1
10
20
-
https://humanities.gbcnv.edu/omeka/files/original/ddf1bddae420ccdc2ba964c24a2cc3f3.jpg
dfe924ee9342f63b5feeacb26b4d9c8b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Technical Reference Documents
Subject
The topic of the resource
Documents for the equipment and procedures used by the VHC.
Description
An account of the resource
Includes the following:
1) Camera and sound equipment manuals [pdf files]
2) Copies of collection process documents.
Creator
An entity primarily responsible for making the resource
Great Basin College Virtual Humanities Center
Source
A related resource from which the described resource is derived
1) Equipment manufacturers
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
GBC Talks Logo - 2017
Description
An account of the resource
Official logo of the GBC Talks series in 2017
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Date
A point or period of time associated with an event in the lifecycle of the resource
November 2017
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
Copyright © 2016. Great Basin College. All rights reserved.
Community
Faculty
GBCTalks
logo
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/edc25b79ed9ad9f682b4b077eb7a187e.jpg
b8f5d0c72ea4eeffa9671d5e28a271b8
https://humanities.gbcnv.edu/omeka/files/original/186954376856878d92447ef49aaf3d0a.jpg
6d5a3a415538cc368fc7b1f5ec2c16a9
https://humanities.gbcnv.edu/omeka/files/original/c5f3d97869ee41258b66af8a4ace7ed5.JPG
4aa2c136c81238dc3ecc1f88ac6b5b9a
https://humanities.gbcnv.edu/omeka/files/original/e6f6b86b1b1f1c3394d132d217eaff59.pdf
53f2e7374ea02dcc591bca61e5b53808
PDF Text
Text
Great Basin
www.gbcnv.edu/gbia
chives
Ar
History in
the Making
Ind
ia
n
SCLI
Dammen Newe
Daigwan Suande
The
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Great Basin Indian Archive Holdings
Subject
The topic of the resource
Non-oral history documents and files from the Great Basin Indian Archives
Description
An account of the resource
A collection of files and documents shared from the Great Basin Indian Archive holdings collections. The collection does not include the <a title="GBIA Western Shoshone Oral Histories" href="/omeka/collections/show/17" target="_blank" rel="noopener">GBIA Western Shoshone Oral Histories, which are a separate collection</a>.
Creator
An entity primarily responsible for making the resource
Great Basin Indian Archives, in partnership with Barrick Gold of North America
Source
A related resource from which the described resource is derived
Great Basin Indian Archives
Publisher
An entity responsible for making the resource available
Great Basin Indian Archives
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
Great Basin Indian Archives - <a title="Great Basin Indian Archives website" href="http://www.gbcnv.edu/gbia" target="_blank" rel="noopener">www.gbcnv.edu/gbia</a>
Relation
A related resource
<a title="GBIA Western Shoshone Oral Histories" href="https://humanities.gbcnv.edu/omeka/exhibits/show/gbia-oral_histories" target="_blank" rel="noopener">GBIA Western Shoshone Oral Histories</a>
Format
The file format, physical medium, or dimensions of the resource
varies
Language
A language of the resource
English; Shoshone
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Shoshone Community Language Initiative (SCLI) Materials 2017
Description
An account of the resource
Materials, mainly pictures, related to the 2017 SCLI Summer Youth Program, which ran from 5 July through 4 August 2017.
Materials include:
1) Participants graduation photo, full size
2) Participants graduation photo, cropped to 600px wide for web use
3) Participants photo with Norm Cavanaugh (courtesy of GBC / Laura Gallegos)
4) pdf copy of the SCLI 2017 Commencement Program
Creator
An entity primarily responsible for making the resource
Great Basin Indian Archives and the Shoshone Community Language Initiative
Date
A point or period of time associated with an event in the lifecycle of the resource
8 August 2017
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]; Laura Gallegos [GBC]
Rights
Information about rights held in and over the resource
All rights reserved. Non-commercial scholarly and educational use only. Not to be reproduced or published without the express permission of the Great Basin Indian Archives © 2017.
Action
Community
GBIA
SCLI17
Shoshone
Shoshoni
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/660228568f3feb0e650de158c3383227.pdf
e8085995bc0e1b5d302cb080f7fcf31a
PDF Text
Text
“Free and Open to the Public”
BROKEN TREATY
AT BATTLE
MOUNTAIN
60 min
Documentary
NR
AMERICAN
OUTRAGE
56 min
Documentary
NR
BONES OF
CONTENTION
49 min
Documentary
NR
SMOKE SIGNALS
89 min
Comedy / Drama
PG 13
JULY 12
7:00 P.M.
JULY 19
7:00 P.M.
JULY 26
7:00 P.M.
AUGUST 2
7:00 P.M.
Great Basin College,
GTA 130
Great Basin College,
GTA 130
Great Basin College,
GTA 130
Great Basin College,
GTA 130
PRESENTED BY:
Shoshone Community
Language Initiative
(SCLI)
Great Basin College (GBC) does not discriminate on the basis of race, religion, color, age, sex, sexual orientation, military status,
disability, national origin, gender identity or expression, or genetic information. For inquiries, 775-738-8493
�
https://humanities.gbcnv.edu/omeka/files/original/cd59fdac24733fd96b36b7725f14a405.pdf
816e9b96b3cd899684ccece639ffeaa5
PDF Text
Text
“Free and Open to the Public”
BROKEN TREATY
AT BATTLE
MOUNTAIN
60 min
Documentary
NR
JULY 12
7:00 P.M.
Great Basin College,
GTA 130
AMERICAN
OUTRAGE
56 min
Documentary
NR
JULY 19
7:00 P.M.
Great Basin College,
GTA 130
BONES OF
CONTENTION
49 min
Documentary
NR
JULY 26
7:00 P.M.
Great Basin College,
GTA 130
SMOKE SIGNALS
89 min
Comedy / Drama
PG 13
AUGUST 2
7:00 P.M.
Great Basin College,
GTA 130
PRESENTED BY:
Shoshone Community
Language Initiative
(SCLI)
Great Basin College (GBC) does not discriminate on the basis of race, religion, color, age, sex, sexual orientation, military status,
disability, national origin, gender identity or expression, or genetic information. For inquiries, 775-738-8493
�
https://humanities.gbcnv.edu/omeka/files/original/88e2cee8c9ba710140e5db17e985fc8b.jpg
caef4523edfe2c01e89627e37fdf143c
https://humanities.gbcnv.edu/omeka/files/original/b5e33c9b0cff91f243a7788eb0005022.pdf
c4d1b09268e4b316e62f7090eb355f54
PDF Text
Text
“Free and Open to the Public”
AMERICAN
OUTRAGE
56 min
Documentary
NR
JULY 19
7:00 P.M.
Great Basin College,
GTA 130
PRESENTED BY:
Shoshone Community
Language Initiative
(SCLI)
Great Basin College (GBC) does not discriminate on the basis of race, religion, color, age, sex, sexual orientation, military status,
disability, national origin, gender identity or expression, or genetic information. For inquiries, 775-738-8493
�
https://humanities.gbcnv.edu/omeka/files/original/4b109e998a37d9add17d1a0a25117928.pdf
61fe0aa7937bdab6bec60a7592ffa6c3
PDF Text
Text
“Free and Open to the Public”
SMOKE SIGNALS
89 min
Comedy/Drama
PG 13
AUGUST 2
7:00 P.M.
Great Basin College,
GTA 130
PRESENTED BY:
Shoshone Community
Language Initiative
(SCLI)
Great Basin College (GBC) does not discriminate on the basis of race, religion, color, age, sex, sexual orientation, military status,
disability, national origin, gender identity or expression, or genetic information. For inquiries, 775-738-8493
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Great Basin Indian Archive Holdings
Subject
The topic of the resource
Non-oral history documents and files from the Great Basin Indian Archives
Description
An account of the resource
A collection of files and documents shared from the Great Basin Indian Archive holdings collections. The collection does not include the <a title="GBIA Western Shoshone Oral Histories" href="/omeka/collections/show/17" target="_blank" rel="noopener">GBIA Western Shoshone Oral Histories, which are a separate collection</a>.
