Blog Articles

Bleeding Pomona Blue

Stewart Smith ’68

Stewart Smith ’68 AS HE RETIRES from the Board of Trustees this spring after a tenure of almost 30 years, including nine years as chair, Stewart Smith ’68 has found himself doing a few calculations. Between his father, the late H. Russell Smith ’36, and himself, he estimates that the Smiths have been active members of the College family—as students, engaged alumni and trustees—for roughly two-thirds of the College’s 130-year existence, including more than half a century with at least one Smith on the Board of Trustees and a grand total of 27 years as chair. And that family history remains open-ended since he’s also the father of two Pomona graduates—Graham ’00 and MacKenzie ’09.

“So it runs really deep in the family,” he notes with a wry smile. “We bleed Pomona blue—there’s no question—and for many, many, many, many decades.”

It’s a connection, however, that almost didn’t happen. “My dad had applied to Pomona, and was admitted, but realized that he could not afford $300 tuition, plus $400 room and board, so he set out to drive to the University of Redlands to accept its offer, which included financial aid,” Smith says. “On the way he stopped at Pomona.  Trustee Clarence Stover happened to be in the Admissions Office at the time, and overheard Dad explaining that he needed to withdraw his application because he couldn’t afford Pomona. On the spot, Mr. Stover offered Dad a job as a carpenter’s assistant and, based on that generosity, Dad entered Pomona.  A lot of things might have been different had this chance encounter not occurred. For example, it was in Claremont several years later that Dad met R. Stanton Avery ’32, and one consequence of that partnership is the Smith Campus Center.”

It’s perhaps ironic that Smith will be the first trustee to leave the board because of the mandatory term limits that he proposed and succeeded in passing some years ago—but he also believes it is fitting. When asked how he feels about leaving the board after so many years of service, he quotes Pomona’s seventh president, David Alexander: “The essence of Pomona College is constant renewal.”

It’s a perspective, he believes, that comes with the long view of Pomona’s history that he’s been privileged to gain over the years. “We come here. We do the best we can for the College. We try to provide it with additional resources and improve it in whatever ways we can. And then the wheel turns, and we move on. And others now, other very competent trustees are in place. And it’s a process that is far bigger than any one trustee, even with 30 years of service.”

While he was growing up, Smith was aware of his dad’s deep affection for his alma mater, but he says he never felt any pressure to attend Pomona himself. In 1964, however, after a visit to campus, he decided to apply for early admission. “I can’t remember any thought process I had at the time,” he says. “It just sort of happened.”

But he has much clearer memories of what happened after he arrived. “I’m an example of someone who was an insecure high school student when I came here, and I was able to find outlets,” he says. “I was class president and chair of the student court and some things that I wouldn’t have thought were in my wheelhouse coming into college. And I graduated with considerably more self-confidence and self-assurance, as well as a very good education.”

In particular, he remembers how Professor of Politics Hans Palmer, now emeritus, took him aside and pushed him to do his best. “He wasn’t letting me off the hook—a B-plus wasn’t good enough if I could do better—and that was one of the best things that could have happened to me,” he recalls. “I ended up realizing that I had an obligation to myself—if I’m going to spend the money to come to Pomona, I should maximize what I get out of it.”

It was after graduation, when he went on to Harvard Law School, that Smith would realize just how much he had gotten out of his Pomona education. “It boosted me on to a really great law school where I found the work to be less intensive than it was here at the College,” he explains. “So I certainly did well there, and it’s also served me throughout my life.”

In fact, looking back, he attributes his extensive volunteer service in a number of wide-ranging fields to the breadth of his Pomona education. Pomona, he says, left him conversant and interested in a variety of areas beyond his economics major or his law degree. “I’ve served as chair of an art museum, a college, a university library, chair of the Huntington Library,” he says. “I’m on the board of a dance company and a theatre company. I was president of a children’s museum and of the Little League. I’m missing a couple, but the point is that they’re varied. It’s a perfect example of the liberal arts making everything more interesting throughout your life.”

He doesn’t recall who asked him to join Pomona’s Board of Trustees in 1988, but he assumes it must have been President Alexander. What he does remember clearly is that he was “flabbergasted that they would ask me to do such a thing. I’d been involved in Torchbearers and so forth, but I didn’t think of myself as a trustee. But I instantly accepted. And I’ve certainly never regretted it.”

