Class Acts

Faculty Books

What the Luck? Professor Gary Smith Explains the Role of Chance in Everyday Life.

WHAT THE LUCK?

Why does your favorite team have an outstanding season and then struggle to replicate its previous success? You’ll look for all sorts of reasons, but it’s likely just a matter of chance.

According to Professor of Economics Gary Smith, we are hardwired to make sense of the world and underestimate the role of luck in our daily lives. In his new book, What the Luck? The Surprising Role of Chance in Our Everyday Lives, Smith argues that understanding the role of luck through the statistical concept of regression to the mean is the key to realizing that exceptional success is often transitory.

“Whenever there is uncertainty, there is regression. It happens in parenting, education, sports, medicine, business, investing and more. Don’t be misled by chance and surprised by regression,” says Smith.

Smith’s vision for the book began with an academic paper more than 20 years ago. He noticed that sports commentators tend to believe that outstanding performances will continue season after season. When they don’t, the commentators attribute the fall-off to laziness, a lack of focus or a sophomore slump. Along with Teddy Schall ’99, Smith showed that baseball performances regress, in that the top players in any season tend to do not as well the season before or the season after.

What the Luck? lies on two main pillars that explain why even the most skilled and talented will regress toward a norm or midpoint. For example, a student with the ability to average 80 percent on her tests, could score 90 percent on a “lucky” day or a 70 percent on an off day.

Second, of those students who do score 90, most were lucky and therefore won’t do as well on another test of the same material. They will regress. It is a mistake to conclude that the student with the highest score is the best student in the class, and it is a mistake to conclude that she didn’t study as hard when she gets a somewhat lower score on a second test.

According to Smith, the same principles can be applied to professional sports, medicine and investments. When a team wins a championship, we conclude that it is the best team and expect it to keep winning championships. When it does not repeat, we assume that it’s the team’s fault—when it may have been lucky to win in the first place. A doctor who sees a worrisome medical test result assumes the patient is sick and prescribes a treatment. When the patient improves, the doctor assumes that the treatment worked—when the patients may not have been ill in the first place. When a stock goes into the Dow Jones Industrial Average because it has been doing well, investors assume that it will keep doing well. When it doesn’t, investors attribute it to the Curse of the Dow, when the stock may have been lucky before it entered the Dow.

“If instead, we recognize that chance may play a role, we are less likely to overreact,” Smith says, “The champion is not necessarily the best team; the patient’s reading does not necessarily imply disease; and the companies entering the Dow are not necessarily the best investments.”

A prolific writer, Smith is the author of eight textbooks, three trade books, and 80 academic papers. His research interests are financial markets, especially the stock market, and the application of statistical analysis to finance and sports.

—Patricia Zurita


A Gambler’s AnatomyAuthor/Professor Jonathan Lethem Discusses his Writing Process.

HIGH-STAKES WRITING

Bestselling author Professor Jonathan Lethem’s new novel, A Gambler’s Anatomy, is the story of a James Bond-esque international backgammon hustler who believes he is psychic but is sideswiped by the discovery of a tumor in his face. He is then forced to grapple with existential questions, like: Are gamblers being played by life? What if you’re telepathic, but it doesn’t do you any good?

Which raises another question: Why did Lethem, a critically acclaimed novelist and essayist, choose to write about backgammon and gambling?

“I always lean forward when someone in a story or a movie goes to the casino or steps up to the pool table or goes to the online poker game. So, I began by thinking in the simplest way, ‘I want to do that. I want to write a gambling story,’” says Lethem.

Given the high stakes, gambling serves as a rich metaphor for life, he says. “The backgammon board or any kind of gambling arena is a kind of microcosmic world, it intensifies your relationship to life. But it’s also an escape; it’s a bubble you go into; it’s outside of life. While you’re there, everything else disappears,” he says.

And ultimately, life—the house—always wins, he says.

Lethem, whose nine previous books include Motherless Brooklyn and The Fortress of Solitude, is known for his genre mixing and experimentation. He says this book is a more deliberate engagement with genre, classifying A Gambler’s Anatomy as a horror novel, though it doesn’t have the traditional scares. Lethem says he wanted to write a book where the reader can’t take his or her eyes off of the character’s night­marish descent, which is set in Berlin, Singapore and Berkeley.

Lethem’s writing process starts with what he calls “blundering around” and moves to dogged intention. Once he finds a voice that he likes, he works every day. But he says he is not concerned with hours or pages, so as much as with touching the project consistently. When Lethem gets stopped at a crossroads, he says, he will just sit there “staring at the page and tolerating the anxiety.” While so many other writers toss out lots of material and create alternate scenes that don’t end up in their books, Lethem treads carefully. “I try not to put a foot wrong. People sometimes ask you afterwards for the outtakes, asking, ‘Could we publish the deleted scenes?’ And I say, ‘I’m sorry, I don’t really generate those.’ If I’m turning in the wrong direction and it doesn’t please me to write in that mode, I’d rather sit and wait,” he says.

Born into a creative family, as a child Lethem thought about becoming a painter like his father, or a filmmaker or cartoonist. But his mother gave him a typewriter, “which was like ‘Go,’” he says. By the age of 14, the voracious reader announced he wanted to be a writer. His enjoyment of the craft hasn’t dimmed.

“When you begin to break down all the variations that are possible and all the implications of the decisions you’re making at a preconscious level when you write sentences, even in that very basic mode, you can never stop being fascinated by it. I like trying to stay an apprentice to the task.”

Lethem, the College’s Roy E. Disney Professor of Creative Writing, says he finds conversations in the classroom stimulating. “Seeing people trying to enact what they’re dreaming up, what they want to get on the page—trying to close that distance between what you visualize or what you hope your reader will experience and what actually lands on the page—is a very rich and very mysterious area of instability,” Lethem says.

—Sneha Abraham


NOT-S0-GOLDEN HISTORY Professor Char Miller Looks Below the Surface of California’s Ecological History.

NOT-SO-GOLDEN HISTORY

Professor Char Miller’s new book, Not So Golden State: Sustainability vs. the California Dream, is a collection of essays that examine California’s complex and sometimes contentious relationship between nature and humans.

Inspired by his many travels across California’s varied landscapes, and with chapters like “PetroLA,” “Razed Expectations,” and “Strawberry Fields Forever” among others, Miller’s essays give the reader a look into the effects that local, state and federal policies (both good and bad) have had on the natural environment, the impact of recreation on national forests, parks, wildlife and nature refuges, and current efforts to restore what California has lost or is losing.

Covering everything from water politics to wild fires riverbeds and sage and chaparral, Miller nudges the reader to look at the Golden State through a different lens, and Miller hopes, inspire readers to look at, treat and integrate with nature in ways that are beneficial to both humans and the natural environment. In “Razed Expectations,” Miller excoriates the U.S. Army of Engineers for gutting the Sepulveda Basin and the ensuing devastation left on the terrain. In “Water Fights,” he looks at the current battle the city of Claremont is waging to gain local control over water and in “Lesson Learned,” Miller looks at the politicization of wild fires and the cautionary insights gained and soon forgotten from the 2009 Station Fire that burned 160,000 acres of the Angeles National Forest.

