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Archives: Portrait of the President as a Young Boy

03-from-the-archivesThis is not how most of us think of Pomona’s third and perhaps best known president, James A. Blaisdell, but like the rest of us, he was once a child, and unlike most of us, he had his likeness recorded at the age of about six in the form of a plaster bust.

Blaisdell would grow up to become a minister, theologian and president of Pomona College from 1910 to 1927. Today he is perhaps best remembered as the principal founder of The Claremont Colleges consortium and the author of the quotes on Pomona’s gates.

The bust, done in the classical style that was popular at the time (including clothing the boy as a child would have been clothed in Greek or Roman times), may have been intended to be cast in bronze, but no one knows whether this was ever done. Dating from around 1873, Blaisdell’s childhood likeness remained in the Blaisdell family until it was donated to the College this year by his great-granddaughter Susan Blaisdell Cornett.

ITEM: Sculpture
DATE: Early 1870s
DESCRIPTION: Plaster bust, 18” x 10.5” x 8”
ORIGIN: Gift from Susan Blaisdell Cornett

If you have an item from Pomona’s history that you would like to see preserved in the Pomona College Archives, please call 909-621-8138.

Oxtoby Memories, Part 5

The story of the Sontag Center for Collaborative Creativity is really the story of how David started out with a dream for The Claremont Colleges, how he managed to inspire a significant donor and how he managed to bring all of the five undergraduate colleges together to make it possible. And to me that’s characteristic of David—he has an end goal in mind; he is willing to take the time and figure out a process that will allow people to buy in; he is willing to enlist help from lots of different sources to get there; and he’s got an enormous amount of patience in seeing the big picture and being able to find a path to the place he wants to get to.

Maria Klawe
President, Harvey Mudd College

 

I’m a big fan of David’s, and one reason is his commitment to the arts. He’s worked really hard over the years to figure out, from a physical plant point of view, how we can do a better job of teaching the arts. Certainly, the Studio Art Hall is one example, and his commitment to building a new art museum is another. I know the time he’s put in—his work with the architects, the late-night hearings and City Council meetings. He’s really put his heart and soul into seeing it forward, so that we can have these gorgeous buildings that will last years and years for thousands of students to experience and appreciate and to learn under those roofs.

Janet Benton ’79
Trustee

 

It was very clear to me from my first interview that David was really deeply involved in this search. You could see in his eyes that he cared a lot about the Sontag Center. Then David called me personally to talk about how it had gone and what the next steps would be, and he spent some time on the phone with me at 9 o’clock on a Saturday night. And when I came back for a full day, he picked me up at the hotel at 7:30 in the morning in his car. Seeing his commitment made a big difference in my interest and appreciation of the job.

Fred Leichter
Founding Director of the Sontag Center for Collaborative Creativity

 

I remember when James Turrell came to campus for the Skyspace project. He looked at the site in the courtyard between Lincoln and Edmunds halls, and then we were up in the conference room talking to David about it, and Turrell was sketching out Skyspace images, and David was really engaged. They started talking about materials and the effect of light and chemical interactions, and Turrell said something about rust, and David said, ‘I’m really interested in rust!’ When I think of David, I think of that conversation—the ability to merge science and the humanities and the arts and to think about things differently and to feed off someone else’s ideas.

Kathleen Howe
Director of the Pomona College Museum of Art

 

Oxtoby Scrapbook

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Giving his inaugural address in October 2003

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Applauding noted CBS anchorman and honorary degree recipient Walter Cronkite during the 2004 Commencement exercise.