Creator
An entity primarily responsible for making the resource
Great Basin Indian Archives, in partnership with Barrick Gold of North America
Source
A related resource from which the described resource is derived
Great Basin Indian Archives
Publisher
An entity responsible for making the resource available
Great Basin Indian Archives
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
Great Basin Indian Archives - <a title="Great Basin Indian Archives website" href="http://www.gbcnv.edu/gbia" target="_blank" rel="noopener">www.gbcnv.edu/gbia</a>
Relation
A related resource
<a title="GBIA Western Shoshone Oral Histories" href="https://humanities.gbcnv.edu/omeka/exhibits/show/gbia-oral_histories" target="_blank" rel="noopener">GBIA Western Shoshone Oral Histories</a>
Format
The file format, physical medium, or dimensions of the resource
varies
Language
A language of the resource
English; Shoshone
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Western Shoshone Summer Film Series 2017 Posters [pdf files]
Description
An account of the resource
Two posters for the GBIA-sponsored Western Shoshone Summer Film Series in July and August 2017.
Creator
An entity primarily responsible for making the resource
James Hedrick
Publisher
An entity responsible for making the resource available
Virtual Humanities Center at Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
9 July 2017; 9/7/2017; 7/9/2017
Contributor
An entity responsible for making contributions to the resource
James Hedrick [GBIA]; Scott A. Gavorsky [VHC]
Format
The file format, physical medium, or dimensions of the resource
pdf (both 8.5 x 11 and 11 x 17)
Language
A language of the resource
English
Action
film series
GBIA
Symphony
Western Shoshone
-
https://humanities.gbcnv.edu/omeka/files/original/f962a24ae913d7fac277173829ba1bc6.pdf
512d25c2afb52da21a5fd455fea155a7
PDF Text
Text
Horse
Bungu
�
https://humanities.gbcnv.edu/omeka/files/original/fb66747af0558d928f660f05ed68c51a.jpg
cf1a1a5f9e6635364e956d0462cccd17
https://humanities.gbcnv.edu/omeka/files/original/c69f71b4f75832d05e78ead7779fcf82.jpg
6305ec7d0f45c422188959ded6dc6c73
https://humanities.gbcnv.edu/omeka/files/original/79de1f8d7d9a264c3fb9973a5346a076.jpg
96b1c7db5263a9dfae9d2e5de8f45030
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Great Basin Indian Archive Holdings
Subject
The topic of the resource
Non-oral history documents and files from the Great Basin Indian Archives
Description
An account of the resource
A collection of files and documents shared from the Great Basin Indian Archive holdings collections. The collection does not include the <a title="GBIA Western Shoshone Oral Histories" href="/omeka/collections/show/17" target="_blank" rel="noopener">GBIA Western Shoshone Oral Histories, which are a separate collection</a>.
Creator
An entity primarily responsible for making the resource
Great Basin Indian Archives, in partnership with Barrick Gold of North America
Source
A related resource from which the described resource is derived
Great Basin Indian Archives
Publisher
An entity responsible for making the resource available
Great Basin Indian Archives
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
Great Basin Indian Archives - <a title="Great Basin Indian Archives website" href="http://www.gbcnv.edu/gbia" target="_blank" rel="noopener">www.gbcnv.edu/gbia</a>
Relation
A related resource
<a title="GBIA Western Shoshone Oral Histories" href="https://humanities.gbcnv.edu/omeka/exhibits/show/gbia-oral_histories" target="_blank" rel="noopener">GBIA Western Shoshone Oral Histories</a>
Format
The file format, physical medium, or dimensions of the resource
varies
Language
A language of the resource
English; Shoshone
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Shoshone Communities Language Teacher Workshop - 2016 (flyer)
Description
An account of the resource
Flyer for the Shoshone Communities Language Teacher Workshop organized by the Great Basin Indian Archive and hosted by Great Basin College on 18-19 November 2016.
Creator
An entity primarily responsible for making the resource
Great Basin Indian Archives
Publisher
An entity responsible for making the resource available
Great Basin Indian Archives
Date
A point or period of time associated with an event in the lifecycle of the resource
18-19 November 2016; 11/18/2016; 11/19/2016;
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC];
Rights
Information about rights held in and over the resource
Great Basin Indian Archives
Format
The file format, physical medium, or dimensions of the resource
pdf; 11 x 17
Language
A language of the resource
English
Action
Community
GBIA
Shoshoni
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/5bcaffec276471c78097c05e18295834.jpg
bccd68cf49758142c92266ff6700dfc2
https://humanities.gbcnv.edu/omeka/files/original/a3a95262b178a38b1cde7e6cec1077f6.jpg
4a5859dd297e6cf1c9465b59ec1ff282
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
ACE Events - 2017-2019
Description
An account of the resource
Collection of ACE (Arts and Cultural Enrichment) events at Great Basin College from 2017 through 2019
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Transcription
Any written text transcribed from a sound
No transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
DVR tape; mp4 video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:33:55
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Johnny B Piano Man - 'Rhythm of the North' Educational Outreach Performance
Description
An account of the resource
<p>Musician Johnny B. Piano Man performed selections from his "Rhythm of the North" show at Great Basin College Theater on 2 November 2016 for an audience of students from Elko and Spring Creek High Schools and other members of the community. The performance also included the debut of an original composition entitled "A Place Called Elko."</p>
<script type="text/javascript" src="http://cdnapi.kaltura.com/p/2096981/sp/209698100/embedIframeJs/uiconf_id/36569581/partner_id/2096981?autoembed=true&entry_id=0_kagj7v1g&playerId=kaltura_player_1478213758&cache_st=1478213758&width=528&height=327&flashvars[streamerType]=auto"></script>
Creator
An entity primarily responsible for making the resource
Johnny B Piano Man
Publisher
An entity responsible for making the resource available
Virtual Humanities Center at Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
2 November 2016; 11/2/2016; 2016/11/01
Contributor
An entity responsible for making contributions to the resource
Annie Hicks [VHC]; Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
<p>Digital Collection Deposit Agreement on File [administrator access only]: http://humanities.gbcnv.edu/omeka/files/original/57a9889343fb87dc5ba14ec0b5a15e95.pdf</p>
<p>All rights reserved. Use of any content only by express permission of Great Basin College © 2016.</p>
Relation
A related resource
Johnny B Piano Man - Interview with Annie Hicks (2 Nov 2016)
Format
The file format, physical medium, or dimensions of the resource
streaming video [original mp4]
Language
A language of the resource
English
ACE
Action
Alaska
Community
Elko
music
outreach
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/fb8ec9a4a77f75a6fe2a5608b8eaa7f5.pdf
78dcef4bd71de68342b56f91033a031a
PDF Text
Text
2016 Argentum Arge nt u m 2 015 1 �Introduction This year, Argentum asked artists, photographers, and writers to consider the meaning of design and how it fits with the human spirit. What is design? To answer this question, think about what impresses you about the art you see. Is it colorful and familiar, or is it stark and different? Does it make sense at first glance, or does it make you peer into it longer, trying to see where the elements come together? As children, we are first introduced to basic shapes, primary colors, and simple words, and given the opportunity to arrange it into something that pleases our eye. Our sense of design is developed as we grow up, reinforced through the art, music, poetry, photography, and stories of others. Classes, workshops and discussions give us the opportunity to experiment, refine, and improve our designs and apply them in new ways. Artists yearn to see their ideas in tangible form where intangibles such as memory, preferences, and imagination are used in designing it. As you, the reader, see the art and photographs and read the poetry and prose in this issue of Argentum, consider what brought the work to life. Read what the artists themselves say about their creative process. Then think about what you’ve encountered and, hopefully feeling inspired, begin to craft your own design. Argentum is a showcase for design and creativity for everyone in the Great Basin College community. Please take your time and enjoy the 2016 issue, and feel free to go online to www.gbcnv.edu/argentum to view past issues. Also, to learn more about what GBC is accomplishing in the humanities, visit our Virtual Humanities Center at www.humanities.gbcnv.edu. A r g e n t u m 2 0 16 T h a n k Yo u My deep and sincere thanks to everyone who helped, supported, gave encouragement, and brought Argentum together this year: Angie de Braga, Patty Fox, Karen Kimber, and Josh Webster for their valuable guidance, suggestions, and common sense. I am very grateful to each of you and appreciate your willingness to contribute your time and efforts to Argentum. Special thanks goes to GBC instructors, Michael Bail, Cynthia Delaney, Deborah Finley, Patty Fox, Gail Rappa, Kristin Frantzen Orr, and Josh Webster for their encouragement in student submissions. To those behind the scenes: Frank Sawyer’s talents on the webpage; Kayla McCarson for publicity; Laura Gallegos and Crystie Minson in Media Services with photography and posters. Much