“I hope that people reading this start to think about our relationship to nature – and it to us. How do we protect natural habitats, animals, resources, from us?”

“The central argument of the book is that we have agency within the larger world but our actions must be consistent with systems we have to protect the natural environment. The book is an effort to give people a roadmap to act with a kind of grace.”

On field trips with students, and hikes and travels with his wife and on his own, Miller says he gets curious about why things are the way they are and looks to the past to find answers: “My writing is sparked by encounters with a particular place and time in nature that led to thinking about that space in the past.”

A prolific writer, Miller regularly publishes op-eds, blog entries and books on the West and its environmental history.

“Writing is a way of inscribing myself in the landscape and helps make the landscape comprehensible.”

Miller sees his latest book as the end to a trilogy, of sorts, of two earlier collections of essays that are framed by his own westward journey that started out in San Antonio, Texas and takes him through Arizona and ultimately to Claremont, California.

“With Deep in the Heart of San Antonio: Land and Life in South Texas, I am figuring out what’s going on, and On The Edge: Water, Immigration, and Politics in the Southwest is a transitional book that takes me from San Antonio to California. Not So Golden State centers on California but looks east and raises the question about a new world, of where we’re going.”

—Carla Guerrero ’06

Slow Art

Dieric Bouts, Annunciation, J. Paul Getty Museum

Slow art isn’t a collection of aesthetic objects, as you might suppose; rather, it names a dynamic interaction between observer and observed. Artists can create the conditions for slow looking—think of James Turrell ’65 Skyspaces like Pomona’s “Dividing the Light.” But what about viewers? How can we do our share?

In a given year, more Americans visit art museums than attend any one professional sporting event. They want and expect to take pleasure, learn and share positive experiences with each other and perhaps with their children. Too often the result is otherwise. Despite massive arts education programs, many visitors still arrive at a museum feeling confused or disadvantaged about how to navigate the place—where to go first, what to look at in any given gallery, how to connect with what they find. (There is a particular disconnect for people 40 and under, on whom museums will increasingly rely for support.) As a Jeffersonian populist, I believe that everyone who passes through a gallery ought to feel enfranchised. Everybody, I believe, can have meaningful, maybe even transforming experiences looking at artworks. Whether or not we possess any particular talent, training, art education or technical vocabulary, we all bring the sole necessary requirements: a set of eyes and lived experience. The playing field is level. But how to look is not self-evident.

How? My answer will come as no surprise: pacing can make a world of difference. Magic may happen when you give yourself over to the process and attune yourself to the artwork, listen to what it asks from you. “Notice how with two or three lines I’ve made this thatched roof,” says a Rembrandt drawing. “Look at how the shadows under the plane trees turn purple,” says a Van Gogh landscape. Give a painting time to reveal itself, I’ve said, and it turns into a moving picture—the experience can be that eye-opening. Over time, you will perceive more and more elements of the image, things that you literally never saw before. However closely you attend, you will never absorb an object’s every visual detail or nuance. There will always remain more to see. In fact, this inexhaustibility is the sign of art itself.

How, then, to slow down? There are many possibilities, old-fashioned (docent tours, audio guides) and newfangled (smartphone apps, iPads on gallery walls, online learning sources like the Khan Academy). The scores of museum-goers who use them testify to a widespread need for guidance. Each of these options may work. Here, I limit my suggestions to rugged individuals, unwired visitors who follow neither audio tour nor app. Or better, take advantage of any external aid—rent an audio tour because you know nothing about Mughal art—but take time also to shut off the devices and linger.

1 / Believe that you already come equipped with everything you need—those eyes and that life experience. Trust that something surprising can come of the encounter, or simply that the experience might be fun.

2 / Don’t go alone. In another’s company you’ll have more stamina and notice more. (More than three people looking together may prove too many.) Best is a viewing partner who is open-minded, prepared to be patient, receptive to being taken aback. Also, somebody you feel free to disagree with. “Opposition,” said William Blake, “is true friendship.” Some of my best experiences have come out of seeing things differently from my companion.

3 / Remember that museums are like libraries. Why do people assume that they need to look at everything on display in a gallery when they would never pull every book off a shelf? Be selective. Once I interviewed the Metropolitan Museum of Art’s longtime director, Philippe de Montebello. I asked him about navigating art spaces. “My wife loves going to museums with me because I tell her: ‘In this room, we will look at X and Z.’” “If we happen not to be your spouse?” I asked. “Head first to the museum shop. The postcards will tell you which works the place prizes most highly. Second, say you’re in a gallery with many objects clustered together and another given its own vitrine. Choose the latter. Finally, whatever the guards say, you have to get up close.” I would add: start by scanning the room to see if anything calls out to you. Don’t even think about pausing before every object. One or two items in a gallery will be enough or more than enough. Don’t worry if your pick is not among the postcards; trust your taste.

4 / Grant your chosen object time—how much is tricky, I acknow­ledge. If, after a spell, nothing clicks, move on. This is a no-fault game. You are nobody’s student; there are no should’s. Eventually you and your companion will find something that you agree is intriguing, striking, ravishing, perplexing, disturbingly unfamiliar—what that thing is hardly matters.

5 / Now let yourself go. Get close, back up, shift from side to side, squint. Notice the surround: does the installation lighting create hot or dark spots unrelated to the artwork? Let yourself wonder about what might seem trivial. Why do Cézanne’s tables tilt up? Why do mountains look stylized in medieval depictions of deserts? What is that strange detail on the curving side of a glass vase, in a still lifepainting of flowers? Might it be light reflected from a four-paned window in the imaginary room? And why is a caterpillar munching on that leaf? Why does one window in an Edward Hopper painting behave differently from its neighbors? There is no telling where seemingly naïve questions may carry you. Remember that frustration is part and parcel of engaged looking; an artwork that doesn’t offer resistance may not offer much at all.

6 / Let images “tell you” how they want to be seen. In my experience, they will do so if you “listen to them” with patience.

7 / Don’t be in a hurry to speak. Start by letting your eyes wander freely. Then zero in on what seems meaningful, or looks to be part of a pattern, or perhaps is an anomaly. Toggle between focused and unfocused looking. Test what you’ve registered by closing your eyes and asking yourself what you recollect. Then look again to compare.

8/ Don’t screw yourself to the spot. A surefire recipe for distraction is to insist that you concentrate on some work for X minutes. You are sure to chafe. Genuine viewing is always a mix of engagement and withdrawal, and as I’ve said, some degree of boredom is integral to the experience of slow art.

