involved in an IED explosion. Now he is employed at ���ϲ�����’s Carrier Dome and also owns ZeroPoint Aerial.

“It is only fitting we have a veteran-owned business as part of this historic moment at ���ϲ�����. It is truly an exciting time to be on campus as we begin work on preparing the site for the future home of the NVRC, which will become a university, community, regional and national asset in support of our nation’s veterans and families,” says Office of Veteran and Military Affairs Executive Director Ron Novack.

Torrance will conduct continual flyovers illustrating construction developments as it progresses. A live webcam and archived drone footage can be seen .

About ���ϲ�����

���ϲ����� is a private, international research university with distinctive academics, diversely unique offerings and an��undeniable spirit. Located in the geographic , with a global footprint, and��, ���ϲ����� offers a quintessential college experience. The scope of ���ϲ����� is a testament to its strengths: a pioneering history dating back to 1870; a choice of more than 200 majors and 100 minors offered through 13 schools and colleges; nearly 15,000 undergraduates and 5,000 graduate students; more than a quarter of a million alumni in 160 countries; and a student population from all 50 U.S. states and 123 countries. For more information, please visit .

The video tells the story of ���ϲ�����’s historic commitment to generations of the nation’s veterans.

“We’re pleased that NATAS has recognized our team with this honor,” says EMC Executive Director and Producer Stu Lisson. “The New York chapter is the most competitive in the nation, with affiliates from all of the major networks taking part.”

The tells the story of ���ϲ�����’s historic commitment to generations of the nation’s veterans. Created in partnership with the University’s Office of Veteran and Military Affairs (OVMA), the 10-minute production helps further the University’s outreach and advance its mission of assisting veterans in pursuing their education after separating from military service both academically and personally.

“With its longstanding commitment to veterans, ���ϲ����� continues to be uniquely positioned to educate and empower this generation of veterans, military-connected students and family members and positively impact the future leaders of our nation through higher education,” says Ron Novack, OVMA executive director. “So we are proud of the recognition for the video that is such a valuable tool, helping us tell our story and reinforce our commitment to being the ‘best place for veterans’.”

Between 1945 and 1950, the Servicemen’s Readjustment Act of 1944, commonly known as the GI Bill, supported some 2.3 million students nationwide. Few universities in the country were more closely identified with the GI Bill than ���ϲ�����. Chancellor William Tolley promised servicemen and women there would be places waiting for them at the University when they returned, and enrollment more than tripled in the years immediately after the war. ���ϲ����� then ranked first in New York State and 17th in the country in veteran enrollment and today, the University ranks continually in the Top Ten. ���ϲ����� continues to remain deeply committed to the military, veterans and family members and this video captures the outstanding support military-connected students receive while attending the university. It also gives veterans an opportunity to “tell their story” about transitioning from military to campus life.

Producer Meg Lynch adds, “It was a privilege to help tell ���ϲ����� and OVMA’s remarkable story and document the inspiring comments from the program’s veterans.”

This is the sixth consecutive year that the EMC team has received an Emmy nomination for production excellence.

About ���ϲ�����

���ϲ����� is a private, international research university with distinctive academics, diversely unique offerings and an��undeniable spirit. Located in the geographic , with a global footprint, and��, ���ϲ����� offers a quintessential college experience. The scope of ���ϲ����� is a testament to its strengths: a pioneering history dating back to 1870; a choice of more than 200 majors and 100 minors offered through 13 schools and colleges; nearly 15,000 undergraduates and 5,000 graduate students; more than a quarter of a million alumni in 160 countries; and a student population from all 50 U.S. states and 123 countries. For more information, please visit .

“After the hurricanes in Florida and Texas, the question has surely been asked: How to save those wet, damaged books? Above, you can watch a visual primer from the –people who know something about taking care of books. It contains a series of tips—some intuitive, some less so—that will give you a clear action plan the next time water and paper meet.”

The video has been shared on a number of other sites, including lifehacker.com, ��and . As of this writing, it has tallied over 141,000 views, up from a few hundred prior to these posts.

About ���ϲ�����

Founded��in 1870, ���ϲ����� is a private international research university��dedicated to advancing knowledge and fostering student success through teaching��excellence,��rigorous scholarship and interdisciplinary research. Comprising 11��academic schools and colleges, the University has a long legacy of excellence��in the liberal arts, sciences and��professional disciplines that prepares��students for the complex challenges and emerging opportunities of a rapidly��changing world. Students enjoy the resources of a 270-acre main��campus and��extended campus venues in major national metropolitan hubs and across three��continents. ���ϲ�����’s student body is among the most diverse for an��institution of its��kind across multiple dimensions, and students typically represent��all 50 states and more than 100 countries. ���ϲ����� also has a long legacy of��supporting veterans and is home to��the nationally recognized Institute for��Veterans and Military Families, the first university-based institute in the��U.S. focused on addressing the unique needs of veterans and their��families.