During the ensuing three decades, he’s seen lots of changes, not only at the College but on the board itself. “The board used to meet downtown,” he recalls. “We met 10 times a year—eight of them not on campus. Now we always meet here on campus. Somehow, just that change seems symbolic—that this is really all about the College and how we’re doing, rather than having trustees off in their own world.”

Asked what he’s proudest of from those years, he pauses to think. “The things that jump out at me are the truly transformational activities that the board was able to support,” he says finally. “Policies on diversity and sustainability, for example. Or on accessibility to the College and the financial resources to ensure that, like the no-loan policy. Or the decision that faculty salaries should be competitive with the best in the country. Or decisions around the endowment—our role was just supportive, but the growth of the endowment has been impressive. I think it was $230-something million when I joined the board, and today it’s over two billion and obviously has helped bring the College to the very forefront.”

Most recently, Smith helped add to that total as chair of the highly successful Daring Minds Campaign, which concluded at the end of 2015 with a total of more than $316 million raised.

During those 30 years, he’s worked with only three presidents—two of whom he helped to hire. “That was a particular privilege,” he says, to have the opportunity to participate in those two searches. And we came up with two really great presidents, I believe, so it was all quite worthwhile.”

On a more personal note, he remembers the pride and pleasure he took in presenting two of his children with their Pomona College diplomas, though he also recalls some nervous moments leading up to those events. “One of the roles of the board chair here, unlike many other institutions, is to personally sign every diploma,” he says with a laugh. “And in the early days, we used a fountain pen, or kind of a quill pen. And when you’re not used to using that kind of pen, it can be very difficult. You would get halfway through somebody’s name, and it would run out of ink. Or you had too much ink, and it would get really bloody. And you’ve got 300 of these to sign. So when I got to sign my son’s diploma, I was a nervous wreck. I’m sitting and I’m looking—‘Graham Russell Smith’—and I somehow have to sign with this pen with just the right amount of ink and without my hand quivering and so forth. So when my daughter came through, I resolved that I would just sign them and I wouldn’t look at the names so that when I signed hers, I wouldn’t be aware that I was about to sign my daughter’s diploma.”

The story also prompts a confession from an earlier phase in his life. “When I graduated from Pomona,” he says, “the board chair was—who? I’ve forgotten. But it wasn’t my dad. But several years later, he became board chair, and so—I’m ’fessing up here—I informed the College that I had lost my diploma. I hadn’t, actually, but I said I had and asked if I could have another one. They said, ‘Of course—we have a procedure for that.’ And so, I ended up with a diploma signed by my father, and it’s hanging on the wall of my office. If you were to open the frame of the picture, you would find behind it my actual, original diploma, but the one that you can see is the one signed by H. Russell Smith.”

Excerpt From Episode 2: When Carnegie Was Bombed

Special hand-drawn TSL after the Carnegie bombing in 1969

Special hand-headlined TSL after the Carnegie bombing in 1969

Tidmarsh: “… The bomb was placed in Government Professor Lee [’48] McDonald’s mailbox, which led some to question whether the bomber was targeting him directly. Claire McDonald, Lee’s wife and a Pomona alum from 1947, remembers how scary of a time it was for them.”

Claire McDonald: “Lee called me and said there was bombing going on at his office, and I was to be careful and stay in the house. And the kids were to stay in the house. So we were immediately scared. And I called up my daughter, and she and her husband joined us, and we had a very bad night. Every car that went by, we wondered if they were going to throw a bomb at us.”

Tidmarsh: “Professor McDonald was known on campus for being an opponent of the Vietnam War and an ally for the student protesters. However, Professor McDonald was told by law enforcement, and believes to this day, that it was completely random that the bomb was placed in his mailbox. He told us that the bomb wasn’t addressed to him in particular.”

Lee McDonald: “The mail, all the faculty mailboxes were adjacent to the staircase that goes from the lobby of Carnegie down to the first floor. And the mail is usually delivered in the morning. Our secretary for what was then the Government Department just happened to be coming up the stairs in the—guess it was around four o’clock. I’m not exactly sure of the hour. And she saw this shoebox, wrapped in brown paper, in my mailbox. It was a good question, why it was in my mailbox, but I think the ultimate conclusion of everybody was that if a person was running up the stairs, or in a hurry up the stairs, this was the box on the bottom level of all of the boxes and right in the middle. And that would have been the easiest place to quickly place the bomb.”