Dieric Bouts, Annunciation, J. Paul Getty Museum

Dieric Bouts, Annunciation, J. Paul Getty Museum

9 / Say you are looking at a Renaissance painting of a sallow-faced woman whose reading has been interrupted by a man with Technicolor wings. It’s enough to begin by attending to the physical details: the crisp folds of the red linen hanging behind the bed, or the mosaic pattern on the floor, which seems to repeat the design of a stained glass window in the recess at the left. Under the bedchamber’s barrel vault a half lunette appears to float above the bed canopy—like a moon, or the book’s open clasp. It’s good to begin in mystery, because not knowing rouses curiosity. Questions prompted by the act of looking motivate us to learn about the image’s content and about its social, aesthetic, political, historical contexts. By contrast, front-loading information—in a slide lecture sandwiched in with a hundred other images—is likely to generate little interest and leave but a fleeting impression. So studies of museum education repeatedly conclude.

Now—and not before—is when the wall label should come into play: what Dieric Bouts painted between 1450 and 1455 is the Annunciation. Wondering what that refers to—I am assuming no specialized knowledge—brings your smartphone app into the picture. You learn that the Angel Gabriel has just told the Virgin Mary—that is, he has announced—that she is to be the mother of God (Luke 1, 31). His message accounts for her expression, a mix of bashfulness (she refuses to return the angel’s gaze), shock, humility and fear that she will not satisfy the job requirements. Perhaps Gabriel’s words also explain the placement of her hands, which simultaneously express astonishment and are about to meet in prayer. Pursuing your inquiry will teach you that the cloth bundled up at the left-hand corner—a gorgeous, realistic, seemingly gratuituous detail—also symbolizes the great event yet to unfold but already being prepared. This bundle is a visible, external double of Mary’s womb. But what of the single pillow propped up on the bed, square between Gabriel and Mary? Another symbol? On the Getty’s website you can see Bouts’ underdrawing, detect traces of animal glue seeping through the linen, and spot vermillion pigment, thanks to X-ray and ultraviolet analysis. Speed and distraction aside, there has never been a better time to look.

10 / You will get better with practice. You and your interlocutor will become comfortable with each other’s rhythms and styles. You will build up categories to scan for: color, composition, mood, atmosphere, form, depth, quality of brushstrokes—fine or broad, insistent or invisible; awkwardnesses, conventional narratives; stylistic changes over time; political controversies. Over time you will amass episodes of close looking and build a mental library of images, a backlog of aesthetic experiences that will serve as points of reference or comparison.

11 / You will experience a range of pleasures: eye-candy, puzzle-solving, meditative or spiritual moments. You will have fun.

 

… she thought she’d somehow only now learned how to look.

—Don DeLillo, The Body Artist

 

Arden Reed is the Arthur M. Dole and Fanny M. Dole Professor of English at Pomona College and author of the forthcoming book, Slow Art: The Experience of Looking, Sacred Images to James Turrell.

New Knowledge

PHYSICS: Professor of Physics David Tanenbaum

Organic Solar

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What was once a rare sight is now becoming more common: solar panels on the roofs of homes across the country. While solar technology has improved and is seeing exponential growth as an industry, Pomona College Professor of Physics David Tanenbaum notes that there are still a few factors limiting production at a mass scale globally. Tanenbaum and his student researchers are working to improve this by focusing on one important factor: the cost of the materials used in producing solar cell panels.

Tanenbaum explains that today’s solar panels, like microchips, are made with silicon, which requires a fairly expensive production process because of factors such as the need for high-temperature processing of high-purity materials. In building solar panels, he says, the difference in cost between silicon and less expensive organic materials is like the cost difference between manufacturing a flat-screen TV and printing ink on paper. Imagine, he says, trying to cover the globe with expensive flat-screen televisions; that’s where solar cell technology is today. Now imagine covering the globe with printed paper and how much cheaper and easier that would be. That’s where he wants to see solar technology go.

To this end, Tanenbaum and his students are making organic solar cells using chemicals like poly(3-hexylthiophene), P3HT for short, or [6,6]-phenyl-C61-butyric acid methyl ester, known as PCBM. They are experimenting with differing materials and processing techniques to make the cells.

“The main thing we want to get out of solar technology is a way to produce electricity. Everyone would benefit from electricity that is carbon neutral, and solar cells require no fuel stock: no gasoline, diesel or nuclear pellets. The sun is out there whether we take advantage of it or not,” he says.

When it comes to solar cell technology, there are three main attributes: efficiency (how good the device is at converting sunlight into energy), production cost (how much it costs to produce cells and panels), and lifetime (how long the device will last).

Current solar technology has good efficiency and a long lifetime, but the challenge still lies in the cost, he says.

“The idea is to bring the cost way down, even if it means the efficiency and lifetime is not so good,” he says. “The efficiency of the solar cell is maybe not perfect, but the reality is there’s not a lot of waste. When you burn diesel fuel or natural gas to make electricity, you produce a lot of waste heat. You’re not wasting anything from the sun, just using a little bit for your advantage. The low cost allows us to displace natural gas, coal, all those things that have issues.

“In the grand scheme of things, we’d like to produce electricity at a low cost and put electricity in isolated places relatively easily. In the U.S. everyone is connected to the electricity grid, but not everyone in the world is. You can’t build a nuclear power plant for a small amount of people, but solar energy can grow with the population.”

Tanenbaum has been working on this particular type of solar cell technology research for about eight years and has had students in the laboratory helping since the beginning.

Sabrina Li ’17, a physics major, and Meily Wu Fung ’18, an environmental analysis major, were summer lab researchers through the Summer Undergraduate Research Program (SURP).

Li has been working with Tanenbaum since her first year at Pomona and is planning a senior project that encapsulates what she’s learned in the lab thus far. “I’m looking at organic solar cells. They’re organic instead of silicon, and I’m looking at trying to optimize efficiency and lifetime.” Li experiments with different materials and processing techniques to make the cells.

This was Wu Fung’s first summer doing research at Pomona. She’s working on testing the aging of cells over time, using cells created over the past three years in the lab that are still working today. “At the end of the day, when we’re done making the cells, it’s really gratifying to measure them and see what’s come of it.”

Tanenbaum is on sabbatical for the 2016–17 academic year, continuing his research on solar cell technology at the Catalan Institute of Nanoscience and Nanotechnology at the Autonomous University of Barcelona.

 

PSYCHOLOGY: Assistant Professor of Psychology Adam Pearson

Not Your Average Online Quiz

pcm-fall2016text39_page_12_image_0003It’s not your typical online poll—the type you find on BuzzFeed to determine which Hogwarts house you’d be sorted into, or what your Game of Thrones name would be. Assistant Professor of Psychology Adam Pearson, along with Princeton social psychologist Sander van der Linden, have developed a series of online surveys for Time magazine to see what Americans think about issues like climate change, gun safety and genetically modified food and how in touch they are with others’ beliefs on these issues.

The first survey was on how different groups feel about gun ownership. It was to be followed by surveys on issues like climate change, evolution, GMO food consumption, vaccination and gun safety.

At the end of each survey, the reader has a chance to see if he or she has accurately assessed how other people feel about the same subjects. The results, says Pearson, can be very surprising.

“Many seemingly intractable social problems come down to a deceptively simple, but quite powerful truth: Social perceptions matter. As adults, we may like to think that peer pressure is something that only kids are susceptible to—that we come to hold the views that we do through logic and reason—but decades of research in social psychology suggest otherwise,” he says.