(From Left to Right) Ruiyao Sun, Stephanie Malis, Milan Chaney, Shuyi Jin, Helen Lu

With four decades of experience in television production, , adjunct professor of television, radio and film in the Newhouse School, knows how to produce material that elicits emotion from an audience. He’s passing that knowledge along to students in his short form course. Based on some of their most recent work, they’re picking up quickly.

“The objective is to get the students to learn the aesthetic differences between long and short form,” says Emerson. “It’s like the difference between ‘Leaves of Grass’ and a haiku poem.”

The most recent work produced by some of his students involves a public service announcement (PSA) on sexual assault. The message it delivers is important and powerful.

The video was produced by graduate student Milan Chaney, Helen Lu ’17, Shuyi Jin ’17, Stephanie Malis ’17 and graduate student Ruiyao Sun. While the finished product is visual, Lu says it goes beyond that.

“It’s easy to forget the power of sound and the act of listening. This PSA reminds people of just how much of a difference they make.” -Helen Lu ’17

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“People usually rely heavily on sight–‘see it to believe it,'” Lu says. “So it’s easy to forget the power of sound and the act of listening. This PSA reminds people of just how much of a difference they make.”

The group created the piece from concept to finished product as part of a class project. Recently, Emerson’s students have produced PSA content covering animal adoption, opioid addiction, even fake news. But it’s not just about the final product. It’s about the journey to get there.

“They research and present examples of these differences from films and TV and compare and contrast that to commercial execution,” says Emerson about his course. “Then they choose a product or a cause and make that into video content.”

In this case, it’s content that relays in just a few seconds a problem that deserves serious attention.

Harry Allen speaks at Bowne Hall.

Journalist and hip-hop activist Harry Allen recently spoke with students in both African American studies and music history and cultures classes. In this video, you can hear Allen discuss the influential nature of hip-hop music and his experience with one of the pioneering groups, Public Enemy.

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“Leviathan” at UVP Everson

Posthumanism has become an umbrella term under which a diverse array of contemporary intellectual currents across all disciplines in the humanities can be grouped. While the term is not unproblematic, it does capture the sense that both a radical rethinking of the humanities/humanism, and a rapprochement between the humanities and the sciences, are an urgent necessity in order to address the most pressing issues that we as a species currently face. Part of this urgency comes from the pressure placed on the very notion of the human by our rapidly changing understanding of ourselves in light of developments in neuroscience and genetics, human-caused climate change, the increasingly sophisticated and insidious forms assumed by biopolitical power, capital’s increasingly neoliberal turn, and exponential advances in computational and communications technologies, to name but a few examples. At the same time, posthumanism entails a decentering of the human subject that opens up critically important questions about how to reconstruct ethics without the notion of an implicitly human “worthy subject” at its center.

UVP’s 2015-2016 program “We Were Never Human” features the work of contemporary artists exploring these complex themes through their content, form and style. Featured artists include Lucien Castaing-Taylor and Véréna Paravel, the Otolith Group, Mary Mattingly and Saya Woolfalk, among others.

Below is an overview of “We Were Never Human” main exhibitions and related events at UVP and related programming at partner organizations.

All exhibitions are at UVP Everson, UVP’s permanently installed outdoor architectural projection and sound system projecting onto the façade of the Everson Museum of Art, and all events are in the Everson Museum of Art’s Hosmer Auditorium, unless otherwise noted. All exhibitions and events are free and open to the public.

Sept. 17- Oct. 24
Thursday-Saturday, dusk-11 p.m.
Screening, talk and reception: Thursday, Oct. 15, 6:30 p.m. (Lucien Castaing-Taylor in person)

“Leviathan” (2012) is a groundbreaking, immersive portrait of the contemporary commercial fishing industry. Filmed off the coast of New Bedford, Mass., “Leviathan” follows a hulking groundfish trawler into the surrounding murky black waters on a weeks-long fishing expedition. But instead of romanticizing the labor, filmmakers Castiang-Taylor (“Sweetgrass”) and Paravel (“Foreign Parts”) present a vivid, almost kaleidoscopic representation of the work, the sea, the machinery and the players, both human and marine. The film that emerges is unlike anything that has been seen before. Entirely dialogue-free, but mesmerizing and gripping throughout, it is a cosmic portrait of one of mankind’s oldest endeavors.

A related video installation, “He Maketh a Path to Shine after Him; One Would Think the Deep to Be Hoary” (2013), will be on view in the Everson’s Cloud-Wampler gallery from Sept. 19-Nov. 29.

Still from “Anathema” (2010) by The Otolith Group

Nov. 5-Dec. 19
Thursday-Saturday, dusk-11 p.m.
Screening, talk and reception: Thursday, Nov. 12, 6:30 p.m. (Anjalika Sagar in person at the Everson)

“Anathema” (2011) reimagines the microscopic behavior of liquid crystals undergoing turbulence as a sentient entity that possesses the fingertips and the eyes enthralled by the LCD touch-screen. “Anathema” can be understood as an object-oriented video that isolates and recombines the magical gestures of dream factory capitalism. “Anathema” proposes itself as a prototype for a counter-spell assembled from the possible worlds of capitalist sorcery.