Desai: “About 40 seconds before the bombing in Carnegie, an identical bomb exploded in a women’s bathroom in the basement of Scripps College’s Balch Auditorium. While no one was injured, the windows were blown out, and the building needed a lot of repairs.”

Lee McDonald: “I also remember that it was Tom Brokaw, who was a pretty well-known NBC reporter for the rest of his life—[he] was a local reporter for the local NBC station in Los Angeles, and he came out and interviewed me. We stood in the Quad.”

Desai: “It’s worth noting that Pomona and Scripps weren’t the only colleges that this happened to. In the late ’60s and early ’70s, college campuses across the nation were bombed. Just in California, San Francisco State University and Southwest College were bombed within a couple of weeks of the Claremont bombing. In 1970, a bomb at the University of Wisconsin, Madison, killed a physics professor and injured three others. The Department of Commerce and the Portland, Ore., City Hall were also bombed. While some remain unsolved, most of the bombings that were prosecuted were tied to statements against the war in Vietnam.”

Tidmarsh: “At Pomona College and across the nation, protests erupted over the Vietnam War and racial justice. It was a tense and tumultuous time that disrupted the status quo in idyllic Claremont. …”

This entire episode is available for download at soundcloud.com, iTunes or Google Play.

New Knowledge

Thinking in Black and WhitePSYCHOLOGY: Assistant Professor Ajay Satpute

Thinking in Black and White

When people are asked to describe their emotions in black and white terms, it actually changes the way they feel, according to a new study published in the journal Psychological SCIENCE by lead author Ajay Satpute, assistant professor of psychology at Pomona College, and principal investigator Kevin Ochsner, professor of psychology at Columbia University. Given only two extreme answers to choose from with no gray area to ponder, participants’ feelings in turn shifted to whichever extreme they were hovering closest to. The research has implications for everything from the legal system to daily social interactions.

To function in society, it is important for people to be able to perceive and understand emotional experiences—both internally (for example perceiving if you are feeling good or bad) and externally (perceiving if someone else is feeling calm or angry). This emotion perception helps inform our decisions and actions. And according to Satpute, that emotion perception is actually changed when we’re nudged to think categorically.

“If you think about your emotions in black and white terms, you’re more prone to feeling emotions that are consistent with the category you select,” says Satpute. “Extreme thinking about emotions leads to emotions that are more likely to be extreme.”

In one experiment, participants were asked to judge photographs of facial expressions that were morphed from calm to fearful in two ways. In one set of trials, participants had to choose either ‘calm’ or ‘fearful’ to describe each facial expression. In the second set of trials, participants had a continuous range, with ‘calm’ and ‘fearful’ as anchors on a graded scale. Results indicated that categorical thinking (either calm or fearful) shifted the threshold for perceiving fear or calm. In essence, when a person has to think about something categorically it changes how they feel about it—pushing them over the edge, in a manner of speaking—if they didn’t have strong feelings about it beforehand. These shifts correlated with neural activity in the amygdala and the insula, parts of the brain that are considered important for orienting attention to emotionally salient information and responding accordingly.

“While these findings were observed when judging another person’s emotions, they were reproduced in a second study in which participants judged their own feelings in response to aversive graphic photographs,” Satpute explains. “So black and white thinking not only affects how you perceive others’ emotions, but also how you perceive your own.

“You could think of it from an optimism perspective but with a twist,” he adds. “Our results suggest that if you say that the glass is half empty, the water may actually lower, so to speak.”

He explains further in his paper, “Our findings suggest that categorical judgments—especially when made about people, behaviors, or options that fall in the gray zone—may change our perception and mental representation of these targets to be consistent with the category selected.”

Consider a juror who must decide whether a police officer on trial acted out of fear or anger when shooting a suspect. Such a judgment involves thinking about emotions in “black and white” terms rather than in shades of gray. Evidence presented in a trial will lead the juror to make a determination: Did the officer act out of anger or objectively reasonable fear? (Fear of imminent threat to their life or others’ lives or serious bodily harm?) The categorical nature of the decision helps determine how justice is meted out.