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In full gear for one of his beloved long-distance bicycle rides

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Teaching his environmental chemistry class in February 2007

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Helping to assemble “String Theory,” the 2009 artwork-cum-canopy that provides shade for the annual commencement ceremony in Marston Quad

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Talking with students during his daily walk to work from the President’s House in 2009

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Welcoming Native Americans to campus for the first College-hosted powwow in August 2012

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With his wife, Claire, at Trinity College, Cambridge, during his fall 2012 sabbatical

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With Supreme Court Justice Sonia Sotomayor in October 2015

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Raising a toast at the closing celebration for the Daring Minds Campaign in February 2016

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Speaking to the Class of 2020 at the 2016 Convocation

The Oxtoby Years

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2003

The campus is alight on the October evening of Oxtoby’s inauguration as Pomona’s ninth president. Students welcome him from his previous job as dean of physical sciences at the University of Chicago with a party featuring a Chicago-style jazz band and a “Taste of Chicago” fare of hot dogs and deep-dish pizza. The next morning, Oxtoby leads a 10-mile bicycle ride with 40 cyclists, including faculty, students, staff and alumni.

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2004

The Richard C. Seaver Biology Laboratory is completed, providing state-of-the-art research and teaching labs for genetics, cell biology, neurobiology, plant and animal physiology and ecology. The building receives the College’s first LEED certification (silver) from the U.S. Green Building Council.

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2005

“47 Things Every Sagehen Should Do” challenges student to break out of the “Claremont Bubble” and explore the cultural institutions, outdoor recreation opportunities and other resources of Southern California.

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2006

The College’s student-built Organic Farm becomes an official part of campus and part of the Environmental Analysis Program, which offers its first Farms and Gardens class.

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2007

Pomona dedicates the new Lincoln and Edmunds halls, housing the departments of Psychology, Linguistics and Cognitive Science, Computer Science, Geology and Environmental Analysis, as well as three intercollegiate programs—Asian American Studies, Black Studies and Chicano/a Studies. The buildings receive LEED gold certification. In the courtyard, Pomona’s newest work of public art is completed. The LA Times calls “Dividing the Light” (below), a Skyspace by James Turrell ’65, “one of the best works of public art in recent memory.”

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2008

The stock market crash marks the beginning of the worst economic downturn since the Great Depression, and Pomona’s endowment tumbles by about 25 percent. The College freezes salaries and institutes other belt-tightening measures but actually increases funding for financial aid to assist students affected by the events. The College also reaffirms its decision, announced earlier in the year, to no longer include loans in financial aid packages.

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2009

The Office of Community Programs is renamed the Draper Center for Community Partnerships, with plans to expand educational and community outreach, including the College’s long-term commitment to the Pomona College Academy for Youth Success (PAYS).

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2010

The College publicly launches Campaign Pomona: Daring Minds, setting a goal of $250 million. The five-year campaign focuses on raising funds for four main areas: increasing endowed scholarship aid, enhancing teaching and learning, improving critical facilities, and expanding the Annual Fund. Five years later, the campaign closes with more than $316 million raised. (At right, Stewart Smith ’68, one of the campaign co-chairs, at the campaign launch)

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2011

Sontag and Dialynas residence halls open on north campus. The halls, featuring suite-style apartments for about 150 students, are certified LEED Platinum, becoming the first college residence halls in California to achieve that rating and the second such project anywhere in the nation.

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2012

Oxtoby is among 180 influential artists, scientists, scholars, authors and institutional leaders who are inducted into the American Academy of Arts and Sciences.

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2013

Pomona is one of 22 colleges in the country named to The Princeton Review 2014 Green Honor Roll for earning the highest possible score based on its environmentally related practices, policies and academic offerings.

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2014

The College celebrates the opening of its new Studio Art Hall with performances, art activities and installations. The hall replaces Rembrandt Hall, doubling the space for painting, drawing, sculpture, digital arts and photography. The following year, the Studio Art Hall receives LEED Gold certification.

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2015

Founders Day marks the dedication of the rebuilt Millikan Laboratory and renovated Andrew Science Hall with an afternoon of family-oriented events and activities. The Millikan and Andrew buildings, which house the Mathematics, Physics and Astronomy departments, are certified LEED Platinum.

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2016

Plans are announced for a new Pomona College Museum of Art as part of the College’s proposed master plan.

Letter Box

02-letterboxThank you for the faith focus of your summer 2016 issue. It is good to know that, just as in my day, people of faith are being helped by their Pomona education to deepen and integrate their received religious heritages into modern worldviews that will enable them to live creative and fruitful lives.