Jan. 20-30, 2016
Gallery talk and reception at Light Work: Thursday, Jan. 28, 5-7 p.m.

This short exhibition of selected video work by multimedia artist Mary Mattingly is held in conjunction with her solo show at Light Work’s Kathleen O. Ellis Gallery Jan. 19-March 10, 2016. Through the building of ecosystems and mobile environments, Mattingly’s work explores issues of access to basic resources, supply and waste chains, and our shared present and future.

Still from “Touching” (2013) by Maria Whiteman

“Between Species”: group show
Feb. 4-March 26, 2016
Curated screening and panel talk: Thursday, March 10, 6:30 p.m.

“Species Meet” will be an exploration of our changing understanding of the relationship between “the human” and “the animal.” A small group exhibition at UVP Everson will be paired with an indoor curated screening of video works that range from the critical deconstruction of our current relationship to non-human animals, to pieces that propose both plausible and more fantastical re-imaginings of that relationship and its fluid boundaries. The screening will be followed by a panel talk led by theorist Cary Wolfe, whose work explores posthumanism, deconstruction and the burgeoning field of animal studies. Wolfe will be joined by several participating artists, including Maria Whiteman. A related multimedia exhibition is planned for the Member’s Council Gallery inside the Everson Museum of Art.

Saya Woolfalk: new work
February-May 2016 in the Everson’s Robineau and Cloud-Wampler Galleries
April 7-May 28, 2016, at UVP Everson
Artist talk and reception: Thursday, April 14, 6:30 p.m.

Multimedia artist Woolfalk will premiere new video, 2D and 3D work at UVP and inside the Everson Museum of Art created during her 2015 Light Work UVP artist residency. According to the artist, her work “considers the idea that symbolic and ideological systems can be activated and re-imagined through collaboration, imaginative play and masquerade.” Woolfalk is perhaps best known for the work she has done relating to her “Empathics” mythos, which imagines the culture of a society of alien beings who are plant-human hybrids.

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This image is from a commercial for Coke that was produced in part by Luke Rafferty ’16.

Somewhere in Central Kansas, in the middle of a field a few miles off I-70, sits a newly restored barn.

That’s not unusual, considering this is farm country and barns dot the landscape as far as the eye can see. But this barn is different. How it got that way and what took place there, are both a slice of Americana and the story of a lifetime for Luke Rafferty ’16. Rafferty, a student in multimedia photography and design at the and a Remembrance Scholar for the 2015-16 academic year, used the barn as the backdrop for a commercial he produced along with his longtime friend Zach Lowry.

“We set out to create a story about quality, hard work and dreams,” says Rafferty. “We wound up��living��one.”

Luke Rafferty ’16, left, supervises video production for the Coke commercial he produced with his friend Zach Lowry.

The story got its start in the summer of 2014, when Rafferty and Lowry decided they wanted to take their small video production company to the next level, to “get their name out there,” according to Rafferty. The pair wanted to do something both hardy and American, and decided to create a commercial for Coca-Cola, with the commercial taking place in a Midwestern barn. “After all,” he adds, “what’s more hardy and American than the Coke brand and the Midwest?”

Rafferty and Lowry went about the task of locating the perfect barn, looking on places like Google Earth and Pinterest. The process was moving slowly. So one night, Rafferty decided to load up the car in ���ϲ�����, and along with his mom (“she’s always down for a road trip,” says Rafferty) they took off for Illinois. They departed at 7 p.m. on a Wednesday, drove all night, and arrived at 9 a.m. the next day, at which point Luke began the process of locating farms. “Some told me to get lost,” he says, “but others were more welcoming.”

The problem was, Rafferty still wasn’t finding the right fit. On his way back home, he received word from Lowry about an email from the head of the Kansas Barn Alliance, offering help. The call for action drew thousands of responses, including one from Kevin Kirkwood, a man whom Rafferty describes as “someone with the vision to realize the drive and ambition of two college students.”

Luke Rafferty�� with barn owner Kevin Kirkwood, center, and Zach Lowry, right.

From there, the project moved quickly. Kirkwood located a barn in Chapman, Kan., population 1,394. The barn was perfect for the production. Kirkwood contacted the owner, who gave his blessing, but with one caveat: the barn was scheduled for demolition, and the commercial shoot would have to take place�� quickly. Kirkwood quickly assembled a team of helpers (many of them high school friends) that put in 500 man hours to make sure everything looked just right. From there, the video production fell into place.

The commercial tells the story of a grandfather and his grandson who work together restoring an old Ford Mustang found inside the barn, and sharing a Coke while they complete the work. The fruits of their labor can be seen below. But Rafferty says the experience alone was incredibly rewarding, including the warmth of an entire town that embraced the project, even holding a welcome party for the two young men long before the first frame of video was shot.