Or think of faces. They move in gradations, says Satpute, but people typically talk about these expressions in categorical terms, calling them expressions of “fear” or “calm,” for instance. Similarly, when people perceive their own emotions, their bodily signals may vary continuously, but they often talk about feeling “good” or “bad.”

For a lighter example, consider the 2015 computer-animated movie Inside Out. In the film, each emotion is personified into a character: Joy, Sadness, Anger, Fear and Disgust. There is little room for gray areas—hardly any mixing of emotions—the protagonist is either sad, angry, fearful or happy. The film effectively makes young viewers think about emotions categorically, and thus, may change how they experience emotions.

Satpute is a psychologist and neuroscientist studying the neural basis of emotion and social perception. His research is focused on revealing how people categorize subjective experiences, particularly evaluative categories like good and bad or hedonic categories like pleasant and unpleasant or emotions such as fear, anger or happiness. A long-term goal of his work is to use neuroscience to enable predictions for the kinds of categories people use to describe experience.


Associate Professor Tomás Summers SandovalHISTORY AND CHICANA/0 LATINA/0 STUDIES: Associate Professor Tomás Summers Sandoval

Vietnam Veteranos

Pomona College Associate Professor of History and Chicana/o Latina/o Studies Tomás Summers Sandoval is working to bring the stories of Latino veterans of the Vietnam War to the stage. The project is a continuation of his multi-year research, collecting and documenting oral histories of the veterans and their families. Summers Sandoval is one of eight humanities scholars from across the country awarded a 2017 Whiting Public Engagement Fellowship. The $50,000 grant will fund “Vietnam Veteranos,” his storytelling theatre project to premiere in spring 2018.

The Whiting Public Engagement Fellowship is a new humanities program for faculty members pursuing projects to engage directly with the public beyond the academy.

“Vietnam Veteranos: Latino Testimonies of the War” takes root from Summers Sandoval’s previous research documenting the oral histories of local Latino veterans who served in the Vietnam War.

This new project centers on the oral histories of these veterans that have been curated by Summers Sandoval. The oral histories will be presented as a staged performance read by some of the veterans themselves as individual historical monologues, also known as “testimonios” in Spanish.

“I feel honored to receive the support of the Whiting Foundation. It’s a humbling thing for me to be part of a cohort of such amazing and engaged scholars,” he says.

Summers Sandoval has worked on the topic of Latinos and the Vietnam War since 2011 and is currently working on a book that delves into the social history of the “brown baby boom” and how the war in Vietnam serves as a prism into the experiences of Latino veterans in the 20th-century U.S. “This project is based on that work, an opportunity for me to connect people to this history in an accessible way as well as a deeply personal one,” he says.

The project “Vietnam Veteranos” will also draw from the expertise and support of Rose Portillo ’75, lecturer in theatre and dance at Pomona (see story on page 42). As a collaborator on the project, Portillo will draw from her experience translating oral histories into theatrical monologues. She will also direct the production and oversee a team of professional actors to serve as coaches for the veterans.

The performance will be staged at Pomona College’s Seaver Theatre and an East Los Angeles-based venue in spring 2018. In addition, Summers Sandoval plans to produce a video and accompanying print and digital publication to be shared with a wider audience.

The topic of the Vietnam War is more than academic for Summers Sandoval, who also serves as chair of Pomona’s History Department.

“My father is a Vietnam veteran,” he says. “His brother, my uncle, are Vietnam veterans. Most of the males I knew growing up were also Vietnam veterans. This work is deeply personal for me. In many ways, it’s a way for me to bring my skills as a historian to better understand not only why Latinos made up such a significant share of the combat troops in Southeast Asia but, as important, how the war framed a long-term impact on their lives and the lives of their communities.

“At a moment when political leaders portray Latinos in the United States as criminals, and as economic and cultural threats, I hope work like mine can serve a purpose,” he adds. On one level, histories like these humanize Latinas and Latinos. It’s both troubling and sad that this is even a need in the 21st century, but it is. The humanities help us understand people within the context of their own complex lives, filled with hopes and desires as well as struggles and contradictions.

“I hope my work presents this generation in this way, as human beings seeking lives of dignity. Perhaps more importantly, Latinas and Latinos represent the future military personnel of the United States. Because of that, I think it’s vital for us all to recognize and better understand the enduring impacts of both military service and war.”