“We thought this would be a terrific opportunity to test and expand on a well-known set of social psychological effects with a large and diverse sample of Americans,” says Pearson of the partnership with Time. “We know that one of the best predictors of how you’ll feel about an issue is what you think others think about the issue,” he says. For example, people are more inclined to believe in human-caused climate change when they perceive that there is scientific consensus on the subject, regardless of which political party they align with.

“These meta-perceptions or meta-beliefs—what we think others think—matter,” he adds.

One way this shows itself is what is known as the false consensus effect. “We tend to (and often falsely) assume others hold the same beliefs that we do,” says Pearson. “Another effect is called pluralistic ignorance—a tendency to perceive that my private beliefs don’t align with those around me. Both types of perceptions can influence how we behave. If we want to build consensus on issues that are important to us, we first need to accurately understand others’ views. This is especially true for building consensus on contentious and politicized issues, from gun safety to the foods we consume.”

The findings will be used by Time and shared widely after the surveys are concluded. Pearson and van der Linden also plan to use their findings in their research to broaden our understanding of factors that shape public opinion on these issues.

—Carla Guerrero ‘06

New Pomona Faculty

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Every fall, Pomona College welcomes a special group of people to campus: new professors, visiting professors, lecturers and fellows. This year the College has a group of 36, including, from left to right: Back row: O. Maduka Ogba, Robbins postdoctoral fellow in chemistry; Mark Caspary, post-M.F.A. fellow in theatre and dance; Scott Medling, visiting assistant professor of physics and astronomy; Vivek Swaroop Sharma, visiting assistant professor of politics; Peter Andrew Mawhorter, visiting instructor in computer science; second row from back: Robin Melnick, instructor in linguistics and cognitive science; Kimberly Ayers, visiting assistant professor of mathematics; Jill Pace, assistant professor of physical education and women’s basketball coach; Tyler LaPlante, visiting assistant professor of economics; third row from back: Kara Wittman, director of college writing and assistant professor of English; Patricia Blessing, visiting assistant professor of art history; Guadalupe Bacio, assistant professor of psychology and Chicana/o-Latina/o studies; Lei Shao, visiting assistant professor of economics; fourth row from back: Nicole Holliday, Mellon Chau postdoctoral fellow in linguistics and cognitive science; Joanne Nucho, Mellon Chau postdoctoral fellow in anthropology; Carolyn Ratteray , assistant professor of theatre and dance (now tenure-track); Giovanni Ortega, assistant professor of theatre and dance (now tenure-track); and front: Katya Mkrtchyan, visiting instructor in computer science. Not pictured: Nani Agbeli, lecturer in music and director of the West African Music Ensemble; Richard Asante, visiting African scholar in international relations; Martha Bárcenas-Mooradian, lecturer in Romance languages and literatures; Zaylin Cano, lecturer in dance; Brett Hershey, lecturer in theatre and design; Rushaan Kumar, visiting assistant professor of gender and women’s studies; Whitney Mannies, lecturer in politics; Audrey Mayer ’94, lecturer in environmental analysis; Sam Miner ’06, lecturer in mathematics; Claire Nettleton, lecturer in Romance languages and literatures; Alexandria Pivovaroff, lecturer in environmental analysis; Elm Pizarro, lecturer in dance; Meagan Prahl, lecturer in theatre and dance; Andrew Sappey, visiting assistant professor of chemistry; Meghan Sisson, visiting assistant professor of physical education and men’s and women’s swim coach; Corey Sorenson, visiting assistant professor of theatre; Ousmane Traoré, assistant professor of history and Africana studies; and Samira Yamin, lecturer in art.

New Knowledge

PCM-summer2016text58-web2_Page_17_Image_0001BIOLOGY: Assistant Professor of Biology Wallace Meyer

Fireproof Ants

Even a fire won’t keep a good ant down, according to research at the Robert J. Bernard Biological Field Station (BFS) on the effects of fire on ants. But which plants grow back after fire and drought does affect ant communities.

For her senior thesis, Tessa Adams ’16 was interested in determining if the ant community changed as a result of the September 2013 brush fire that charred 17 acres at the field station and The Claremont Colleges North Campus Properties. Expectations were that the effects of fire would be significant, but it turns out ants are a hardy, fireproof lot. Results show that there was minimal immediate and no lasting impact on the species from the fire, says Assistant Professor of Biology Wallace Meyer, director of Bernard Field Station, a preserve maintained by The Claremont Colleges that protects the rare native ecosystem of California sage scrub.

“It seems like ant assemblages can withstand a fire. And it makes sense—they are this super-organism. … Fast-moving hot fires affect the surface; meanwhile the ants are down below,” says Meyer. Plus, “fire is a natural component of the ecosystem.”

However, Meyer says, following a fire, areas of land can potentially convert from native flora—in the case of BFS, California sage scrub—to nonnative grasslands, which do affect whether ants return. (Rest assured, 22 species of ants are still making their home at BFS.) Drought, too, affects whether sage scrub or nonnative grasses grow back and which species of ants make their home in each type of habitat. In fact, Meyer says, drought—while not as manifestly dramatic—is actually a larger stressor than fire.

Meyer believes this research is significant because the effects of fire on anything other than plants and mammals are largely unknown. For purposes of conservation and biodiversity management, it is important to understand these effects, since fire is going to become more common, especially in light of global climate change. Adams’ research findings will be used in conservation management plans not only at BFS, but by managers throughout Southern California.

What are the implications for conservation management? First, as long as native plant communities recover, no action is required, says Meyer. Second, which types of plants grow back favors certain ant species. Third, effects of extreme drought correlated with climate changes are real and felt, making long-term management difficult.

Thanks to her high school AP Environmental Science class, Adams came to Pomona knowing she wanted to do ecology research. She says when she stepped foot into BFS, she was awestruck by the California sage scrub habitat.

Adams’ awe quickly turned into action. Adams started working on arthropod research at BFS as a volunteer her first year at Pomona and continued through the years, setting up research sites, collecting pitfall traps, sorting specimens that were collected—and she started seeing a wide range of arthropods at the station.

“After taking Professor Meyer’s Fire Ecology in Southern California class last spring, I became interested in how fire can shape an ecosystem, and I realized that there is little research on the effect of fire on arthropods. I decided to focus my thesis on the effect of fire on ants because the lifestyle of ants, which live in colonies, has the potential to be greatly affected by fire,” says Adams.

She conducted her research by pitfall trapping. She buried a test tube in the ground, with the lip of it level with the surface of the ground. The tube was filled about halfway with a preservation solution—either ethanol or propylene glycol. As the insects ran along the ground, they fell into the trap, and the collected specimens served as a survey of the insects present in an area.

But why choose ants? Adams points to the creatures as providing crucial ecosystem services that make them important to study because of their broad impact on other organisms and their value in helping to determine ways to conserve the environment they inhabit.

So in other words, remember the old proverb: Go to the ant … consider her ways.