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While Coke declined to use the commercial on air, the video itself is going viral, with 60,000 views in just one week since it was posted. Rafferty says one reason he believes the video is so popular is because it tells a story. He credits Newhouse Associate Professor Bruce Strong (chair of the multimedia photography and design program) with teaching him the importance of telling a story when approaching a project like this. “It’s what separates something that’s good,” says Rafferty, “from something that’s amazing. The story of our humble production in Kansas last year is one that we will cherish forever.”

As for the barn? It’s staying put. Rafferty says when the owner saw how much restoration work was taking place, he decided he couldn’t go ahead with demolition. If you ever travel to Chapman, Kan., keep an eye out for it. It’s a piece of Americana that will live on, much like Rafferty’s video.

Newhouse graduate students in Corey Takahashi’s “Web, Mobile and Interactive Magazine” class made videos about their lives.

You name it, Newhouse students have written about it: schools, government, trends, the weather, food, music and on and on.

Lately though, assistant magazine and communications professor has been assigning a story topic that for many students is entirely new: themselves. As part of his MAG 500, “Web, Mobile and Interactive Magazine” class, Takahashi assigns the students to produce a one- to three-minute autobiographical video.

The purpose of the assignment is twofold, he says: it forces the students to tell their own story and create a finished product that can be a great marketing tool in the highly competitive job market.

The results are often entertaining, enlightening and engaging, he says. (Watch several examples below.)

“While many students are skilled in telling the stories of others, they’ve rarely produced a story about themselves, with the benefit of constructive feedback from peers and a professor in class,” Takahashi says.

When produced well, a student’s bio video gives potential employers a unique look at the student as a job candidate, and it proves the student has video and storytelling skills. Takahashi requires the assignment of his graduate students and it is an optional makeup assignment for undergrads. He says students usually approach the video first thinking about what’s on their resume. He encourages them to think more about their “whole story” and what narrative can be told in a few minutes.

“What I like about the medium of video is that when you’re writing in text it could always be decontextualized, (an employer) could read only part of the page. But with video, they watch it from beginning to end and they get it in the order that you want it delivered,” he says. “And it can travel across any platform on any device.”

Many students in their videos talk about where they grew up. Others include details about influences in their lives: books, music, art, internships. Takahashi tells students to think about “what would make an interesting conversation if you were having lunch with an editor.” That advice has led students to include their own ukulele music, footage of what growing up in a tough neighborhood looks like and emotional details of a sick parent.

And while the students tend to find the assignment challenging, they come away from the experience with new skills and a video to use in the job market. They learn as much about themselves as Takahashi does, he says.

“It forces students to think about who they are and how they convey themselves verbally,” he says. “They haven’t thought about what special qualities they are bringing to the marketplace. It’s forced introspection delivered in a performative and entertaining video.”

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For more information on language tables at ���ϲ�����, contact .

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“The #NotAskingForIt campaign brings important awareness to the issue of victim blaming,” says Katelyn Cowen, director of the Office of Health Promotion. “The video project reminds us that no matter what you wear, how you act or where you are, no one is asking to be sexually assaulted.”

The #NotAskingForIt video project was initiated by a student at Wesleyan University to bring attention to victim blaming. The video project inspired students at other institutions to create their own videos. You can view the ���ϲ����� “.

In addition to the “#NotAskingForIt” launch party, the Office of Health Promotion, in collaboration with the student-run PR firm, Hill Communications, has organized a number of events, speakers and programs under the newly expanded Got Consent? Be SU.R.E. campaign. The Got Consent? Be SU.R.E. campaign promotes the notion that people should have shared understanding, respect, and enthusiasm before engaging in any sexual activity. View the full .

For questions, please contact Jill Sneider, sexual and relationship violence prevention coordinator, at jasneide@syr.edu or 315.443.7126.

“Black Radical Imagination I & II” is a two-part screening of experimental film and video curated by Erin Christovale and Amir George exploring the aesthetics of afro-futurism and afro-surrealism.

UVP, parent organization Light Work, and the Community Folk Art Center (CFAC) have announced several interrelated, afro-futurist-themed events and exhibitions through March, on the occasion of UVP’s year-long curatorial program “Celestial Navigation: a year into the afro future.” The constellation of programs includes: “Black Radical Imagination I & II” screenings and panel discussions on Feb. 10 at Shemin Auditorium on the University’s main campus and at CFAC; “Jeannette Ehlers: Black Bullets” exhibition from Feb.10-March 28 at UVP Everson; and “Cristina de Middel: The Afronauts” exhibition through Feb. 28 at CFAC. All events are free and open to the public.

Black Radical Imagination I: Screening & Talk
Tuesday, Feb. 10, 2-4 p.m.
Shemin Auditorium, Shaffer Art Building

Black Radical Imagination II: Screening, Talk, & Reception
Tuesday, Feb. 10, 6:30-8:30 p.m.
Community Folk Art Center
805 E. Genesee St., ���ϲ�����

Jeannette Ehlers: Black Bullets
Feb. 10-March 28
Thursday-Saturday, dusk until 11 p.m.
UVP Everson
401 Harrison St., ���ϲ�����

Cristina de Middel: The Afronauts
Jan. 17-Feb. 28
Tuesday-Friday, 10 a.m.-5 p.m.
Saturday, 11 a.m.-5 p.m.
Reception: Jan. 29, 6-8 p.m.
Community Folk Art Center
805 E. Genesee St., ���ϲ�����, N.Y.