In the past five years, Summers Sandoval has collected more than 50 oral histories of Latino veterans of the Vietnam War and their families. Two years ago, he received a $10,000 grant from the Cal Humanities California Documentary Project for a youth-centered, community history project in partnership with The dA Center for the Arts in downtown Pomona, Calif. The project trained local youth and Pomona College students to conduct oral histories of local Latino veterans and their families.

A free exhibition of that earlier project, “Voices Veteranos: Mexican America and the Legacy of Vietnam 2017,” was to run from March 11 through April 15 at The dA Center for the Arts in downtown Pomona.

Excerpt From Episode 3: The Place Below Snowy Mountain

Cahuilla HarvestDesai: “… By the time that some of the early founders of Pomona College arrived in Claremont, much of the Tongva population had been decimated by a major smallpox outbreak in 1862, a generation before the College’s founding. After the outbreak, the population of the Tongva in the area fell to around 4,000, a fraction of what it once was. When the founders of the College actually came to Claremont, there was barely a trace of the original people.”

Tidmarsh: “The accounts of interactions between the Pomona students and Native Americans around this time are tantalizingly sparse. In an account of Pomona’s history, Charles Sumner wrote that, in 1913, quote, ‘a party of wild Indians, fittingly mounted, invaded the town soon after daybreak, racing through the streets, brandishing their weapons and giving the war whoop at every turn.’ It would be great to have more context or information or anything about this event, but it’s all that Sumner mentions. We’re left to guess what happened that day.”

Desai: “One of the most enduring legacies of the interaction between early Pomona people and the Native Americans of the area is the song ‘Torchbearers.’ Originally titled ‘Ghost Dance,’ the song was written in 1890, and it’s been performed countless times in a million different versions since then.”

Tidmarsh: “The story goes like this. Frank Brackett, an astronomy professor, went with David Barrows, a student at the time who was interested in the local tribes. They went away off campus to the San Jacinto Mountains, around where the town of Idyllwild is today. This land belonged to the Cahuilla people, who’d lived in that area for thousands of years. Brackett and Barrows ostensibly went up there to observe the native people, and the two wrote down what they could remember of the Cahuilla dance that they’d observed. At a college celebration soon after, they broke into the chant they’d half-remembered, but it was a huge hit. Someone wrote words, and another person a melody. The finished product was titled ‘Ghost Dance,’ and before anyone knew it, Barrows’ and Brackett’s trip up to the mountains was memorialized. And it was apparently quite the sensation among Pomona students at the time. Some archival photos show members of Pomona’s Glee Club performing the song dressed in white robes, dancing around a mock-up of a ritual fire.”

Desai: “Fun fact: Barrows went on to become the first person to receive a Ph.D. in anthropology from the University of Chicago, and eventually he became the president of the University of California system. A lot of his work as an anthropologist had to do with Native Americans. His doctoral dissertation was titled ‘The Ethnobotany of the Cahuilla Indians of Southern California,’ and he conducted his research by returning to Southern California for the summer. So his relationship with the tribes of Southern California wasn’t just some passing craze.”

Tidmarsh: “That being said, though, he and Brackett got a number of facts wrong. For one, they interpreted the Cahuilla dance as warlike, and the lyrics reference ‘Indian maids and warriors.’ But they were just completely off base with this. It wasn’t a war dance at all, like they assumed. An article in the Pomona magazine recounting their trip noted that the shaman who was leading the dance was advocating for racial harmony. It was a peaceful dance. In its original incarnation, the song also included bits of nonsense words that were supposed to approximate the Cahuilla language, but neither Brackett nor Barrows spoke the Cahuilla language at the time, so they did the best they could to transcribe the refrain they heard at the dance. ‘He ne terra toma’ is what they ended up with, but no one’s been able to say for sure what these nonsense syllables were actually supposed to mean. …”

This entire episode is available for download at soundcloud.com, iTunes or Google Play.

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.

Bulletin Board

Winter Break Party in San Francisco

Winter Break Party in San Francisco

Winter Break Party in Los Angeles

Winter Break Party in Los Angeles

Winter Break Parties
20+ Years of Sagehen Spirit

Sagehens have been flocking to Winter Break Parties since at least 1994. In January, more than 700 alumni and guests braved winter weather in Chicago, Los Angeles, New York City, San Diego, San Francisco, Seattle and Washington, D.C., to take part in the 2017 edition of this favorite tradition.