—Sneha Abraham

PCM-summer2016text58-web2_Page_17_Image_0002CHEMISTRY: Professor Roberto Garza-López

Molecular Origami

Pomona College Chemistry Professor Roberto Garza-López and his research colleagues have developed a new model that studies how protein molecules fold and unfold—work that has more than a few national institutes interested in the implications for understanding the development of diseases such as Alzheimer’s disease, Huntington’s disease, Type II diabetes and certain types of cancer.

The research, published in the Journal of Inorganic Biochemistry, looks at the protein called Cytochrome c, focusing on the questions of what happens to this protein’s molecules when they don’t fold properly and how this improper unfolding is linked to cancers and other diseases.

Why does a protein fold and unfold in the first place? Long protein molecules start straight, explains Garza-López, but in order to interact with other molecules, they have to fold. “And they have to fold into a very specific shape,” he says. “If they don’t fold properly, then that’s where negative things occur, especially disease. In the paper we published, we are looking at the opposite effect: we’re looking at the protein that is already folded to see how it unfolds.”

The Howard Hughes Medical Institute (HHMI) and the National Institutes of Health (NIH) are providing funding for further research and are interested in what the team’s findings reveal about the early development of diseases. Garza-López is working with Caltech Professor Harry B. Gray and DePaul University Professor John J. Kozak.

In order to visualize the protein molecule’s many folds, students working in Garza-López’s lab create 3-D structures of some of the proteins, like Cytochrome c (pictured here). “Students are very good with compu­ters, at visualizing molecules and doing calculations, but they’re also very good at visualizing what those calculations are doing to those molecules.”

Sabari Kumar ’17, a chemistry major who is working in Garza-López’s lab, was acknowledged in the published paper and is now studying the folding and unfolding of proteins related to disease by performing molecular dynamics simulations.

The research by Garza-López , Gray and Kozak continues, and they’re already finished with another manuscript looking at another protein called Intelectin-1, a protein of the intestines and lungs that is able to distinguish between human cells and the cells of bacterial invaders. “This could underpin new strategies to fight infections,” says Garza-López. He adds: “Proteins are very complex. We start with a simple model and we do a lot with that model and try to understand new things about it. That’s how science works.”

—Carla Guerrero

Wig Winners for 2016

PCM-summer2016text58-web2_Page_17_Image_0003Each spring, juniors and seniors recognize outstanding Pomona professors by selecting the recipients of the Wig Distinguished Professor Award, the highest honor bestowed on faculty. This year’s recipients are (left to right in the image above):

Pierre Englebert, H. Russell Smith Professor of International Relations and professor of politics, teaches courses like Advanced Questions in African Politics, Comparative Politics of Africa, and Political Economy of Development. He has been at Pomona since 1998, and this is his fourth Wig Award.

Sharon Goto, professor of psychology and Asian American studies, teaches courses including Asian American Psychology, Industrial/Organizational Psychology, and Psych Approaches: Study of People. She has been at Pomona since 1995, and this is her second Wig Award.

April Mayes ’94, associate professor of history, teaches courses on Afro-Latin American History, Gender & Nation: Modern Latin America, and U.S.-Latin American Relations, among others. She is a graduate of Pomona, and has taught here since 2006. This is her first Wig Award.

Kyla Tompkins, associate professor of English and gender & women’s studies, teaches 19th-Century U.S. Women Writers, Literatures of U.S. Imperialism and Advanced Feminist and Queer Theory, among other classes. She has been at Pomona College since 2004, and this is her first Wig Award.

Jonathan Hall, assistant professor of media studies, teaches courses that include Freud, Film, Fantasy; Japanese Film: Canon to Fringe; and Queer Visions/Queer Theory. He has been at Pomona since 2009, and this is his first Wig Award.

Johanna Hardin ’95, professor of mathematics, teaches courses that include Linear Models, Computational Statistics, and 9 out of 10 Seniors Recommend This Freshman Seminar: Statistics in the Real World. A graduate of Pomona, she has taught at Pomona since 2002. This is her first Wig Award.

Michelle Zemel, assistant professor of economics, teaches courses that include Economic Statistics, Advanced Topics in Banking, and Risk Management in Financial Institutions. She has been at Pomona since 2012, and this is her first Wig Award.

Nicole Weekes, professor of neuroscience, teaches The Human Brain: From Cells to Behavior (with Lab), Neuropsychology (with Lab), and Introduction to Psychological Science. She has been at Pomona since 1998, and this is her fourth Wig Award.

New Knowledge

Professor David Martinez in the labTeeny Tiny Immortals

Biology: Professor Daniel Martinez

Providing the strongest evidence to date that some animals have the potential for immortality, new research released in December confirms the tiny hydra does not age and, if kept in ideal conditions, may just live forever.

In a co-authored paper published in the Proceedings of the National Academy of Sciences (PNAS) journal, Pomona College Biology Professor Daniel Martínez caps a decade of research into these centimeter-long freshwater polyps with a knack for longevity.

The paper titled “Constant mortality and fertility over age in Hydra” shows hydra could live in ideal conditions without showing any sign of senescence—the increase in mortality and decline in fertility with age after maturity, which was thought to be inevitable for all multicellular species.

Working with James W. Vaupel of the Max Planck Institute for Demographic Research (MPIDR) in Rostock, Germany, Martínez  duplicated earlier findings regarding hydra immortality, but on a much larger scale. That scale, Martinez says, is key to the study’s significance, along with the fact that the hydra showed constant fertility over time, defying expectations for most organisms.

The latest study took 2,256 hydra from two closely related species and conducted experiments in two laboratories (at Pomona College and the MPIDR) over an eight-year period, doubling the amount of time from Martinez’s previous experiments showing hydra living for four years.

“I do believe that an individual hydra can live forever under the right circumstances,” says Martínez. “The chances of that happening are low because hydra are exposed to the normal dangers of the wild—predation, contamination, diseases. I started my original experiment wanting to prove that hydra could not have escaped aging. My own data has proven me wrong—twice.”

As one of the world’s leading scholars on hydra phylogeny and the evolution of aging, Martínez in 2010 received a $1.2 million grant from the National Institutes of Health for research on the mechanisms underlying lack of senescence in members of the genus Hydra. In 2013, he received a grant from The Immortality Project at UC Riverside to study the implications of hydra’s lifespan on medicine and increasing human longevity.

“Hydras are made of stem cells,” Martínez says. “Most of the hydra’s body is made of stem cells with very few fully differentiated cells. Stem cells have the ability to continually divide, and so a hydra’s body is being constantly renewed. The differentiated cells of the tentacles and the foot are constantly being pushed off the body and replaced with new cells migrating from the body column.”

The project was labor-intensive and, at times, tedious. Each hydra had to be individually fed three times a week. The man-made freshwater in which the hydra lived needed to be changed three times a week. “Many, many hours of work went into this experiment,” says Martínez. “I’m hoping this work helps sparks another scientist to take a deeper look at immortality, perhaps in some other organism that helps bring more light to the mysteries of aging.”