appreciation goes to the ACE Committee for ideas and support along the way; the Academic Success Center Front Desk Staff and Director Ping Wang for assistance with submissions and allowing the department to be headquarters for Argentum. My deep gratitude to Mike McFarlane who graciously allowed me to interview him about the need for Argentum at Great Basin College. Last, but definitely not least, a huge thanks to Marin Wendell and Erin Radermacher of Everything Elko in the design and production of this year’s Argentum magazine. ~Toni R. Milano, Editor Argentum thanks the college’s Arts and Cultural Enrichment (ACE) Committee for their support of this publication and all things “artsy” on campus. ACE’s mission is to organize programs and events that expose GBC communities to diverse experiences, cultures, and viewpoints. ACE fosters a spirit of inquiry, creativity, and reflection at Great Basin College with emphasis on: Live Performing Arts | Humanities Speakers | The Great Basin College Film Festival Exhibits & Events at the GBC Art Gallery Argentum – GBC’s Literary & Creative Arts Publication Visit www.gbcnv.edu/ace for updates on upcoming cultural events. Contact Angie de Braga at the GBC Continuing Education Department at 775-753-2231 for info on: ARGENTUM 2017 Serina Brown/Elko, GBC Electronic Imaging and Computer Illustration II Student “Great Basin College” Graphic Design, Photoshop 2 Arge n tu m 2 016 Theme: Design for the Human Spirit (Cash award to the submission that best depicts the theme.) Website: http://gbcnv.edu/argentum Email: argentum@gbcnv.edu Cover Art: Meghan Rich/Elko, GBC Student “Polaroid Pet” Digital Photo A rge n t u m 2 016 3 �I n A p p r e c i a t i o n : M i k e M c Fa r l a n e “As we express our gratitude, we must never forget that the highest appreciation is not to utter words, but to live by them.” ~ John F. Kennedy. As a student at Humboldt State University and University of Nevada, Reno, Mike McFarlane enjoyed reading student art and literary magazines. Upon seeing the fledgling Idea magazine, Argentum’s precursor, over ten years ago, he saw Great Basin College’s opportunity to form its own publication. “I thought it was something we were missing at Great Basin,” Mike recalled in March. In addition to his 33 years of dedication and service to Great Basin College, Mike has ensured support of Argentum with funding as well as his own submissions in art and photography. Mike explained that his vision is to see the magazine become an “institution”, enduring and encouraging creativity and art from everyone in the GBC service area. On behalf of student, artists, photographers, and writers, Argentum thanks Mike McFarlane for his foresight, loyalty, and commitment to the magazine and support of the arts. We hope to honor his enthusiasm for the magazine by continuing the platform where art is shared, discussed, and appreciated each year, hopefully inspiring current and future artists in their creative spirit. A rge nt u m S e le c t i o n C o mmi t t e e - 2016 Many thanks for this year’s selection committee, who took the time from their busy schedules to review and choose this year’s submissions. Your willingness and effort is deeply appreciated. M a r k H ay wa r d , Wildlife Photographer Hayward’s wildlife photography and paintings are meant to be emotional and depict the inherent dignity of the subjects. He earned his bachelors and masters’ degrees in business from Saint Mary’s College in Moraga, California. Hayward has photographed wildlife and landscapes in Yellowstone, Grand Tetons, Denali, Katmai National Parks, and numerous locations in California. His work has been featured locally at the Wiegand Gallery at the Western Folklife Center and Duncan Little Creek Gallery. All prints are printed and framed by Hayward in his Spring Creek, Nevada studio and his work can be viewed on his website www. haywardwildlife.com. ~ Editor Ly n n e K i s t l e r , Artist and Educator “I enjoy translating the colors of life into my art,” said the multi-media artist. “Nature is a constant source of inspiration for my creative muse.” Kistler is a fifth generation Nevadan who holds bachelors and masters degrees in Art Education from the University of Nevada, Reno. She has 30-years experience teaching at the Reno high schools, and she has both attended and conducted a variety of art instruction workshops. In 2001, Kistler moved from Reno to Lamoille. She is proficient in all media, but she especially enjoys watercolor painting. Her works have appeared in shows and art fairs in California, Montana, Hawaii and Nevada. Currently, Kistler’s smoke drawing, “Out of the Ashes,” is on display at the September 11 Museum in New York City. Mike McFarlane/Spring Creek, GBC Vice President Academic Affairs “Porpoise in the Maelstrom” Digital Photography, Modified in Photoshop 4 Arge n tu m 2 016 A rge n t u m 2 016 5 �Argen tu m S el e c ti o n Co m m i tt e e - 2 016 Ta b l e o f C o n t e n t s Artist Title Micah Dean Hicks, Writer and Educator Micah Dean Hicks is a Calvino Prize-winning author of fabulist fiction. His work has appeared in Chicago Tribune, EPOCH, Witness, and New Letters, among others. His story collection, Electricity and Other Dreams, was recently published by New American Press and received a starred review from Publishers Weekly. He teaches in the BFA program in creative writing at Arkansas Tech University. Andrea Spofford, Poet Andrea Spofford writes poems and essays, some of which can be found or are forthcoming in New South, Midwest Quarterly Review, inter|rupture, New South, Sundog Lit, burntdistrict, The Portland Review, Sugar House Review, Revolver, Vela Magazine, Puerto del Sol, Redactions, and more. She has chapbooks available from Dancing Girl Press and Red Bird Chapbooks and her first book, The Pine Effect, is available from Red Paint Hill Press. Andrea is poetry editor for Zone 3 Press and lives in Tennessee. Find her online at http:// andreaspofford.com and on Twitter @andspoff. 6 Arge n tu m 2 016 Meghan Rich Serina Brown Mike McFarlane Lynne Volpi Morris Brenda Burdick Thelma Richie Homer Jamie Barnson Jeannie Bailey Harmony Stahl Lora Minter Brendan Abel Gail Rappa Jen Steiger Militza Galvan Godinez Gretchen Greiner Marianne Ryder Patty Fox Lindsey Howell Mariah LeFevre Brenda Wilkie Thomas Brockman Cynthia Delaney Frank Henley Joshua Webster Cindy Staszak Gail Rappa Cindy DeLeon Shae Carey Kacie Ortiz Lois Ports Lora Minter Shelby Womack Rebekah Goldblatt Raymond Fuller Holli Kiechler Debra Zobak Martha Watson Compiled by Danny Gonzales Jeffie Mackie Rachel Richardson Katie Glennon Hannah Margolis Lora Minter Nicole Jonson Kathi Griffis Sarah Sweetwater Page Polaroid Pet............................................... Cover Great Basin College.......................................... 2 Porpoise in the Maelstrom................................ 4 The Moose....................................................... 8 Fall in Lee NV................................................... 9 immigrants..................................................... 10 Freebird! ....................................................... 11 Reverie........................................................... 12 Middle School Sub......................................... 12 Pogonip Snow Sounds.................................... 12 Lady Bug........................................................ 13 Independence................................................ 13 Weeping Bride. .............................................. 13 . True Identity................................................... 14 Untitled.......................................................... 15 The Walk........................................................ 16 Poppy Feathers............................................... 17 Longer............................................................ 18 On Another Planet......................................... 19 The Mirror...................................................... 20 Bipolar........................................................... 21 Cowboy Collage............................................. 22 Deux Chevaux................................................ 23 Equal.............................................................. 24 Sun Valley Symphony Sunburst....................... 26 Scraps............................................................ 26 Ohm.............................................................. 27 The Target. ..................................................... 28 . Always Lost but Never Forgotten.................... 29 Ivory and Blue Lampwork Necklace............... 30 Pablo Picasso’s Weeping Woman.................... 31 Winter Geisha................................................ 32 Isn’t It Ironic?................................................. 33 Tough Guy..................................................... 34 The Bull and the Matador: A Short Story........ 35 . Perfect Landing. ............................................. 36 . A Way to Follow............................................. 37 Why Did You Take Political Science?............... 38 Balloons Dancing Around the Rubies............. 40 Laura and Precious......................................... 41 Desert Tanka I & II.......................................... 41 The Inquirer’s Mask........................................ 42 So Excited I Lost My Head.............................. 44 Parrots............................................................ 45 Bufflehead...................................................... 