Frank Albinder ’80, host of this year’s party in D.C., offers Sagehen friends who could not attend a peek into a party:

Where was the reception held? “In the Billiards Room of a historic D.C. apartment building. A friend of mine lives there and arranges for us to use the space every year. I’d say there were about 50 of us this year.”

And there were snacks? “Oh yes. The reception was a Costco special—all your favorite snacks from a company founded by a Pomona alumnus. Everything from giant cheese wedges to giant cookies, giant bags of chocolate, giant chips and salsa, and other large-sized treats.”

A few favorite memories of the evening? “Hearing news from the Pomona campus was great. It was also fun to discover that a recent Pomona alumna had moved into the same building where we held the party just a couple weeks before the reception. I told her she’s in charge next year.”

To be sure you hear about Winter Break Parties and other Pomona events near you, update your contact information at pomona.edu/alumniupdate.


Countdown to Alumni Weekend 2017

Campus is buzzing with prep­arations to celebrate this year’s reunion classes (and welcome alumni of all classes back to Claremont) for the party of the year: Alumni Weekend, April 27-30, 2017. Online registration is open through April 15 at pomona.edu/alumniweekend and on site during Alumni Weekend. Don’t miss this chance to tour new buildings, enjoy a Coop shake on the Quad, attend lectures and performances, catch up with friends and professors and slap Cecil a high five.


Hundreds of Sagehens Rally in Support of DACA-mented and Undocumented Students

Since President Oxtoby published his “Statement in Support of the DACA Program and our Undocumented Immigrant Students” in November, hundreds of Sagehen alumni and families have reached out to the College to support Pomona’s own DACA-mented and undocumented students.

Here are two ways you can make a difference in the lives of these students right now:

  • Make a contribution to the Student Emergency Grant Fund. Every dollar you donate goes directly to students who request funds, including students with emergency needs associated with immigration (immigration fees or legal resources, responding to family emergencies, etc.). To join the 296 members of the Pomona community who have supported this critical fund since November, visit pomona.edu/give and select “Student Emergency Grant Fund” from the designation menu.
  • If you have legal expertise related to immigration, join the resource network of Pomona alumni who are offering pro-bono legal services to students with urgent immigration-related needs. The network, comprised of nearly three dozen alumni so far, is coordinated by Dean of Students Miriam Feldblum; Paula Gonzalez ’95, an immigration lawyer based in San Diego; and Derek Ishikawa ’01 of Hirschfeld Kraemer LLP, the College’s legal counsel, which is also providing pro-bono services related to this community effort. To join the network, email RSVPStudentAffairs@pomona.edu and include (1) your contact information and current company/organization information, (2) your legal specialty or focus and (3) your availability.

Oldenborg CenterHappy 50th Birthday to Oldenborg!

When Oldenborg Center was built in 1966, it was believed to be the first facility of its kind to combine a language center, international house and coeducational residence in a single building. And with air conditioning, its own dining hall, two-room singles or four-person suites and a great immersion-like environment for language majors, Borgies like Alfredo Romero ’91 remember it this way: “You never had to leave, even if you could find your way out.” Learn more about the history of Oldenborg at pomona.edu/timeline/1960s/1966 and celebrate this benchmark for the Borg by sharing favorite photos and memories at facebook/groups/Sagehens.


BurgundyTravel/Study
May 30-June 10, 2017
Burgundy: The Cradle of the Crusades

Join John Sutton Miner Professor of History and Professor of Classics Ken Wolf on a walking tour of Burgundy. Burgundy, the east-central region of France so well-known for its food and wine, was also an incubator for two of the most distinctive features of the European Middle Ages: monasticism and crusade. This trip provides the perfect context for exploring “holy violence” in the Middle Ages and its implications for the 21st century.

For more information, please contact the Office of Alumni and Parent Engagement at (909) 621-8110.


Champions of Sagehen AthleticsAre You a Fan of Sagehen Athletics? Why Not Become a Champion?

With scholar-athletes earning SCIAC honors, setting program records and competing in NCAA Championships—among many other achievements across teams—it’s a great year to be a fan of Sagehen Athletics! And right now, as Pomona and Pitzer colleges increase their investments in our athletics community, it’s a perfect time to become a Champion of Sagehen Athletics.