‘Black Radical Imagination I & II’

“Black Radical Imagination I & II” is a two-part screening of experimental film and video curated by Erin Christovale and Amir George exploring the aesthetics of afro-futurism and afro-surrealism. The programs feature different lineups, and each is followed by a discussion with the curators. The conversation following “Black Radical Imagination II” will also include artists Ephraim Asili and Lewis Vaughn.

This touring program has visited many prestigious academic institutions, cutting-edge film festivals and contemporary art venues. This event marks the first time this program has been screened in Central New York. Featured artists include Cauleen Smith, Jacolby Satterwhite and de Middel (BRI I); and Terence Nance and Sanford Biggers, Lauren Kelley and Jeannette Ehlers (BRI II), among others.

Cristovale is a curator based in Los Angeles focusing on film/video within the African diaspora. She graduated with a B.A. from the USC School of Cinematic Arts. Cristovale’s exhibition, “,” is currently on view at the MoCADA Museum. She also works with the Native Thinghood collective, which promotes emerging artists of color.

George is a motion picture artist and film curator from Chicago. His video work and curated programs have been screened in festivals and galleries across the U.S., Canada and Europe. In addition to founding the Cinema Culture, a grassroots film programming organization; George was founding programmer of Black Cinema House, a residential cinema space on Chicago’s south side. He currently teaches and produces media with youth throughout Chicago.

“Black Bullets,” is inspired by the Haitian Revolution of 1791, which lead to the creation of the world’s first black republic.

“Black Radical Imagination I & II” is presented in conjunction with the exhibition of “Jeannette Ehlers: Black Bullets” at UVP’s Everson Museum of Art venue and the exhibition of de Middel’s “The Afronauts” at CFAC. For more information and the complete program for each screening, please go to .

‘Jeannette Ehlers: Black Bullets’ at UVP Everson

UVP will present “Jeannette Ehlers: Black Bullets,” on view at UVP Everson every Thursday through Saturday, from dusk to 11 p.m. from Feb. 10-March 28. Ehlers’ haunting 2012 video piece “Black Bullets” is inspired by the Haitian Revolution of 1791, which led to the creation of the world’s first black republic. Filmed on location at La Citadelle in Haiti, the piece is a tribute to the act of revolt. Additional work by Ehlers is featured in the “Black Radical Imagination II” screening and panel talk on Feb. 10 at CFAC.

is based in Copenhagen. A 2006 graduate of the Royal Danish Academy of Fine Arts, she produces works that revolve around the Danish slave trade in the colonial era. She is of Danish and Trinidadian parentage.

Cristina de Middel’s ‘The Afronauts’ at Community Folk Art Center

“The Afronauts” is inspired by Zambia’s short-lived space program.

CFAC, in cooperation with UVP, will present an exhibition of de Middel’s series, “The Afronauts,” from Jan. 17- Feb. 28. “The Afronauts” is inspired by Zambia’s short-lived space program. In 1964, the newly independent nation of Zambia began a space program with the intention of putting the first African on the moon. Though it never received necessary funding, the program—led by eccentric school teacher Edward Makuka—captured the excitement and ambitions of this young country. Using this history as a point of departure, de Middel created “The Afronauts,” a body of artwork including photographs, drawings, video and sculptures. A video by de Middel is featured in the “Black Radical Imagination I” screening and curator talk on Feb. 10 in Shemin Auditorium.

was born in Spain, earned an M.F.A. at the University of Valencia and M.A. in photography from the University of Oklahoma, and is a photojournalist. Her first book and film, “The Afronauts (2012),” received critical acclaim and was named by many as one of the best photobooks of 2012. De Middel is currently based in London.

Co-sponsors

The above events and exhibitions are presented in collaboration with the College of Visual and Performing Arts, Department of Transmedia and the Department of Art’s Visiting Artist Lecture Series; the Community Folk Art Center; and with the generous support of the Humanities Center and the New York State Council on the Arts (NYSA).

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“Accumulations” presents a group of photographs from Simmons’s “Index/ Composition” series. At first glance, the images emerge as a series of complex and abstract sculptural collages. Closer inspection reveals something else: textiles pulled taut over what appears to be a torso, with a barrage of objects hanging from the body. Fabric, a cache of photographic texture and imagery, feathers, palm fronds and other diverse materials tumble across the center of each photograph—composing an explosion referent to the sculptural within the photographic. “Accumulations” works to both obscure and define the formal qualities of photography by using elements of sculpture, assemblage, chance and other methods to produce the works.

“Number Sixteen” is an hour-long, unedited video documenting a performance produced without an audience that engages endurance, abstraction and the energies beneath abstraction. In the video, a vocalist and performer work together in a studio space. The video’s audience becomes witness to a layered convergence: materials and texts, script and chance, sound and image, time and space, the body and its limits. Like the photographic and sculptural works in “Accumulations,” “Number Sixteen” reveals a complex network of accumulated inspirations, cultural allusions and visceral histories.