I do wish, however that the fine interview of Judge Halim Dhanidina had touched upon how his faith as an Ismaili Muslim has served him as a foundation for his commitment to providing equitable justice in these United States.

—The Rev. John-Otto Liljenstolpe ‘62
Seattle, Wash.

***

I just wanted to let you know how much I enjoyed the summer issue. I was a religious studies major at Pomona (featured once myself when I brought a group of Tibetan monks to campus to create a sand mandala), and it was so much fun to read about students and their personal, spiritual and academic journeys. I particularly enjoyed reading about the young man in “The Calling”; he was very inspiring. Now I’m a practicing ob/gyn in a low-resource setting, and the “No Más” article also hit close to home. Well done; I really enjoyed it.

—Kristl Tomlin ’05
Phoenix, Ariz.

***

It is such an honor to have TWO letters from the Class of 1962 in the newest Pomona College Magazine’s “Letter Box” pages. You’ve made my classmates and me very happy.

However, there must have been some sort of glitch in the printing of the magazines sent to the 95120 zip code in San Jose, California. Pages 25 through 40 were missing from the center of the magazine. My San Jose friend from the Class of 1966 showed me her magazine, and it has the very same problems.

On the Class of 1962 listserv I asked my classmates if anyone else was missing magazine pages. Those who replied said that their magazines were fine. One of them, who had finished reading the magazine, mailed it to me, and I will share it with my San Jose friend. It has all of the correct pages and no duplicates.

I was glad to have the complete magazine. Look at what I would have missed:

  • The gorgeous two-page photo of the Pomona Glee Club singing at St. Peter’s in Rome—It bowled me over.
  • The photo of that “youngster,” Deborah Bial, founder of the Posse Foundation—I looked her up. Since 1989 she has identified promising students from urban backgrounds using alternative standards for predicting their success in college. The students are provided with extra support, and the program has an excellent graduation rate. In 2007 she won the MacArthur “genius” grant. In 2010 Barack Obama gave his Nobel Prize money to 10 charities, and the Posse Foundation was one of the 10.
  • The interview with Ashlee Vance, author of a book on Elon Musk—I found the book on Amazon and read several pages. Mr. Vance is a somewhat casual writer, but his stories held my interest. Elon Musk’s Tesla factory is just up the road from my San Jose house. Ordinarily, only customers who have purchased a Tesla can tour the factory, but a friend was able to get our group in. (I’m a Prius owner.) The tour was fascinating.
  • “Fireproof Ants”—What’s not to like about a title like that?
  • “Molecular Origami”—I didn’t realize that protein molecules folded and unfolded, and if they don’t fold properly, they make us sick.
  • Halim Dhanidina, Class of 1994, a judge in Long Beach, CA.—If I had to be in court, I’d want him for my judge.
  • “The Meaning of Emptiness”—Added to my continuing education about Buddhism.

Once again you have given us a splendid magazine. I’m thinking that most college magazines haven’t featured students wrestling with the religious practices with which they had grown up, trying to see if they fit with their college experience. So you’re breaking some new ground there. The photos accompanying those interviews are beautiful.

On page 19, I glanced casually at the photo of Bryan Stevenson and then suddenly realized that I was in the middle of reading his book, Just Mercy, as an assignment for my church women’s class. If the magazine had arrived a month earlier, I wouldn’t have known who he was. What a heart and a mission that man has.

At my 50th reunion we toured the two new dorms and I was charmed by the roof garden on one of them. The magazine shows the garden as a place for meditation (page 12) and as an opportunity to mentor local high school students (page 20).

So, congratulations on another “work of art” in magazine publishing. But let me know if you find out what went wrong with my missing and duplicate pages.

—Bonnie Home ’62
San Jose, Calif.

***

I always look forward to reading each issue of PCM. This last issue—summer 2016, “Keeping the Faith”—holds meaning for me. I thought it especially wonderful to see the Islamic student (Pomona ‘16) on the cover as well as to read what she has to say in the pages inside. I have always felt that all true religions are God-bearing in the light of human hearts. There is something else which spoke to me in particular—namely, her connection to nature. She writes of going up on top of Pomona Hall among birds and clouds. Much of my work as a poet (an Angelean lyric poet) is inseparable from nature-phenomena. So I am especially filled with gratitude for this issue.