The Champions of Sagehen Athletics, formed earlier this year, is a group of supporters committed to changing the game for scholar-athletes by giving a gift that goes directly to the athletics program or any one of Pomona-Pitzer’s 21 varsity teams. Every gift has an immediate and profound effect in the lives of scholar-athletes and coaches, supporting team travel, upgraded facilities, equipment and apparel, and other tools and resources that allow Sagehens to thrive in the competitive world of NCAA Division III intercollegiate athletics. Learn more about this exciting moment in Sagehen history and become a Champion today at sagehens.com/champions.


ideas@pomonaideas@Pomona LIVE RECAP: Climate Change & Cleantech Innovation Event

On February 1, more than 30 Sagehens gathered at the Los Angeles Cleantech Incubator (LACI) to think collectively and creatively about the challenges presented by climate change. A distinguished panel of alumni and faculty experts included Bowman Cutter, associate professor of economics at Pomona; Audrey Mayer ’94, associate professor at Michigan Technical University; Amanda Sabicer ’99, the evening’s host and vice president of Regional Energy Innovation Cluster at LACI; Matt Thompson ’96, president-elect of the Alumni Association Board; and Cameron Whiteman ’75, managing director at Vertum Partners. The Ideas@Pomona program curates the best content from around campus and the alumni community to ignite discussion, share ideas and highlight exciting areas of faculty research. Check out pomona.edu/lifelonglearning to find out more.

Lost Holmes

Lost HolmesAlong the back wall of the Pomona College Archives stands an overlapping row of heavy bronze plaques. Some are from buildings or spaces that no longer exist; others have simply been replaced by newer plaques.

The plaque at right is one of the largest and heaviest and dates from around 1916, when it was installed in Holmes Hall, the first campus building constructed after the founding of the College in 1887. (The only older building is Sumner Hall, which was built as a hotel before Pomona College was established.)

Holmes Hall was constructed in 1892 as a three-story, kerosene-lit Queen Anne Victorian, but a total renovation in 1916 left it unrecognizable, converting it into a two-story, stuccoed Mission Revival structure to match its neighbors—Bridges Hall of Music and Rembrandt Hall. This plaque was apparently created to celebrate that “rebuilt” incarnation of Holmes.

Originally a mixed-use building housing everything from a chapel to a chemistry lab, Holmes was later associated mainly with theatre. Two years before its centennial, deemed unsafe and impractical to renovate, the building was demolished in 1990 to make room for the current Alexander Hall.

ITEM: Holmes Hall plaque
COLLECTION: Pomona College Artifact Collection
DESCRIPTION: Bronze plaque, 23.5” wide X 35.5” high
DATE: circa 1916

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.

Picture This

WINTER SUNSETWinter Sunset

Evening falls over Carnegie and Hahn halls and the City of Claremont
—photo by Jeff Hing

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

Buonasera Glee Club

This May, St. Peter’s Basilica in Rome and St. Mark’s Basilica in Venice will ring with the voices of the Pomona College Glee Club, as the group brings its annual concert tour for the first time to Italy. Each year after the end of the spring semester, the Glee Club takes a little piece of Pomona on the road, performing in venues across the country and around the world. Last year’s East Coast tour included a performance at the National Cathedral in Washington, D.C. (below). The last time the troop went transatlantic was in 2012, when they performed at venues across Poland, England and Germany, including the famous Thomaskirche in Leipzig (Bach’s home church for nearly 30 years), St. James’s Piccadilly in London, and the Berliner Dom in Berlin.

For Sagehens abroad or those who plan to be abroad in May, here’s the complete schedule (all are concert performances unless otherwise noted):

  • Basilica San Nicolo, Lecco (Lake Como region), Italy—May 19, 9 p.m.
  • Chiesa San Salvador, Venice, Italy—May 21, 7 p.m.
  • St. Mark’s Basilica, Venice, Italy—May 22, noon (featured choir at mass)
  • Chiesa di Santa Caterina, Pisa, Italy—May 24, 9 p.m. (concert sponsored by UNESCO.)
  • Basilica Santa Trinita, Florence, Italy—May 25, 9 p.m.
  • Chiesa San Marcello, Rome, Italy—May 27, 9 p.m.
  • St. Peter’s Basilica, Vatican City, Rome, Italy —May 28, 5 p.m. (featured choir at mass)

Pomoniana.0006