“Accumulations” will be on view at Light Work from Jan. 12-March 5. “Number Sixteen” will be on view at UVP Everson from Jan. 15-31. Simmons will deliver a formal artist lecture on Tuesday, Jan. 27, at 6:30 p.m. in Watson Auditorium, located in the Menschel Media Center across the hallway from Light Work. This lecture is co-sponsored by the Visiting Artist Lecture Series. A reception and informal gallery talk will take place on Wednesday, Jan. 28, from 5-7 p.m. at Light Work. Refreshments will be served at the reception. All events are free and open to the public.

Simmons received her B.F.A. from Bard College in 2004, after spending two years on a walking pilgrimage retracing the trans-Atlantic slave trade with Buddhist monks. She completed the Whitney Museum’s independent study program in studio art in 2005, while simultaneously completing a two-year actor-training conservatory with the Maggie Flanigan Studio. Simmons has exhibited nationally and internationally. Major exhibitions and performances include the Museum of Modern Art, New York City; MoMA PS1, New York City; the Studio Museum in Harlem; the Contemporary Arts Museum Houston; the Public Art Fund, New York City; David Castillo Gallery, Miami; among many others. Her works are in major museum and private collections, including Deutsche Bank, UBS, the Guggenheim Museum, the Agnes Gund Art Collection, the Museum of Contemporary Art Chicago, the Studio Museum in Harlem, MOCA Miami and the Perez Art Museum, Miami.

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“Shuffle,” the first part of Sanford Biggers’ trilogy, is shown outside the Everson Museum.

“Shuffle” and “Shake” will be exhibited at UVP’s Everson venue, a year-round outdoor projection onto the north facade of the Everson Museum of Art located in downtown ���ϲ�����. The projection runs every Thursday through Saturday from dusk to 11 p.m. As part of the exhibition, Biggers will give an in-person artist talk on Tuesday, Nov. 11, at 6:30 p.m. in the Everson’s Hosmer Auditorium. The talk will be followed by a reception on the plaza. Biggers’ talk is presented in collaboration with the Visiting Artist Lecture Series.

“Shuffle” and “Shake” form the first two parts of Sanford Biggers’ Odyssean trilogy about the formation and dissolution of identity. “Shuffle” explores the struggle between our own perception of self vs. others’ projections onto us. “Shuffle” also examines how we matriculate through society, often masking our insecurities, pain, longing and the internal schizophrenia of the id. The original soundtrack is composed from the artist’s field recordings made in Indonesia. Both videos feature Ricardo Camillo—a Brazil-born, Germany-based choreographer, stuntman, clown and DJ. In “Shake,” the second video of the trilogy, Camillo walks from the favelas (or shantytowns) of Brazil, to the ocean before finally transforming into an androgynous silver-skinned figure. Biggers’ imagery and narrative simultaneously reference Greek mythology and the quintessential afrofutrist aesthetics of Parliament Funkadelic.

Biggers creates artworks that integrate film, video, installation, sculpture, drawing, original music and performance. He intentionally complicates issues such as hip hop, Buddhism, politics, identity and art history in order to offer new perspectives and associations for established symbols. Through a multidisciplinary formal process and a syncretic creative approach, he makes works that are as aesthetically pleasing as they are conceptual.

In “Shake,” the second part of Biggers’ trilogy, the main character walks to the ocean.

Biggers’ recent solo exhibitions include the Brooklyn Museum, Sculpture Center and Mass MoCA. His work has appeared in venues worldwide, including Tate Britain and Tate Modern in London; the Whitney Museum and Studio Museum in Harlem; the Yerba Buena Center for the Arts in San Francisco; and institutions in China, Germany, Hungary, Japan, Poland and Russia. He has been a fellow of the Creative Time Global Residency, the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program and the Skowhegan School of Painting and Sculpture residency. His works are included in the collections of the Museum of Modern Art, Walker Art Center, Whitney Museum, Brooklyn Museum and Bronx Museum. Awards include the American Academy in Berlin Prize, Greenfield Prize, New York City Art Teachers Association Artist-of-the-Year, Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award, the Lambent Fellowship in the Arts and the Pennies From Heaven/ New York Community Trust Award, among many others. Biggers is assistant professor at Columbia University’s Visual Arts program. He is a Los Angeles native, working and living in New York City. For more information, go to .

“Celestial Navigation: a year into the afro future” is a year-long curatorial program applying an afrofuturist lens to art work by established and emerging artists including Isaac Julien, Biggers, Xaviera Simmons, Jeanette Ehlers (as part of “The Black Radical Imagination 2014,” curated by Erin Christovale and Amir George), Cristina de Middel and Cauleen Smith. In addition to the video projection series, this year-long program also includes co-sponsored events and exhibitions with the Community Folk Art Center (CFAC) and Light Work. For more information about forthcoming artist talks, screenings, panel discussions and other events, visit .