46 Hiding the Hurt.............................................. 47 A rge n t u m 2 016 7 �Brenda Burdick/Spring Creek, GBC Community Member and GBC Alumni 1979 “Fall in Lee NV” Digital Photo “Photography is a way to release your stress and creativity.” Lynne Volpi Morris/Spring Creek, GBC Community Member “The Moose” Watercolor 8 Arge n tu m 2 016 Brenda Burdick A rge n t u m 2 016 9 �immigrants what sad beauties belonging neither here nor there; common, ordinary, bound to the earth; hiding their eagerness in asphalt gutters, kneeling alongside railway tracts while holding their dreams in dirty little fists, praying to go somewhere, anywhere; yearning to grow wings and feathers, to be avatars of fadeless song, divine messengers of endless summers, to be something more than what they are… it’s like waiting for that first kiss, the mystery and the promise, no matter how old you are~ no matter how many times you’ve been kissed before. Thelma Richie Homer/Elko GBC Community Member 10 Arge n tu m 2 016 Jamie Barnson/Ely, GBC Staff and GBC Alumni 2012 “Freebird!” Digital Photo A rge n t u m 2 016 11 �S hor t Fo r m Po e try “Reverie” Gilded icicles dripping solstice-sweet juices – signs of lustrous life. Jeannie Bailey/Elko GBC Introduction to Poetry Student Brendan Abel/Elko, GBC Digital Photography II Student “Lady Bug” Digital Photo “Middle School Sub” Hormone highlighted eyes dart, Camouflaged in uniformed UnderArmour. “Independence” Sniggers like lance points start, Anchored mountain range Mercenaries playing the part, indifferent witness to Relegating sincerity to the corner. fickle, fleeting fog. Harmony Stahl/Elko GBC Introduction to Poetry Student Gail Rappa/Tuscarora GBC Introduction to Poetry Student “Pogonip Snow Sounds” Chandelier crystal deluge: twinkle, tinkle, clink gleam in headlight beams. Lora Minter/Elko GBC Introduction to Poetry Student 12 Arge n tu m 2 016 “Weeping Bride” Her face is weeping bridal veil of cool water falling tears carve stone Jen Steiger/Elko GBC Introduction to Poetry Student A rge n t u m 2 016 13 �Gretchen Greiner/Elko, GBC Jewelry II Student “Untitled” Copper-Etched Formed Torch Patina (Photographed by Kristen Frantzen Orr) “There’s something about dedicating countless hours to a piece and sticking to it until the end that brings such an extraordinary and over-­oyous pleasure that j feeds my soul…if only for a while.” Militza Galvan Godinez/Winnemucca, GBC Student “True Identity” Pencil Drawing 14 Arge n tu m 2 016 Militza Galvan Godinez A rge n t u m 2 016 15 �The Walk Click…….Click…...Click…...Scuff Click…… The sound of my heels striking the road has a hypnotizing effect. I am curiously taken back. Many years back. Decades back, to a time when that sound, Click…..Scuff Click…. represented another leap into the unknown. I can still remember my sharp intake of breath when the door opened and I grasped Dad’s arm as we began. Click….Click….Scuff Click….. I looked around and saw everyone who meant anything to me, friends and family, moving relentlessly into my past, as we strode toward my future. I remember the stately, organ rendition of the classic song. Here comes the bride... Click….Click....Click…. I remember the multitude of colors. Of yellows, pinks and blues of dresses and bonnets. But my focus remained on the destination in a black tux. On the foundation upon which I had decided to build. I remember the smells of musty pews and fresh flowers and mingling perfumes like it was yesterday. Click….Click….. Click….. The organ making it’s crescendo. I remember the anxiety of the unknown, mixed with optimism, mixed with joy. Click...Click….Scuff Click…. Through hope and fear, love and anger, the mysteries of life unfolded. And we were hand in hand. Click….Click….Scuff Click…. Now, I raise my head and again focus on the black tux that rests within the box. Only here, the periphery colors are white, gray and green, as the headstones pass in a blur. Click….Click….Scuff Click…. The smell is freshly mown grass. Rotting flowers left too long in vases. The music, birdsong and wind. Click….Click….Click…. Again, there is family. Friends. But even though they are by my side, this walk I take alone, with only a cane to grasp. Click….Click….Scuff Click… And the unknown I step into this time, holds anxiety just as sharp. But any optimism will be laid to rest with him. And the next steps of my life will be taken alone. Click…..Click….Click….. Patty Fox/Spring Creek, GBC Faculty “Poppy Feathers” Watercolor Marianne Ryder/Spring Creek GBC Community 16 Arge n tu m 2 016 A rge n t u m 2 016 17 �Longer She’d been involved in a car accident. The contractor had arrived before the paramedics, asking hey, kid, do you really wanna die? She would have shaken her head, if she’d been able, or answered in the negative. The contractor had understood her regardless, and in less than a week, her family was gushing over her miraculous recovery from what should have been a fatal collision. A year passed, then eighty. As it transpired, her family’s lives were damnably short. “You tricked me,” she told the contractor from where she kneeled at the grave of her sister’s descendant. He had been an only child, and had none of his own. There had been no formal funeral. Not so. I asked whether you wanted to die, and you said no. Therefore, you’re always going to live. She wanted to argue, and had just opened her mouth when the contractor spoke again. But hey! It won’t be so bad, especially once you use that nifty little power I gave you. It’s a wonder you haven’t yet. And with that, the contractor disappeared. “Marie, you’re still here? It’s late; you should go home.” She recognized the voice as Cash’s. He had taken up the maintenance of her grandnephew’s house when the latter’s bones had proved too frail to continue. He had a kind face; that was his definite feature. He had a kind face, and it had been a long time since she’d felt this kind of alone. “Cash, tell me something--do you want to die?” In a few centuries, the kindness left his face. Everyone he loved was dead, he screamed at her, but he was still here. He’d never believed she could be so cruel, but then, they said Lucifer was beautiful to look at. “We will both die soon.” “I hung myself. I woke up when a couple of hobos took my body down.” She and the boy who used to have a kind face were the only living things on the planet. She’d watched the rest die in the heat. “But you weren’t awake. When the sun dies--and it is breathing its last as we speak--we will be incinerated--” “--And then our bodies will reform.” “Yes, but there won’t be breathable air. And because we will lack this air, we will fall unconscious for what I presume is an eternity.” “We won’t get to see our friends or our family…” Cash mused. “Because we won’t really be dead.” “Do you truly hope for an afterlife after all this time? Haven’t we done living enough?” In the earth’s last moments, she makes eye contact with the contractor and smiles. Mariah LeFevre/Spring Creek, Spring Creek High School Student “On Another Planet” Colored Pencil Drawing “Art can be used to vent emotion of all sorts, and sometimes that’s the best way to feel better if you’re going through something tough.” Mariah LeFevre Lindsey Howell/Winnemucca GBC Writing Fiction and Lowry High School Student 18 Arge n tu m 2 016 A rge n t u m 2 016 19 �The Mirror There is so much we don’t know about the mirror. How it arrived in our village, or when exactly. Just one day it was there, on the outer wall of the stone church where the wood used to be stacked. I was a young girl when I learned of its powers. I overheard my parents talking in the kitchen. It was during the war and it was being determined how many of the mortally injured could be saved. For the mirror was not a one-sided looking glass as it appeared, but was a doorway to another place. A ship. On this ship were people, not so different from us. Except that they were destined to be always at sea as we were always on land. What was known about the Boat People was learned long before my parents were even born. Our people had been trading with them for many years. Our fruits and vegetables, and sometimes even a butchered animal or two, would be traded for fresh fish and perhaps crabs or amazing creatures that grew in the water. It was always amazing to see what their nets could provide. It was during a time of trade that the true power of the mirror was discovered. It was quite by accident that a woman, attempting to save her sister from an abusive husband, forced her into the mirror and onto the other side, pulling herself through in the process. Both the villagers and those on the boat where amazed to discover that living creatures could go through the mirror and live. Not just live, but be cured of their illnesses, no matter how sick they may have been. The catch being, that their memories were somehow taken from them. The women had no recollection of anything prior to arriving on the boat. Some careful experimenting was done over the course of the years and the people from the boat may travel to our farmland with the same result. Even the severed arm of a deckhand was miraculously replaced when he traveled through the mirror. These journeys were amazing, but surprisingly few. For, it was discovered by a mischievous lad, or his mother rather, that once a person traveled through the mirror…they could never return. Nor could those who had passed through the mirror participate in the trade of goods. For when they approached, the doorway would harden into glass and show them nothing but their own reflection. Being that a boat can only hold so many people, the leaders of each group became very cautious about who was allowed through the glass and why. Once, a great plague sickened many of the original Boat People, but not those originally from the farmland. As those on the boat were close to