—Carla Guerrero

HurricaneWhat’s in a Name?

Economics: Professor Gary Smith

The study landed just in time for the 2014 hurricane season, and it created quite a weather system of its own.

A team of university researchers had found that female-named hurricanes are deadlier, and they posited that this was due to sexism—people didn’t take hurricanes with female names as seriously. They concluded that changing a severe hurricane’s name from Charley to Eloise “could nearly triple its death toll.”

The findings, published in the Proceedings of the National Academy of Sciences, drew international media attention. They also drew skepticism from some observers and academics who questioned the methodology.

Economics Professor Gary Smith digs more deeply into those doubts in his new paper, “Hurricane Names: A Bunch of Hot Air?,” published in Weather and Climate Extremes. In addition to questioning the methodology, Smith uses new data to provide the most extensive look at the controversial findings so far. Smith finds the hurricane names conclusion is “based in a questionable statistical analysis of a narrowly defined data set” and does not hold up when looking at a more inclusive set of data or at a fresh set of data.

His skepticism was heightened by the study’s conclusion that there is no female-male effect for less severe storms. If the sexism theory is true, he says, it ought to be most apparent for storms of questionable danger.

“It is implausible that an imperiled public’s response to a potential storm of the century—with catastrophic warnings broadcast by news media that feed on sensationalized reporting—depends on whether the name Sandy is perceived to be a feminine or masculine,” notes Smith.

Smith found that the original study’s conclusions depended on the inclusion of pre-1979 data, a period when all tropical storms were given female names. Hurricanes happened to have been stronger during these years and it is likely that infrastructure was weaker and there was less advance warning. It is more scientifically valid to analyze storms since 1979, when weather officials started assigning alternating female and male names before the hurricane season begins.

Smith also found that the statistical analysis was flawed and that the authors estimated at least a dozen models, which he calls a sure sign of tortured data. Smith tried to replicate the original research by 1) looking at a wider set of data and 2) looking at a fresh set of data.

The original study, Smith notes, excluded tropical storms that did not meet the wind-speed threshold to be labeled hurricanes, as well as storms that stayed off the coast and did not make landfall in the U.S. It also excluding deaths that occurred outside the U.S. When a wider set of data is considered, the study’s conclusions don’t hold up, says Smith.

For a second test, Smith looked at Pacific storms—the original research only considered Atlantic storms—and again found no difference in fatalities from female-named and male-named storms.

The Fletcher Jones Professor of Economics at Pomona, Smith teaches finance and statistics and pursues research on topics such as housing prices and stock prices. Author of Standard Deviations: Flawed Assumptions, Tortured Data, and Other Ways to Lie with Statistics, Smith also has a penchant for looking more deeply at implausible research findings, such as the report (published in the British Medical Journal) claiming that Japanese and Chinese Americans are susceptible to heart attacks on the fourth day of every month because in Japanese, Mandarin and Cantonese, the pronunciation of the words for “four” and “death” are very similar.

Smith laments that, “Statistical analyses are indispensable for evaluating competing claims and making good decisions. Unfortunately, the credibility of useful analyses is undermined by studies that torture data.”

—Mark Kendall

Volcano explodingSupervolcanoes

Geology: Professor Eric Grosfils

Almost 10 years ago, Geology Professor Eric Grosfils published a scientific paper on the stability and rupture of small magma reservoirs, challenging the current theory behind what triggers volcanic eruptions. One key finding was that magma buoyancy plays almost no role as a trigger. Grosfils’ research today continues to expand upon that work and influence the field of volcanology.

A new study published in the Journal of Volcanology and Geothermal Research, led by Patricia Gregg of the University of Illinois in collaboration with Grosfils and Shan da Silva from Oregon State University, shows that the same is true for the much larger systems that feed supereruptions.

The long-held idea is that the buoyancy in magma, which has lower density than the rock around it, begins to create pressure and push against the crust until it breaks, permitting magma to move upward and feed an eruption. These pressures, however, contribute in only minor ways relative to other factors. “Buoyancy doesn’t appear to be the trigger for such eruptions as others have argued,” says Grosfils, suggesting that previously identified factors, including external fracturing during roof collapse, remain the critical drivers for supervolcano eruptions. “We know that really big magma bodies accumulating at shallow levels in the crust can feed large explosive eruptions like the past climactic events at Yellowstone or Long Valley,” explains Grosfils. “All of us are interested in discovering what it takes for a system like that, just sitting there happily minding its own business, to begin erupting. What happens in the reservoir and surrounding crust that allows the materials to escape and feed a large, catastrophic volcanic eruption?”

“There are still many aspects to triggering supereruptions that we still do not understand. Our recent investigation helps to rule out one potential eruption triggering mechanism, buoyancy, but there is still a lot of additional work to be done to better constrain the mechanisms that trigger supervolcano eruption,” says Gregg.

Given the additional work left to figure out what sets off supervolcanoes, the opportunities for students to explore and learn are plentiful, and Grosfils’ collaborative nature and mentorship has already inspired some students to continue the work.

Recent Pomona graduate Robby Goldman ’15, is one of those students. He will be working with Gregg the following academic year pursuing volcano dynamic models on a large scale as a graduate student at the University of Illinois Urbana-Champaign’s geodynamics program.

A geology major at Pomona, Goldman worked with Grosfils and another geology student, Jack Albright ’16, on a project modeling magma chambers in three-dimensional space using the finite-element modeling software COMSOL Multiphysics. The goal of that research was to better understand how the formation of large, cauldron-shaped depressions known as calderas, are influenced by pressure changes in the underlying magma chambers. Their research was presented at the annual Lunar and Planetary Science Conference last spring in Houston.

Goldman is now headed to New Zealand on a Fulbright grant to continue his work in an ancient volcanic system, and he says his work with Professor Grosfils directly influenced his decision to apply for the Fulbright grant.

Adds Gregg, “Working with Professor Grosfils is incredibly enriching. His patience and generosity of time, acting as a critical sounding board as we work through the physics and dynamics of our volcano models, makes doing science together fun and exciting.”

—Carla Guerrero

Man of the World

Portrait of Adan Amaya

Adan Amaya knows that to travel the world, you don’t necessarily have to go very far. Known for his outgoing personality, Amaya enjoys meeting students, faculty and staff in his daily rounds with Pomona’s mail services team. And when he’s not delivering the mail, he’s at Oldenborg Dining Hall using his passion for language to travel the world himself.

Born in El Salvador, Amaya moved to San Bernardino 35 years ago. His 20-plus years of experience as cook made it easy to find a position with Scripps dining services in 2007, but he was soon ready for a change. He is now in his eighth year at Pomona, where he exercises his love of language every day at Oldenborg.

“Rita Bashaw [Director, Oldenborg Center] approached me one day and invited me. I really was kind of shy because I don’t have experience being around students, but I said ‘I’ll be there.’ I started going, and after that I liked it. I’m always there, every day.”