—Alan Lindgren ’86
Culver City, Calif.

***

Correction

There was an error in my birth announcement in the most recent issue. My name is Daniel Jones, not David Jones. There was also a punctuation typo—an extraneous period between “and” and “Graeme.”

—Daniel Jones ‘04
Newton, Mass.

***

Alumni, parents and friends are invited to email letters to pcm@pomona.edu or “snail-mail” them to Pomona College Magazine, 550 North College Ave., Claremont, CA 91711. Letters may be edited for length, style and clarity.

36 Hours in the Life of a President

Photos by John Lucas

As David Oxtoby enters his final months before stepping down as president of Pomona College on June 30, 2017, he agreed to allow photographer John Lucas to follow him around over a period of two days in early October to give us a visual record of what the life of a college president is like today. Of course, missing from this 36-hour span, save for a brief roadtrip to Pasadena, is his frequent travel schedule, since we couldn’t very well ask our photographer to take a red-eye to Washington or New York, as Oxtoby has done on so many occasions over the past 13 years. But other than that, Oct. 4 and 5, a Tuesday and a Wednesday, were fairly ordinary days in the life of Pomona’s ninth president.

Day One

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10:34 a.m.

Oxtoby begins his day at a meeting of the Council of Presidents of The Claremont Colleges on the campus of Claremont McKenna College. With plenty of issues that cross the seven campuses to discuss, the group convenes at 8 a.m. and meets throughout the morning.

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12:17 p.m.

During a working lunch, Oxtoby meets with Vice President for Advancement Pamela Besnard to discuss the intinerary for an upcoming trip to South Korea, Singapore and Hong Kong.

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2:26 p.m.

After another meeting, this time with Vice President and Treasurer Karen Sisson, Oxtoby returns to his office to prepare for the next.

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2:43 p.m.

Having already taken part in more than five hours of meetings, Oxtoby takes a short break to join his wife, Claire (background, far left), at Bridges Auditorium and to speak with a group of students as they examine a display about the College’s history of activism, part of the celebration of Founders Day 2016.

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3:01 p.m.

Back at his inner office, Oxtoby makes a scheduled phone call to Chair of the Board of Trustees Sam Glick ’04 to discuss details of the upcoming board meeting.

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4:23 p.m.

Oxtoby returns to Alexander Hall for the next thing on his schedule, a two-hour meeting of the Faculty Personnel Committee.

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5:21 p.m.

His day over, he packs his briefcase and walks two blocks down Indian Hill Boulevard to number 345, otherwise known as the President’s House.

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5:32 p.m.

After exchanging suit and tie for plaid shirt and jeans, Oxtoby checks out the New York Times and discusses the day with his wife, Claire.

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5:45 p.m.

A baseball buff, he turns on the TV to catch part of a playoff game before he and Claire leave to attend a play.

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7:44 p.m.

Claire and David Oxtoby watch a dress rehearsal of a student production of Anton Chekhov’s “The Cherry Orchard” at Seaver Theatre.

Day Two

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7:24 a.m.

The Oxtobys have breakfast together at the President’s House.

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8:08 a.m.

Oxtoby starts his work day at his computer.

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9:23 a.m.

He engages with his vice presidents in key policy discussions at a meeting of Executive Staff.

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12:06 p.m.

Oxtoby convenes a monthly meeting of the faculty and shares his goals for the academic year.

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2:12 p.m.

Oxtoby discusses future plans for the 7-college library (top left) with Vice President and Dean of the Faculty Audrey Bilger and Kevin Mulroy, dean of The Claremont Colleges Library.

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3:10 p.m.

Kathleen Howe, director of the Pomona College Museum of Art, gives the Oxtobys a tour of the museum’s exhibit by Native American artist Rose B. Simpson, titled “Ground.”

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4:14 p.m.

During his regular student office hours, arguably one of his favorite parts of the job, Oxtoby speaks with Maggie Lemons ’17.