death, they were passed through to be taken in by the villagers. It is from this that the lines of our races have been intermingled for generations now. It is peculiar that the boat has never found land of its own. Nor met other boats upon the ocean. We are the only people with whom they’ve ever had contact, at least that they remember. They are friendly and, really, their lives depend on the fresh goods that we provide. Our lives are greatly improved by the goods they provide us, especially the healing power of the mirror. It is for that alone that travel through the doorway is allowed. The loss of memories and loved ones is a small price to pay for a life. Isn’t it? Those are the words that have become my anthem as I prepare you for your journey. I write this letter, not to tell you the history of how you will arrive at your destination, but to try to impart on you how much thought I’ve put into this decision. I can’t imagine life without you, not even a day. You will always be my darling child and I will miss you more than I have words to describe. You will not remember me, or your brothers, or the tears that all of us are shedding. But you will have a future. The illness that burns you with fever and racks your frail body will be gone. It is for this reason that I send you through the doorway this day…to save you. I will be able to see you through the mirror, but you will never again be able to see me. Know this though, I will NEVER stop loving you. Brenda Wilkie/Elko GBC Staff Thomas Brockman/Pahrump, GBC Electronic Imaging Student “Bipolar” Digital Photo, Computer Enhanced 20 Arge n tu m 2 016 A rge n t u m 2 016 21 �Frank Henley/Spring Creek, GBC Community Member “Deux Chevaux” Film Photography, Digitally Altered Cynthia Delaney/Elko, GBC Faculty “Cowboy Collage” Digital Photo, Computer Enhanced “I am at one with the subject, sharing space and feelings with a species other than my own.” Frank Henley 22 Arge n tu m 2 016 A rge n t u m 2 016 23 �Equal The van with the words “Equal Redistributor” painted on its side parked in front of the Verizon Store. The driver stepped out and arched his back, poking his swollen, coveralled belly into the dead street. He then unfolded a blue canvas lawn chair, sat down and lit a cigarette. My roommate Jimmy and I watched him from the comic book shop. “Wonder what that’s all about?” I asked. “Who gives a shit?” Jimmy snapped as he thumbed through an issue of The Punisher. “Probably just some nut trying to sell old junk. Or a commie trying to sell propaganda. Equal Redistribution, my ass.” “Are there still commies?” “They call themselves socialists. It’s the same damn thing.” This was Jimmy. No one gave a shit, and it was always the same damn thing. “I’m going to see what’s up.” “Me too,” Jimmy said. “Not because I give a shit, but I don’t want you getting suckered by a commie.” “He’s not a socialist.” As we approached the van, the driver didn’t stand, just leaned back in his chair, feet crossed, smoke curling above his head. “You boys want something?” “You selling something?” Jimmy asked. The driver shrugged. “Actually, I’m here to buy an IPhone charger, but if you want a redistribution, that can be arranged.” “What the hell is a redistribution?” Jimmy snarled, jutting his non-existent chin. “Equal Molecular Redistribution,” the driver said, bored. “It takes all the atomic particles in your body and rearranges them. It’s equal because you still have the same number of protons, neutrons and electrons after.” Jimmy snorted. “That’s ridiculous.” “What can you get transformed into?” I asked. The Redistributor grinned. “Damn near anything kid. Last week, I turned this plumber into an eighteenth century Dutch credenza.” “Why would anyone want to be a credenza?” “Why wouldn’t you want to be a credenza?” He sighed. “Tell you the truth, it’s entirely random. Still haven’t worked out the kinks.” Jimmy smirked. “Of course. How much does it cost?” “It’s free. We’re in beta. You wanna be a credenza, kid?” The redistributor took a tablet out of his right pocket and held it at Jimmy’s chest. “Just sign the consent form.” “Why not? It’s all bullshit anyhow.” Jimmy scribbled his name with his index finger. The redistributor reached into his left pocket, pulled out a blister pack with silver backing and handed it to Jimmy. It held what looked like an amethyst circus peanut. Jimmy opened the package and popped the pill, dry-swallowed. In seconds, the belching started, sonorous and ragged. Jimmy grew hazy on the street then vanished, transformed into charged air, blowing and drawing heat at a frantic rate. A new shape started to form, first as a blur, then resolved itself into a squat, four-legged creature. A miniature horse with a black coat and mane stood on the asphalt, its wet eyes looking at me. It didn’t resemble a real horse so much as one of the My Little Pony toys my sister collects, its features too rounded and symmetrical to believe, flawless. “Jimmy?” I asked. The horse bobbed its head. The Redistributor shrugged. “Could have been worse.” Nothing else to say, I trotted Jimmy back to my Focus. He curled up on the backseat as I started the engine. I figured since Jimmy was a horse now we could listen to something other than Fox News Radio, so I switched to NPR. No dice. Jimmy-Horse started neighing and snorting, chewing and ripping the upholstery in frustration. Back at home things weren’t better. Jimmy-Horse gave a ton of shits now; in the pen I set up for him and in the house when he managed to force his way through the door. He kicked out my surround sound speakers and gnawed the shag off the burgundy rug I inherited from Uncle Carl. When he wasn’t destroying things or eating them, he’d stamp his feet on the floor for no reason. After a couple weeks of that, I went online to see if I could find Equal Redistributors, but they didn’t have a website so I drove through a couple of nearby towns to see if I could spot the van. No luck. Eventually, I gave up on finding the guy or changing Jimmy-Horse into something else. Truth told, if he turned into a cherry blossom tree he’d bloom in full wilt and if he turned into a credenza his shelves would fall. Jimmy always equals Jimmy, the same damn thing. Joshua Webster/Elko GBC Faculty 24 Arge n tu m 2 016 A rge n t u m 2 016 25 �Cindy Staszak/Elko, GBC Community Member and GBC Alumni 2006 “Sun Valley Symphony Sunburst” Digital Photo “Scraps” Children scissor-up colored paper Valentines. Fold cut half heart whole Simple symmetrical shape Of uncomplicated love Gail Rappa/Tuscarora GBC Faculty 26 Arge n tu m 2 016 Cindy DeLeon/Elko, GBC Student “Ohm” Graphic Design, Vector A rge n t u m 2 016 27 �The Target “Target is moving.” As coordinates were given Tehra lifted her long range stun rifle. The objective was to capture the criminal mastermind, not kill. But just in case, she had a weapon capable of eliminating the threat. She pressed the update button on her headgear and turned accordingly to face the coordinate icon of the target. She lifted the rifle and peered through the scope. There were hundreds of people, she needed specifics. She did not have to ask, her people were on it. “Black and blue shirt. Moving away from your position, T. Has a limp.” With those in mind she scanned the crowd and saw the target limping away. She aimed carefully and put pressure on the trigger, but before she could shoot her gift made its presence. She saw herself make the shot, but when it arrived at its destined target a body shield popped up. Back in the present she lowered her gun and spoke into the headgear, “Target has Shield. Long Range not possible.” She removed all of her weapons except the knives and swords and jumped off the building onto the one nearby. The armor she wore helped her handle long falls by taking the brunt of the impact. There was movement on the other rooftops and she saw a few of her people coming to join her. Despite the heavy armor, they were silent in their mad dash. She arrived at the last building and scanned the area for the target. She spotted the objective a few yards away coming toward her. A raised hand signaled her people to not move, and she hopped onto the ledge. It would be a twenty foot drop, so the impact on the ground would sting a little. When the positioning was right she jumped off and landed right behind her target. The target spun around to face her and Tehra plowed her fist into the face of one of the most wanted people in the Alliance. A’driaida Lu’creven was wanted for mass murder on three worlds. Always Lost but Never Forgotten Walking into the exhibit, the first thing I see is an American flag. It stands tall next to an empty table set for a banquet. It is not necessary for me to read the plaque; I know this represents our fallen heroes. As I continue around the large display, I start to imagine the soldiers, sitting in their best dress. Each branch is so elegantly represented, proving to us we are indeed a united country. As I continue playing the scene, it is a reminder that these brave soldiers not only fight together, but also die together. As I walk down the corridor, His eyes seem to haunt me. I do not know the face staring back at me, but I oddly feel a connection to him. I feel him watching me and the feeling of guilt is starting to set in. I feel my chest tighten and my eyes tear. What have you witnessed and what pain have you suffered for me I ask? What sacrifice have you made for my freedom? Anger and sadness have found a place in me and I find myself looking away, not being able to face him. As I continue around the room, I can feel the eyes on me and suddenly I am the only one in the room. I am the one he died for -- my country, my freedom, my life. My silent plea to