Amaya speaks four languages—his native Spanish, English, Greek and Italian—with more to come. On Wednesdays, he’s at the beginner Italian table, while on Thursdays, he goes Greek. He spends the rest of his lunches at the Spanish table, helping beginner and intermediate students with their conversation skills.

“I’m committing myself because I love it; it’s my passion to be there with the students because the students really want to learn Spanish, so I can give them a little motivation to practice and have conversations.”

Even before arriving at Pomona, Amaya was exploring his capacity for languages. His first goal upon coming to the United States from El Salvador was to learn English, but then his language learning took a turn. His cooking experience brought him into work with a Greek family as cook, manager, and eventually supervisor in their southern California restaurants. To advance in the business, he says, it became necessary to learn Greek. Between two trips to Greece (once in 1998 and again in 2000) and 10 years of studying, Amaya has mastered the language.

When he left the restaurant business, he didn’t stop there. “I do speak Italian too, but Italian is easier than Greek,” he says. “Italian is very easy because once you master Spanish, you can go ahead and do Italian.” What’s next for Amaya? French, he reveals, and a little farther down the road, Portuguese. “I always have a little space for learning something,” he adds.

When Adan isn’t traveling the world through language, he’s probably, well, traveling. He makes the trip back home to El Salvador twice a year; he has even brought Pomona students along with him, including a Chinese student he met during his Oldenborg lunches.

“He showed up to the Spanish table with his little Spanish,” recalls Amaya. “I said, Bob, do you really want to master Spanish? In order to do that, you have to put some passion into it. I’ve been seeing his improvement over two years, and he took the courage to go with my family back to El Salvador. That’s one of my greatest experiences.”

From his trips to Greece to his travels around Central and South America, Amaya is no stranger to exploration. His next destination: Roatan Island, Honduras. For someone who naturally likes to wander, he was surprised to discover he feels right at home with Pomona’s mail services team.

“I never thought that I would stay for very long. But since I’ve stayed at Pomona and seen how the environment is related to the work, and how you move around with people, I’ve liked it. I’m going to hang out here at Pomona for a long time.”

What Is the Hive? (And Why Is Everyone Buzzing About It?)

bee hive
Students discuss at a desk at the Hive

Photo by Mark Wood

What is creativity? How does it happen? Is it inborn or can it be taught? How does such an intangible ability—or should I say capacity, quality, or maybe mindset?—fit into the structure of a liberal arts education? The faculty, staff, students and advisors who organized the launch of the new five-college Rick and Susan Sontag Center for Collaborative Creativity this fall don’t pretend to have all the answers, but they do share a strong belief that collaborative and creative thinking across disciplines will be essential to solving the problems of the 21st century.

“There’s already plenty of opportunity for creativity within your discipline,” says Associate Professor of Physics Dwight Whitaker, who, along with Harvey Mudd College Professor of Engineering Patrick Little, is serving as co-director of the Sontag Center until a national search for a permanent director is completed. “If a student is truly passionate about physics, they can get an awesome experience working in our research labs, doing creative, cutting-edge stuff that no one else has done before. They can really develop their creative chops as a physicist. We’re already doing that, and I’m confident every department does that very well.”

What’s missing, he believes, is the opportunity to develop those “creative chops” in collaborative settings that bring together experts from different fields to tackle problems that resist disciplinary definition.

“The really messy, important problems that we face are ones that don’t fit into a discipline,” Whitaker says. “I think if you look at the environment, the really messy problems like end-of-life issues, creating an inclusive space for all Pomona students on a local level, these are not going to have a solution that lies within any department. I think the way that these problems are going to be solved is going to be people with vast expertise truly collaborating, getting in the intellectual muck together and doing the messy business of working out mindsets. Being generative and appreciating that their mindset approaches the problem differently than your mindset. That’s a really hard skill to develop.”

So how do you go about developing the creative skills involved in cross-disciplinary collaborations in an academic setting dominated by its distinct disciplines? That was the problem Rick and Susan Sontag—1964 graduates of Harvey Mudd College and Pomona College, respectively—sought to address with their $25 million gift to create the new center that bears their names.

But that remarkable gift was just the start. To help get this innovative new program off the ground, the colleges turned to design experts Tom Maiorana and Vida Mia Garcia of Red Cover Studios, who devoted a big portion of the last year to helping the center’s planners develop a conceptual framework and bring those concepts to life in the form of actual programming.

The result is a work in progress, but a very busy work in progress. Already nicknamed “The Hive” for the buzz of creative thought and collaborative activity it is designed to foster, the new center occupies renovated spaces inside what was once Pomona’s Seeley G. Mudd Science Library, with Pomona serving as lead campus. A chalkboard sign out front invites passersby inside to see what it’s all about. A new website (creativity.claremont.edu) invites students to: “Take chances. Mix things up. Make mistakes. Learn from them.”

That theme of risk-taking is central to the Hive’s purpose. Garcia says students have heard all the familiar clichés about the importance of exploring fearlessly and learning from failure, but the stakes for students at a place like Pomona are just too high to risk failure in anything that counts. The Hive, she says, offers a place where students can take risks in “a low-stakes way” and develop the kind of intellectual resilience that allows them to see that failure is just part of the learning process.

“Intellectually, they understand that, yeah, sure, you need to fail to learn, but where are they going to do that?” says Garcia. “There are precious few venues for that in life, but especially here at the 5Cs, because everybody is so overachieving and everybody sees that in everybody else. So how do we give them that safe space? We heard that over and again in the student interviews, in the ethnography at the outset, and we wanted to bake that into the ethos of this place.”

Those interviews with students and faculty also brought to light another significant concern: time. “They want chances to explore and fail,” Whitaker says. “They want chances to be experiential rather than just critical and writing papers. But then we also definitely heard from both groups, the students and the faculty alike, that, “Yes, we want to do all that. But we have no time.”

With that in mind, the Sontag Center’s programming has been designed to offer a range of activities, with a sliding scale of time and commitment required—from mini-workshops to pop-up courses, guided explorations and full-credit courses.

“I think there are some people who will make the time, and there are some people who will want to just dip their toes in the water,” Whitaker says. “That’s what the workshops are really good for. I think the hope for those is that it sparks something. If it sparks something, then you will carve out the time and you will make the commitment. But I think unless you get in the door, u unless you start to get exposure to these ideas and these mindsets, you’re never going to carve the time out.”

This year’s mini-workshops have ranged in topic from an introduction to improv theatre to empathetic listening to shoemaking. In the latter, students use plastic wrap, a hair dryer and tape to create a prototype of a shoe. Of course, the final products of that workshop will never make it to the shelves of your local shoestore. In fact, you’d barely recognize most of them as shoes. But that’s not the point.

“There are few disciplines where you are expected, if not required, to be a maker, right?” explains Maiorana. “You’ve got engineering, possibly physics, studio art. So those students are going to have some level of comfort and facility with making. But the vast majority actually might not, or might not do it on a regular basis.”

The point, he says, is to demystify the creative process, which is loaded down with preconceptions and misconceptions, and to give people a taste of what it feels like actually to make something. “It’s really rudimentary, but it doesn’t feel rudimentary,” he adds. “Creating physical objects is a way to have a very visceral experience of the lessons we’re trying to impart.”