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5:22 p.m.

Claire Oxtoby joins her husband to attend a women’s soccer game against the University of La Verne which ends in a 3–0 victory for the Sagehens.

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6:21 p.m.

Evening finds the Oxtobys on Highway 210 to Pasadena.

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7:07 p.m.

In Pasadena, they join trustee Louise Bryson for dinner.

Backstage: Reaping What She Sews

01-backstage-reaping-what-she-sewsSuzanne Schultz Reed’s classroom is not your typical seminar room. Upon entering, visitors are immediately greeted by a costume rack boasting dozens of hangers and garments in various states of completion. Long project tables dominate the open space, ringed by smaller workstations furnished with bright white sewing machines and strips of fabric. The walls are covered in color sketches of period dresses and men’s breeches; visible in the supply cabinets are buckets of buttons and thread and pincushions. Today is Wednesday and the room is uncharacteristically quiet, humming only with the sound of sewing machines and soft conversation between Schultz Reed and her student worker, Amy Griffin (Scripps ’18). “On Fridays, I have six students working in the shop,” Schultz Reed explains. “It’s very social. Everybody’s chatting, everybody’s doing something, music is on. And—” here she grins wickedly—“I bring brownies on Fridays.”

Schultz Reed has been the Pomona Theatre Department’s costume shop manager for nearly 25 years, producing the costumes for every production the department puts on and teaching sewing to her nine to 16 student workers in the process. She has been sewing for over half a century, since learning from her mother, a sewing teacher, at the age of six. Schultz Reed came to Pomona from a freelance stint at South Coast Repertory, a Costa Mesa–based theatre company, after an accomplished career as a freelancer, a costume shop manager at Mount Holyoke College and a costume shop assistant manager for the Atlanta Ballet.

Although she possesses her own extraordinary design skills and has designed one show for Pomona in the past, Schultz Reed prefers working with her hands to making conceptual decisions about how the costumes should look. “When I went to grad school [at UNC Chapel Hill], I discovered that designing wasn’t what I really liked. What I really liked,” she confesses, “was making the stuff. I liked taking somebody else’s vision and turning it into reality.”

Now Schultz Reed takes the renderings of the department’s guest costume designer, Kimberly Aldinger ’11, and finds ways to bring her ideas to life on the stage. This can mean borrowing from other theatres, renting from costume shops or theatre companies, pulling from the department’s stockroom, or building new costumes from scratch. Gesturing to the sketches that decorate the walls, Schultz Reed explains: “Her renderings are my blueprints.”

Those blueprints reflect the fact that the needs of each production are very different. If a production calls for a costume that looks uncommon or serves a scene-specific purpose, it will most likely need to be handmade. “That dress, the pink one,” Schultz Reed says, gesturing to one of the renderings on the wall, “has three tiers of petals that have to come off during the show. There’s no way we’re going to find that, and no way we’re going to borrow it. So we’re going to have to build it.”

The biggest challenge of Schultz Reed’s job is making sure all the building and borrowing gets done in time. “You have to get it done by opening night,” she stresses. “There’s just no way you can fudge that. Tickets are sold; people are coming.” The dress rehearsals are crucial to this process. Often Schultz Reed will come away from the first dress rehearsal with pages of notes and 24 hours to address as many of them as she can before the next dress rehearsal. “In last year’s production of Urinetown, Amy had a fabulous quick change,” she remembers, smiling at her student. “She had to go from a dress and a wig and heels to a full-body black costume with a mask. In 30 seconds! We had to practice that.” Schultz Reed also worked on redesigning elements of the costumes to make the transition easier, such as replacing a real belt buckle with a magnetic replica. Those kinds of adjustments, from hemming dresses to swapping out collars to the rare overhaul and redesign of entire costumes, ensure that the actors aren’t inhibited from giving a great performance.

And while the actors are working hard onstage, Schultz Reed keeps her students working hard offstage. “I teach the basics to those who come in with nothing, and I try to expand the knowledge of those who come in with a lot of sewing experience,” she says. “You can really see their progress, and it’s a life skill that everybody should have— knowing how to sew. And being creative in here works a different part of your brain than traditional studying does.”