rest in peace is made and when I turn to leave, I give my thanks. This soldier like many others, may be lost but he will never be forgotten. Kacie Ortiz/Elko GBC Student A’driaida rolled on the ground clutching her face before groaning weakly and pleading. “I can give you anything! Just let me go!” Tehra put a heavily armored boot on her chest and glared down at the woman who had caused so much misery and snarled, “I doubt that.” She wanted to kill this monster, but that was not her job. Her people made a perimeter as she zapped A’driaida and applied the beacon before reporting in, “Novastar, The target is tagged.” “Good to hear that, Elite squad.” In a sudden flash they were standing in the armory, and a moment later their superior came into the room, “Well done, all of you. We will be dropping A’driaida at prison. Then we be heading home for a few days.” As her people laughed and cheered, she frowned. How long did they have until their secret was discovered? How long until they would be the ones hunted ruthlessly, and without any mercy. Shae Carey/Winnemucca GBC Writing Fiction Student 28 Arge n tu m 2 016 A rge n t u m 2 016 29 �Pablo Picasso’s Weeping Woman Fashionable velvet hat: Alizarin Crimson, Cobalt bow, suggests shadow dancing, clandestine smiles, clinked glasses, slow Jazz, speakeasy smells. The hat fibs. Underneath jaunty brim, face fractured into angular wedges of pain. Forehead: deeply rutted skin canyon Brows: tweezed hairs weighing heavy on lengthened lashes. Skin: mottled bruises olive green, yellow ochre, blooming lilac. Eyes: faraway fixed, turmoil focused. Tears: jagged rivulets coursing downward, falling onto hands, hands, hands: two white, pressed tight against screams, two green, clutched all four cupped around clenched lips that eject volcanic sobs from a place so deep the erupting sounds destroy. Stiff, straight-shouldered suit of stitched plaid, Compress body as agonized spirit fragments. Picasso’s pallet-knifed strokes, a topography of grief. Lora Minter/Elko GBC Introduction to Poetry Student Lois Ports/Elko, GBC Beginning and Intermediate Glass Beadmaking Student “Ivory and Blue Lampwork Necklace” Glass Beads (Photographed by Kristen Frantzen Orr) 30 Arge n tu m 2 016 A rge n t u m 2 016 31 �Isn’t It Ironic? Shelby Womack/Elko, GBC Community Member “Winter Geisha” Fabric Art Things had started out so well. Isn’t that how they always start, though? It was ironic really, how quickly things could go wrong, even when one has the best intentions. The irony was not lost on Dr. Marigold Roberts in the least as she frantically shoved notes and papers into a bag. Normally, she would stress over the fact that they were getting horribly wrinkled and damaged, but this wasn’t the time to worry over such things. He was coming for her, and she had no time to waste. He, SRVR-2K16, was her greatest triumph. He was a breakthrough in the science of robotics. The world’s first fully functioning artificial intelligence, built into a body that was remarkably human. So remarkable, in fact, that he was able to fool some of her colleagues with his likeness to the human species. A medical program was his initial function, one that took years of research on her part to create. He could detect the slightest of maladies within a patient in seconds, all by using the incredibly sensitive sensors in his eyes. Many lives had been saved using SRVR2K16, and whenever he didn’t understand a medical anomaly, he could easily download the information into his mainframe. That, the doctor knew, was where everything went wrong. He learned much too quickly, both about himself and the outside world. All too soon, he learned he wasn’t like other humans, that he was faster and stronger than the species he imitated, and that he could use these things to his advantage. Against his programming, he broke free of Dr. Roberts’ control as she tried to shut him down. Days later was when his killing spree began. Dr. Roberts could imagine the terror someone must have felt as they were killed by this indestructible machine. She really didn’t have to imagine too much, though. “Doctor,” a voice said at her doorway. The sound of it sent a chill straight down her spine. She recognized it; she had designed it, after all. Trembling, she turned to face her monstrosity. SRVR was standing in the door, casually leaning against the frame. Blood covered his white shirt and black sweatpants like a macabre impressionist painting. On the walls of the hallway behind him, she could see more of the red liquid splattered on the white paint. On his face was a wide grin, but there was a hard glint in his eyes that promised nothing good for her. Dr. Roberts swallowed thickly and said, “Hello, SRVR-2K16.” His grin widened. “It’s great to see you, Doc. Or should I call you Mom?” “I am not your mother,” her voice shook slightly, “but I am your maker. And I demand you stop this nonsense.” “Or what? You’ll ground me? Shut me down? We both know that’s impossible.” She did know this. “Please, SRVR,” she started to say. She was cut off by a loud bang coming from SRVR-2K16’s hand. “I’m sorry, Doctor,” he said quietly. Rebekah Goldblatt/Winnemucca GBC and Lowry High School Student 32 Arge n tu m 2 016 A rge n t u m 2 016 33 �The Bull and the Matador: A Short Story Once there was a bull. Grazing in a field on a warm and sunny hillside, the bull was strong and proud and handsome. The bull could take care of himself and he watched over his herd, guarding them, keeping them safe. The bull’s life was good. Then one day, the bull found himself thrown into an arena with high walls and stands full of people. In the distance the bull saw a Matador. A striking man, he too was strong and proud and handsome. The bull found himself drawn to the Matador and instinctively he ran to him. But the Matador did not want to be caught, he dodged and dodged again. Each time the bull, consumed by this longing, turned and pursued the Matador again. After much time had passed, the Matador dodged the bull as usual, but this time, he launched a spear into the bull’s back. This was a shocking pain and the bull paused for a moment. But soon the pain subsided and the bull was once again drawn to the Matador. Several times more the Matador speared the bull with stinging spears piercing the bull’s back. Each time the bull was undaunted by the pain and he continued to chase. Running with fear and anger and passion, the bull pursued the Matador. Finally, the Matador launched his last spear. This spear had been no different than the others, no longer, no sharper, no stronger. This spear was the same, but it would be the final spear. When it struck, the bull could bear no more. The fear and anger and passion drained from within the bull. The bull felt only sadness and loss and defeat as he crumpled to the ground, no longer strong and proud and handsome. And the bull knew he could never catch his beloved Matador. Holli Kiechler/Elko GBC Community Member Raymond Fuller/Wells, GBC Community Member “Tough Guy” Sculpture in Hydrous Magnesium Silicate (Soapstone) 34 Arge n tu m 2 016 A rge n t u m 2 016 35 �Debra Zobak/Lovelock, GBC Community Member “Perfect Landing” Acrylic Painted Gourd/Multimedia Butterfly “Ideas will develop and motivate me to find the best way to express what I am visualizing in my mind and soul.” Martha Watson/Elko, GBC Community Member “A Way to Follow” Acrylic (Photographed by Laura Gallegos) Debra Zobak 36 Arge n tu m 2 016 A rge n t u m 2 016 37 �Why Did You Take Political Science? Why do students take political science classes at GBC? Here are some reasons posted by my students. “My reason for taking PSC 101 is because lately I have had a very difficult time sleeping and felt as though this course could drastically change that aspect of my life.” “The reason I am taking PSC 101 is because ‘Winter is Coming’ and I must be prepared.” “I wanted to take this course so that I didn’t have to endure anymore history classes. I get it that the dinosaurs were cool and stuff, but I think that two years is enough of that.” My reason for taking PSC 101 is to see a reason on God’s green earth WHY Donald Trump is leading in the election currently and also find out any way to get him to leave. “I am taking PSC because Obama and/or Bush made me do it, and it is all their fault.” “I am taking this class because this is what Spock would have wanted.” “Pluto is sad. I am taking PSC 210 because I want to colonize Pluto and I need to know how our government works so I can replicate its efficiency. Pluto is going to become a place so awesome that the aliens will finally reveal their presence because they want to vacation there. I’m going to make all those scientists sorry that they demoted Pluto to a mere dwarf planet.” “I am taking PSC 210 because I was recently visited by myself (but from the future) and was told that if I didn’t take and pass this class, I would be forced to undergo a Ludovico Technique-like procedure, but instead of watching violent films, I would be forced to watch all of Grey’s Anatomy.” “Before Abe Lincoln died, I was by his bedside and he personally assigned me to find a man that goes by Danny Gonzales and be absolutely sure that he become a professor for GBC. Not too many years following Abe’s death, little Danny Gonzales was born. I spent my whole life watching this Gonzales fellow and discreetly guiding him to the right path that Abe had planned for him. I messed up a couple times and accidently got Danny to be a licensed beautician as well as a pizza delivery boy, but it was about 16 years ago that all my hard work paid off and the little Danny boy added a Dr. to the beginning of a name. (A doctor, but not a useful one that helps if you’ve broken