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A still from Isaac Julien’s “Western Union: Small Boats (The Leopard)” series

Urban Video Project (UVP) and parent organization Light Work have announced the opening of their 2014-15 programming year with “Western Union: Small Boats (The Leopard)” (2007) by world-renowned visual artist and filmmaker Isaac Julien, from Sept. 11-Oct. 25. This exhibition marks the beginning of “Celestial Navigation: a year into the afro future,” a year-long program of exhibitions and events at Urban Video Project and partner organizations that takes afrofuturism as its point of departure.

“Western Union: Small Boats (The Leopard)” will be exhibited at UVP’s Everson venue, a year-round outdoor projection onto the north facade of the I.M. Pei-designed Everson Museum of Art, overlooking a public plaza and reflecting pool in downtown ���ϲ�����. The projection runs every Thursday-Saturday night from dusk to 11 p.m. during the exhibition.

As part of the exhibition, Julien will give an in-person artist talk on Friday, Oct. 3, at 6:30 p.m. in the Everson’s Hosmer Auditorium, followed by a reception on the plaza. This event will be co-sponsored by the Transmedia Department Film Program.

Julien’s “Western Union: Small Boats (The Leopard)” will be shown as part of UVP from Sept. 11-Oct. 25

“Celestial Navigation: a year into the afro future” will explore the work of major established and emerging artists through an afrofuturist lens, including works by Julien, Sanford Biggers, Xaviera Simmons, Jeanette Ehlers (as part of “The Black Radical Imagination 2014,” curated by Erin Christovale and Amir George), Cristina de Middel and Cauleen Smith. Artist talks, screenings and a panel discussion in spring 2014 will be included in the programming. Partner venues featuring cross-programmed exhibitions include Community Folk Art Center (CFAC) and Light Work.

For more information, go to .

“Western Union: Small Boats (The Leopard),” which premiered at the 67th Venice Film Festival, is a single-channel edit of Julien’s 2007 three-channel piece, “WESTERN UNION: Small Boats.” Shot on 35mm film and transferred to digital video, “WESTERN UNION: Small Boats” forms the final installment of his compelling “Expeditions” trilogy, which also includes “True North” (2004) and “Fantôme Afrique” (2005). The works explore the impact of location—both cultural and physical—to resounding effect through a juxtaposition of opposing global regions.

Expanding on the themes of voyages, excursions and expeditions, “WESTERN UNION: Small Boats” is being produced at a time when advances in global telecommunications and new technologies are continually celebrated. One of the major questions arising from this development is the part individuals may play in this flow of information. Questions surrounding the circulation of human lives, the movements of bodies and their personal stories are timely when immigration policies generate controversy on a daily basis and the relationships between nations are the source of much debate.

“WESTERN UNION: Small Boats” concerns journeys made across the seas of the Mediterranean by so-called “clandestines” who leave Libya, escaping wars and famines. They can be seen as economic migrant workers, along with certain Europeans—“Angels” in Walter Benjamin’s terms—who bear witness to modernity’s failed hopes and dreams, and who now travel across oceanic spaces, some never to arrive or return.

About the Artist

Julien’s film is part of “Celestial Navigation: a year into the afro future”

Julien was born in 1960 in London, where he currently lives and works. While studying painting and fine art film at St. Martin’s School of Art, from which he graduated in 1984, Julien co-founded Sankofa Film and Video Collective, in which he was active from 1983-1992. He was also a founding member of Normal Films in 1991. Julien has taught at Harvard University and Goldsmiths College, University of London, and is currently a faculty member at the Whitney Museum of American Arts; professor of media art at Staatliche Hochschule für Gestaltung Karlsruhe, Germany; and chair of Global Art at University of the Arts London.

Julien first rose to prominence for his feature-length and short-form films and received a Turner Prize nomination in 2001 for “The Long Road to Mazatlán” (1999) and “Vagabondia” (2000). Earlier works include “Frantz Fanon: Black Skin, White Mask” (1996); “Young Soul Rebels” (1991), which was awarded the Semaine de la Critique Prize at the Cannes Film Festival the same year; and the acclaimed poetic documentary “Looking for Langston” (1989), which also won several international awards. More recently, he received a Special Teddy Award at the Berlin International Film Festival for his film on Derek Jarman, called “Derek” (2008), created in collaboration with Tilda Swinton.

Julien’s most recent work has focused on immersive single- and multi-channel video installations. At once minutely detailed and epic in scope, these works constitute layered meditations on the massive social, ecological and economic ramifications of global neoliberalism. Recent audio-visual installation works include “Ten Thousand Waves” (2010), which was shot in China and recently exhibited at the Museum of Modern Art, as well as “Playtime” (2014), an ambitious new body of work exploring the dramatic and nuanced subject of capital, starring an international roster of actors

Julien’s honors and awards include the Performa Award (2008), the prestigious MIT Eugene McDermott Award in the Arts (2001) and the Frameline Lifetime Achievement Award (2002). Most recently, he received the 2014 Golden Gate Persistence of Vision Award from the San Francisco Film Society. Julien has had solo shows at the Pompidou Centre in Paris (2005), MOCA Miami (2005) and, most recently, at SESC Pompeia in Brazil (2012), among others. His film “Ten Thousand Waves” (2010) was on a world tour including 16 countries. His work “Paradise Omeros” was presented as part of Documenta XI in Kassel (2002). Julien is represented in both public and private collections, including the Museum of Modern Art, New York; Tate Modern; Centre Pompidou; Guggenheim Collection; Hirshhorn Collection, Albright-Knox; Goetz Collection; the Louis Vuitton Art Foundation; LUMA Foundation; and the Zeitz Foundation.