Here Amy chimes in, speaking up from behind her sewing machine: “One of the advantages afforded to you in the costume shop is that you get to produce something that isn’t attached to grades. You’re productive, but you’re not productive in a way that’s stressful. It’s about creating.”

Schultz Reed nods emphatically—to her, this job is about her students as much as it is about her own creativity—and adds: “One of my older students was talking to a newcomer and said, ‘Oh, you’ll love it here! It’s like having a sewing class, but you get paid to do it.’” She laughs. “That’s how I feel. You get paid to sew, to learn and to have fun.”

 

 

Picture This

The Class of 2020 gathers on the steps of Carnegie Hall
The Class of 2020 gathers on the steps of Carnegie Hall.

—photo by Jeff Hing

How to Become the Creativity Guru of the 5Cs

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Fred Leichter likes to tell the story of the 2000 election ballot from Dade County, Florida. “It was so poorly designed,” he says, “that an inordinate number of votes that were meant for Gore went to a third-party candidate instead. And that swung the whole election and the presidency to Bush.”

For years, he kept a copy of that ballot on his wall with a note saying “Design matters.”

Today, as the founding director of the Rick and Susan Sontag Center for Collaborative Creativity, Leichter is bringing that message to the students of The Claremont Colleges.

Known as “the Hive,” the center was conceived as a place where students could form creative teams, be intellectually daring and work collaboratively to address complex challenges.

Bringing dynamic experience in fields ranging from higher education to technology, Leichter built his career as a design innovator and executive for Fidelity Investments. As senior vice president for design thinking and innovation at the Boston-based firm, he led teams focusing on user needs and experimenting with ways to speed up innovation.

Along with his Fidelity role, Leichter has served as a lecturer at Stanford University’s Hasso Plattner Institute of Design (commonly known as the d.school), teaching such classes as Designing with Data, Visual Thinking Strategies and Project Joy: Designing Delight into the Workplace. His founding director role at the Hive also includes a faculty appointment as clinical professor of engineering at Harvey Mudd College.

President David Oxtoby said Leichter was chosen for his leadership skills, team-building experience and track record of design innovation. “We are looking to Fred to help spark an environment where students push into new areas, look at problems in fresh ways and seek out surprising solutions.”

The following is a how-to manual in seven parts, tracing Leichter’s path from childhood to the Hive.

1

Grow up a faculty brat at Columbia University. Go to a Waldorf school that emphasizes creativity. Attend Swarthmore, spending a “study abroad” semester at Pomona College. Wish there were such a thing as a computer science major, but since there isn’t, major in math.

2

After graduating, receive two job offers—teaching high school math or becoming a programmer on Wall Street. Choose Wall Street because it cuts “against the grain” of your previous life. Take graduate courses in computer science and spend lots of nights debugging COBOL programs.

3

Meet your future wife, Jennifer, a financial analyst, and when she takes a new job in Boston, abandon Wall Street to join her. Work at a software company until it goes bankrupt, and take away an important lesson: Failure isn’t permanent, and you can learn from it.

4

Get a job at Fidelity Investments and design their first website, with a user interface that is largely unchanged decades later. Learn about human-centered design and begin to think of yourself as a designer at a time when most people think designers are people who sketch clothes.

5

Meet George Kembel and David Kelley, who are launching the d.school at Stanford. When Fidelity sponsors a class at the school, spend time there and bring new ideas back to your firm. Build a state-of-the-art design-thinking lab at Fidelity to focus on innovation from the perspective of unmet human need.

6

Return to the d.school for a full year as a fellow, taking and teaching classes and working on projects for Fidelity. Tell your wife your new dream is to build a creativity program at a small liberal arts college like the one you attended, though the chances of that seem slim.

7

Two years later, learn about the director’s position at the Hive. Though you still love your job at Fidelity, decide that this is the perfect place to pursue your dream. Consult your kids and family and negotiate with the colleges over a great space for the Hive, but ultimately say yes.

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