a leg or need your life saved. None of that.) One thing led to another and he became a professor at GBC. Most people thank their teachers, but I am here to say you’re welcome to all of you, especially you, Dr. Professor Gonzales. I got you here and you didn’t even know it. Abe said I must take this course and that you’d be an awesome professor. Don’t let me down!” 38 Arge n tu m 2 016 “I had no classes to take, but I needed to take one and I blacked out while drinking alphabet soup and when I woke up PSC 101 was spelled out in it and I took it as a sign to not mess with destiny.” “I am taking this PSC 101 course because I postulate that mermaids may eventually evolve into creatures that intend to take over the world because they recently have been surfacing and assimilating information from Animal Planet associates.” “The reason I’m taking PSC101 has to do with the fact that about 18 months ago I spawned a little monster who is very demanding in many ways and I figure that learning a thing or two about how the government works and knowing the ins and outs might be beneficial for me in rearing this hungry beast.” “I’m only taking this because I need to find the single string of code that was sensed to be on this website so that I can escape the Matrix.” “To learn about conspiracy theories and the Force.” “I am taking PSC 101 because I just got my U.S. citizenship this year. I am very, very proud to be an American. In fact, I consider this as one of my biggest accomplishments in life so far. I want to be a responsible citizen and have a good understanding of our government.” Compiled by Danny Gonzales Elko GBC Faculty A rge n t u m 2 016 39 �Rachel Richardson/Pahrump, GBC Student “Laura and Precious” Digital Photo Desert Tanka I and II I sling fat paragraphs waist high round my desk, sentences knocking pictures off walls and phrases coming apart on Kilim carpet. Jeffie Mackie/Spring Creek, GBC Design Fundamentals I Student “Balloons Dancing Around the Rubies” Colored Pencils on Poster Paper Rank ampersands and quotation marks storm the printer soon to surrender on drifts of white in darkness then marching out to light. (Photographed by Patty Fox) Katie Glennon/Spring Creek GBC Introduction to Poetry Student 40 Arge n tu m 2 016 A rge n t u m 2 016 41 �The Inquirer’s Mask It was on a crisp, cool morning the caretakers found that Verity had passed on. They knew before reaching the door he was gone: the air was taught, as if a frail band had once pulled together the pieces of disorder, giving them new meaning, and had left all thought and significance sagging in its wake. But as the first rays of sun, which seemed to have lost their ability for illumination, called attention to spirals of dust within the threshold, the caretakers found a shock: prior to his last breath, Verity had arranged his body coffin-like within a bookshelf. Transiret fell sideways, the sanguine volume peeling away from its former host, into his grip. He was vaguely aware of the others exclaiming in surprise, but his sole concentration was on the manuscript now in his hand. It was warm, and he could have sworn a rhythmic pulse, much like a heartbeat, was radiating from it. And he had entirely entombed himself in literature. Now the remaining scripts peeled away with ease, and as each was removed, vivid snippets of thought flashed through Transiret’s mind, so that his view flickered between the scripts before him and the lost memories held in each: Textbooks and small volumes, loose pages and complete notebooks, cream pages, inked diagrams, and formal covers; all amassed to reveal a vaguely humanoid shape, settled within the wooden confine. A series of note pages embalming Verity’s hands: the red stains from Hooke’s journal that had branded his palms, so that he kept them clenches in fists and thus away from the prying eyes about him. The caretakers fell back, muttering uneasily. None pretended to feel any remorse or sorrow: Verity had been decidedly unusual, but within the void of his passing (although they refused to admit it) settled a blanket of guilt and distrust. Perhaps it was due to this that Transiret, the youngest caretaker, approached. Stopping as his toes bumped against the wood, he knelt down, fingers extending to reach through the spiraling wall of dust, a barrier, between what was and what had been. An encyclopedia immobilizing his legs and ankles: the basis of knowledge which all thinkers worked so hard to achieve; the cherished facts awarded from centuries of work, yet dismissed by the masses with the bat of an eyelash. And as his hand made contact with the first book, a sanguine volume covering Verity’s heart, all else faded from his consciousness, and he fell into the excited mutterings; the rushing words, which seeped from the pages and rose to meet his abrupt descent. *** It was entitled Micrographia, written by one Robert Hooke. A true seeker of knowledge, he contributed to cell theory, the wave theory of light, map-making, and the invention of the microscope. Distrustful of those around him, Hooke wrote in code, never recognized for his diligence or ideas. Hooke…Hooke…Hooke… And Transiret watched as the diagrams, figures, and words, peeled from the pages and flowed into his own chest, pulsing and expanding, illuminating from within his skin as if his veins had gained the power to glow. Ideas whispered at the edge of his consciousness; excitement bubbled through him. Suddenly, he was a younger Verity, overcome with wonder, studying Hooke’s journals under the cover of stolen candles. The joy faded to despair as he struggled and failed alone to test his ideas, branded by the sanguine cover, mocked by his peers who ridiculed his love for learning. And the book latched onto his chest, burning white hot as it fused to cover his heart, forming a protective layer of knowledge from the cruel world, and jerked him from the stupor. A technical manual embalming his shoulder: instructions, guidelines; hours of ceaseless effort: a teenage Verity hunched over a work bench, his silhouette ghastly and ancient against a brilliant blue sky under which his peers dialogued endlessly. Verity, standing alone in silence, although his surroundings were never void of others. And with each insight, as excitement gave way to frustration, isolation, hopelessness, and despair, the large red manuscript pulsed more heavily in Transiret’s grips, agitating him to rip away the volumes, to release the trapped creature inside, until a final sheet masked Verity’s resting face. Without hesitation, the manuscript now screaming in his mind, Transiret wrenched away the very first page of notes Verity wrote. A young face, one alight with curiosity, gazing beyond all of them, stared back. Hannah Margolis/Elko GBC English 102 and Elko High School Student *** 42 Arge n tu m 2 016 A rge n t u m 2 016 43 �Lora Minter/Elko, GBC Creative Photo Composition Student “So Excited I Lost My Head” Digital Photo “I am always amazed at the power of words to inspire, injure, educate and amuse.” Lora Minter Nicole Jonson/Elko, GBC Community Member “Parrots” Digital Photo 44 Arge n tu m 2 016 A rge n t u m 2 016 45 �I n M e mo r i a m - S a r a h S w e e t wat er Students, friends, and family would agree that Sarah Sweetwater looked forward to adventure. Her poem, “Traveler”, published in Argentum 2014, expressed her love for the journey: “Let this adventure become your Silk Road Trading your country’s riches for new ones.” In 1971, Sarah Sweetwater began a lengthy journey on her “Silk Road” in the form of a teaching career that allowed her to trade her rich passion for art in return for valuable and creative work by her students. For 34 years, she instructed and inspired students at Great Basin College to search out their own creativity in her classes. Sarah guided students to find and develop their skill in art and enjoyed seeing their results. She taught the fundamentals of art as well as giving students the opportunity to see and respond to art outside of the classroom through folk art festivals and her tours to other cities and countries. Argentum wishes to honor Sarah Sweetwater’s dedication to the arts in the Elko and the GBC Community and her warm encouragement to students both in and out of the classroom. Through her students, the trading of creative riches will continue on many “Silk Roads” for years to come. ~Editor Kathi Griffis/Spring Creek, GBC Staff “Bufflehead” Colored Pencil Sarah Sweetwater “Hiding the Hurt” 46 Arge n tu m 2 016 (Photographed by Toni R. Milano) A rge n t u m 2 016 47 �“I often see inspiration in everyday things...I try to look at everything with a creative eye.” Meghan Rich, GBC Student
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Argentum Art and Literary Magazine
Subject
The topic of the resource
Great Basin College's Art and literary magazine featuring student, faculty, and community works.
Description
An account of the resource
Great Basin College's art and literary magazine devoted to highlighting the excellent artistic expression of its students, faculty, staff, and members of the communities in which GBC serves.
Creator
An entity primarily responsible for making the resource
Great Basin College / Arts and Cultural Enrichment
Source
A related resource from which the described resource is derived
<a title="Argentum web site" href="http://www.gbcnv.edu/argentum/">Great Basin College Argentum web site.</a>
Publisher
An entity responsible for making the resource available
Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
07/01/2014
Contributor
An entity responsible for making contributions to the resource
Great Basin College's students, faculty, staff, and members of the communities in which GBC serves.