However, that example also illustrates one of Whitaker’s concerns, not about the center itself, but about how it might be perceived.

“Prototyping is one of the great tools of designers,” he says. “That’s just one of the great tools of creativity, having an object that you can play with. But the kind of low-resolution prototyping we use is pipe cleaners and construction paper, so definitely there’s a danger that it can look like preschool. People walk in and say, ‘This is an academic center? You’re doing design-thinking? You’re just playing with toys.”

But in truth, the playfulness inherent in the program is an essential part of the design. “One of the challenges we have is that the approaches to creating a new mindset, a creative mindset, tend to involve ignoring the rigor to some degree,” Whitaker says. “Because in that early stage, it’s not about the details yet. It’s about forming the question. So you need to create a generative space where everyone feels valued and all ideas are good before you start critiquing them.”

Rigor comes later in the creative process, and there’s plenty of it to go around at the upper end of that sliding scale of activities, which includes project-based learning. That’s where teams of students and faculty take on daunting problems in the real world, a prospect that Co-Director Patrick Little of Harvey Mudd College finds particularly exciting, both for the experience the students will receive and for the potential to make a real difference in the world.

“One of the open-ended problems we’re just in the process of getting started looking at is reimagining certain parts of the health care experience for patients with cancer,” he says. “And if you think about that, if you put that in any kind of a disciplinary framework, what ends up happening is that you necessarily limit the ways you can imagine that. So if it’s an engineering program, it wouldn’t make sense to talk about this in non-technical solutions, because you’d be moving away from the very thing you’re good at. Or if you were to think of it in the context of a computer science program, you would normally be thinking: ‘How can we provide software or applications?’ The beauty and, I think, the power of the Sontag Center is that it can start by dealing with the question of ‘What are the needs?’ rather than ‘What are our capabilities?’”

It might be surprising to think of college students helping to solve some of the world’s big, messy problems even before they earn their diplomas, but Little thinks they may be particularly well suited to this sort of cross-disciplinary, out-of-the-box thinking. “They haven’t yet been told these problems are beyond them,” he says. “They haven’t yet been told they have to stay in their silo. And as a result—whether you’re talking about something that’s really playful like making shoes or whether you’re talking about something practical, like the work that’s being done right now to reimagine the design of the GIS facility over at the library or whether you ask them about one of these large global problems—they just bring incredible energy.”

As its reputation spreads, the center has also begun to attract groups from across the 5Cs that want to make use of its creative resources and ethos. For instance, Pomona’s Quest Scholars recently met there for a brainstorming session. “We came to the Hive to brainstorm in groups and kind of figure out what we want out of our Resource Center,” says Ashley Land ’16. She goes on to add: “The space is just so great for being creative and being able to take an idea and make something bigger out of it, or take no idea and make an idea.”

Indeed, the ultimate success of the Sontag Center may be the influence it has on the rest of the five campuses. Gail Gallaher ’17 hopes that students will carry a little of the ethos of the Hive back into the rest of their college experience. “You’re always thinking about how you can grow and how you can learn, even from mistakes and failures. You’re not afraid of challenges because you know you’re going to learn from them. I think the whole 5Cs could benefit from that spirit.”

New Knowledge

An orange

Nutritional Prejudice

Is Vitamin C better for you than an orange? Are omega-3 fatty acids more important for your diet than the fish they come from? This may sound like topsy-turvy nutritional logic, but a new study from Cornell University and Pomona College found participants judged individual nutrients as healthier than the whole, natural foods that contain them.

Published in the Journal of Health Psychology, the study by professors Jonathon P. Schuldt of Cornell University and Adam Pearson of Pomona College was sparked after the research partners read Michael Pollan’s book, In Defense of Food, in which the author speculates about an effect he dubs “nutritionism.”

Schuldt and Pearson devised a study to put this idea to the test: Two groups of research participants read an identical description of a moderately-healthy young man, but one group was told he made sure to include a variety of healthy foods in his diet, like bananas, fish, oranges, milk and spinach. For the second group, those foods were replaced with nutrients associated with those foods: potassium, omega-3 fatty acids, vitamin C, calcium and iron.

The group that read about the nutrients considered the man to be at significantly lower risk of developing a number of leading chronic diseases, including heart disease, diabetes, cancer and stroke—and study participants who described themselves as diet-conscious or who had higher SAT/ACT scores were even more inclined to do so. The results aren’t surprising, Pearson said, in a society where people are constantly bombarded with health claims about nutrients and supplements. People who are more diet-conscious may be especially attentive to and influenced by these claims.

“It points to the insidious ways that the marketing of nutritional information can actually be harmful,” Pearson said. “If we are biased toward privileging the low-level properties of a food, we may overlook the many other healthy aspects of eating whole, natural foods.”

City of Trees

A tree

For their capstone project, a group of graduating seniors in Pomona College Professor Char Miller’s Environmental Analysis 190 class went out on a limb last spring and sought to map all of the public trees in the city of Claremont, sometimes called “The City of Trees and Ph.D.s.” The result is a convenient online guide mapping more than 24,000 trees and serving as an educational resource for the community.

Ben Wise of the Tree Action Group of Sustainable Claremont, a local nonprofit, contacted the Environmental Analysis (EA) Program and proposed that a team build a digital inventory and guide to city street trees. Wise’s aim was for people to see a tree in Claremont and then have a way to find out more about it.

So together, Alison Marks ’15, Naomi Bosch ’15, Nadine Lafeber SC ’15 and Sydney Stephenson CMC ’15—with help from geographic information system (GIS) specialist Warren Roberts at Honnold/Mudd Library—developed a website called Claremont Urban Arboretum (claremontsurbanarboretum.wordpress.com ) complete with an interactive GIS map and information on many of the life histories and origins of the tree species lining Claremont streets.

Environmental Analysis majors must complete two capstone projects: one individual and one group. “EA 190 is a group initiative defined by a real client with a real problem that must be resolved by the end of the spring semester,” says Miller, director of the EA Program. The aim is to push students to synthesize all they’ve learned over four years and translate that knowledge into action, he says.

Miller says public awareness about trees is a live issue, especially these days. “Claremont, the self-described City of Trees, has had a long love affair of the arboreal. But the current and crushing drought has made it essential that the community know more about the trees that are rooted into our stony soil,” he says.

Once Upon a Time in the Cambrian

Rendering of Yawunik kootenayi

Once there was a lobster-like predator with two pairs of compound eyes and large, toothed claws that prowled the Cambrian seas. After its death, its fossil lay waiting in a place now known as Marble Canyon—a newly discovered part of the renowned Canadian Burgess Shale deposits—for more than half a billion years before a team of researchers, including Professor of Geology Robert Gaines, brought it to light once more.

In a paper published last spring in the journal Palaeontology, Gaines and his co-authors announced the discovery of this strange new creature, named Yawunik kootenayi. Gaines was also part of the team that discovered the Marble Canyon deposits last year.