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Reporter says, “Returning students will be seeing something new on campus—these signs that provide information about sexual assault, relationship violence, stalking, and harassment—and a new place to turn for help. It’s all part of a larger program that will engage students and bring attention to these issues.”

Katelyn Cowen says, “its one way to reach the students.”

Reporter “Katelyn Cowen is the director of health promotion at ���ϲ�����, where all incoming students will be be taking part in a proactive program involving an important issue going under the microscope at all colleges and universities…sexual assaults and violence.”

Cowen: “We want to provide clear and consistent messaging to our students about the resources available to them, including our sexual and relationship violence response team which is available 24 hours a day, 7 days a week, and is really part of a comprehensive number of resources we have available.”

Reporter: “There are online and in person components to the program, including something called bystander education, teaching students that they should step up and step in if they witness such activity taking place

“and thats part of the training too, how to do this safely, what does intervening looking like? its not necessarily personally stepping in, maybe its making a call to somebody who has expertise and training in that area, like public safety, so it varies by situation, but we give them those skills. There’s also a video that students will be required to watch explaining in real life terms what unacceptable behavior is, and looks like.”

Cowen: “For students the bottom line is that they have clear and consistent information, that they’re aware of the resources available on campus, and that we’re doing really good prevention work with them.”

Reporter: “The goal with all of this—the signs, and the overall program..is to keep students safe, and to give them a clear path to help if it’s needed.”

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Last year’s Urban Cinematheque

This year’s film selection will be Wes Anderson’s art-house smash hit “The Grand Budapest Hotel,” on Friday, Aug. 29, from 7:30-10:30 p.m. Using its extra-large venue high definition projector, UVP will project the film onto the façade of the iconic Everson Museum of Art, making for a spectacular film screening in a venue truly unique to ���ϲ�����.

This year’s Urban Cinematheque boasts over 30 different participating arts and cultural organizations, including Art Rage Gallery, the Everson Museum of Art, 40 Below, Light Work, Point of Contact Gallery, the Redhouse, SU Art Galleries, ���ϲ����� Stage, CNY Arts, Th3, the Delevan Center, SALT Makerspace, the MOST, Landmark Theatre, Salt Market, Echo, Connective Corridor and Urban Video Project, among many others.

Each participating organization will have a representative on hand with information about upcoming events, exhibitions and opportunities to become involved, as well as interactive art experiences for the audience to engage with. Additional planned festivities include multiple (pay) food truck vendors and a DJ’ed pre-show.

The entire event is free and open to the public. Free popcorn and lemonade will be provided. Audience members who are able to do so are advised to bring blankets or portable chairs. Limited seating will be available on a first come, first served basis. Street parking, as well as pay parking lots, are ample in the immediate vicinity.

Charter buses will run every 15 minutes between Schine Student Center (outside the University Place entrance) on the ���ϲ����� campus and the Everson Plaza from 7:30-10:30 p.m. The event may also be accessed for free via the Centro Connective Corridor bus line.

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Here is a transcription of the video:

Professor of Practice Tom Dennison, Lerner Center Director: “We are taking off actually a 15th Monday Mile here in Onondaga County. Monday Mile is one of the campaigns of the Lerner Center’s healthy campaigns, designed to help people start their week, to change their habits, exercise, eating habits, and improve their personal health. The message for Monday Mile, is to move it. It’s an opportunity for people to take some time out of the day, using Monday as a day that many people decide to go on a diet, to begin exercising, or do something which good for themselves. To start a habit hopefully will stay with them rest of the week, that stays with them for rest of life,to keep moving. Because we know that exercise, that movement, has a direct relationship with good health. “

St. Joes President and CEO Kathryn Ruscitto says:
“I think St. Joseph’s believes strongly that improving the community’s health is well health. There is need to start. There is so much we do very well to treat illness. We want to get further upstream and engage with people in the communities in their workplace, to understand all those things we can do to improve health.”

Dennison: “We partner with community agencies like St. Joseph’s hospital to join the Monday Mile campaign. People can take part in Monday Mile regardless of their physical condition. They go through neighborhoods of our partners.”

Ruscitto: “The partnership with ���ϲ����� Lerner center is really become important to us. On a number of different levels, starts to meet Monday back a year ago here, and also partnering west side of ���ϲ�����, and healthy shoppers, around St. Joseph’s healthy center. So try a number of different opportunities to improve health. ”