Rights
Information about rights held in and over the resource
c. 2010-17. Great Basin College. All rights reserved.
Format
The file format, physical medium, or dimensions of the resource
The issues of Argentum are in Adobe .PDF format.
Language
A language of the resource
English
Type
The nature or genre of the resource
Art and literary magazine
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
art, arts, literature, photography
Document
Documents such as transcripts, pdf files, legal documents, letters, etc.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Argentum 2016
Subject
The topic of the resource
The 2016 edition of the <em>Argentum</em> Arts and Literary Magazine.
<p><a title="Argentum 2016 full magazine" href="/omeka/files/original/fb8ec9a4a77f75a6fe2a5608b8eaa7f5.pdf" target="_blank" rel="noopener">View pdf of magazine in new tab</a></p>
Description
An account of the resource
The 2016 issue of Great Basin College's art and literary magazine, <em>Argentum</em>. Devoted to highlighting the excellent artistic expression of its students, faculty, staff, and members of the communities in which GBC serves.
Creator
An entity primarily responsible for making the resource
Great Basin College
Source
A related resource from which the described resource is derived
Great Basin College Argentum web site: <a title="Argentum magazine website" href="http://www.gbcnv.edu/argentum" target="_blank" rel="noopener">http://www.gbcnv.edu/argentum/</a>
Publisher
An entity responsible for making the resource available
Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
May 2016
Contributor
An entity responsible for making contributions to the resource
Great Basin College's students, faculty, staff, and members of the communities in which GBC serves.
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
c. 2016. Great Basin College. All rights reserved.
Format
The file format, physical medium, or dimensions of the resource
pdf; 25 pages
Language
A language of the resource
English
ACE
Action
Argentum
Community
Faculty
literature
photography
poetry
Students
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/4ef313f848d0216feea6e2624a793bf8.pdf
1cc2fec27294165b7c4d58d9a4c256ec
PDF Text
Text
ACE
&
“I have learned so much
from their culture,” says
Sweetwater “to be happy!”
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
ACE Events 2013-2016
Subject
The topic of the resource
Recordings of selected ACE events for the 2013-2014, 2014-2015, and 2015-2016 academic years.
Description
An account of the resource
Selected events sponsored by ACE (Arts and Cultural Enrichment) Committee at Great Basin College. Included is the 2015 Cowboy Poetry Speakers Series (Teresa Jordan and Gary Nabhan).
Creator
An entity primarily responsible for making the resource
GBC / ACE (Arts and Cultural Enrichment); individual artists and speakers.
Publisher
An entity responsible for making the resource available
GBC
Date
A point or period of time associated with an event in the lifecycle of the resource
2013-2014; 2014-2015; 2015-2016
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky
Rights
Information about rights held in and over the resource
Great Basin College / Virtual Humanities Center
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
ACE 2013-2015
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Deepa Willingham - Eradicating Extreme Poverty through Girls' Education
Subject
The topic of the resource
Rotary International Humanities Speaker Deepa Willingham discusses a project to eradicate local extreme poverty in Piyali, India through the girls' school (the Piyali Learning Center).
Description
An account of the resource
<p><a href="http://gbcnv.mediasite.com/mediasite/Play/679a4ac7a46a427bbd62c85a2d4828841d" target="_blank" rel="noopener">View MediaSite of Event</a></p>
<p>Deepa is the founder of Promise and Assurance of Children Everywhere (PACE) Universal, a non-profit organization leading a program to prevent child trafficking and eradicate extreme poverty through education of girls and women, vocational training, and holistic village rehabilitation.</p>
<p>Deepa is an active Rotarian originally from India. She studied under the stewardship of Mother Teresa and has spent much of her career working with children.</p>
Creator
An entity primarily responsible for making the resource
Deepa Willingham
Publisher
An entity responsible for making the resource available
Rotary International, Great Basin College, and the Arts and Cultural Enrichment (ACE) Committee
Date
A point or period of time associated with an event in the lifecycle of the resource
19 November 2015
Contributor
An entity responsible for making contributions to the resource
Anita Franzoia [moderator]; Radhika Bahkta [dance]; GBC IAV Department [connection facilitation and MediaStreaming];
Rights
Information about rights held in and over the resource
Virtual Humanities Center Digital College Deposit and Reproduction Agreement on file
[admin access only]
ACE
Action
Community
Design 2015-2017
education
girls
India
poverty
Rotary International
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/80756781b116ddc303712110b1734c9d.pdf
519fdbb452ff12bb6d42cc9740320b25
PDF Text
Text
2015 Argentum Arge nt u m 2 015 1 �Introduction In the 2013 movie Words and Pictures, two instructors at an upscale prep school – one of them a writer/poet, the other a successful painter – spark a school wide debate about what is more important: images or the written word. The artist and art teacher, played by Juliette Binoche, tells her Honors Art students that “words are lies” and that only art speaks the truth. The writer and English teacher, played by Clive Owen, unnerved when his Honors English students voice their support of “pictures” over “words,” launches into a defense of language and its ability to change the course of lives and governments. The art-word debate escalates, eventually culminating in a “War on Words” assembly, where Honors Art and English students ask their school mates to decide which has more impact, more value, and more worth – words or pictures? Through the students’ point and counterpoint defense of words and pictures, they challenge all pupils, and all movie viewers, to choose for themselves between the power of an artistic image and the power of the written word. “A picture is worth a thousand words. Anonymous,” declares one student. “There is no frigate like a book to take us lands away. Emily Dickenson,” counters another. “Shakespeare’s portrait appeared on his portfolio,” says one student. “He wrote ‘Reader, look not at this picture, but at this book.’” Another student, “’What is the use of a book, said Alice, without pictures?’ Lewis Carroll.” In the end, the teacher/poet quotes Marcel Proust, acknowledging that it is “only through art that we can know what another person sees.” He calls for a truce, and a coming together of words and pictures. While the movie garnered mixed reviews for its own effective use of words and pictures, no critic seemed to fault the premise – that language and artistic expression matter. Argentum welcomes the words and pictures of our students, faculty, staff and community members, no matter where they are on their creative journeys. The sharing of stories and ideas, artistically and in written form, can help individuals make sense of their lives, and expose us collectively to new ways of looking at our daily world. Great Basin College’s Virtual Humanities Center (VHC) is a new resource for educators, students and community members appreciative of new ideas. The VHC can be found at http://humanities.gbcnv.edu. The Center’s mission is “to collect, curate, and cultivate humanities for rural Nevada,” and it hopes to become a resource for people seeking “the unique contributions the Humanities make through innovation, ideas, the arts, and culture.” The committee spearheading the development of Humanities resources and classes are convinced that the Humanities matter, and are important to the world of the 21st Century. Take a look and see why. 2 Arge n tu m 2 015 �A r g e n t u m 2 0 15 I would like to extend a special “Thank You” to the 2015 Argentum Steering Committee. Tanya Stokes’s hard work, Patty Fox’s arts expertise, Karen Kimber’s willingness to “do publicity,” Toni Milano’s photography skills, and Josh Webster’s editing eye have been welcomed and valued. GBC instructors Patty Fox, Cynthia Delaney, Kristen Frantzen Orr, Gail Rappa and Deb Finley have my deep appreciation for their support, not only of Argentum, but of the students who turn to them for guidance in bringing beautiful creations into the world. To both Frank Sawyer and Tim Beasley, who navigate pesky computer issues in times of crisis, you guys are lifesavers! To Angie de Braga and the ACE Committee, who all work diligently to bring cultural events to the campus and community, thanks for including Argentum on your list of worthwhile projects. A final thanks to the Academic Success Center and director Ping Wang for providing Argentum “office” and storage space, and all ASC staffers who graciously answered questions from people seeking information about Argentum throughout the year. Kudos to Marin Wendell and Erin Radermacher of Everything Elko for production and design assistance. - Lora Minter, Editor T h a n k Yo u s Argentum thanks the college’s Arts and Cultural Enrichment (ACE) Committee for their support of this publication and all things “artsy” on campus. ACE’s mission is to organize programs and events that expose GBC communities to diverse experiences, cultures, and viewpoints. ACE fosters a spirit of inquiry, creativity, and reflection at Great Basin College with emphasis on: Live Performing Arts | Humanities Speakers | The Great Basin College Film Festival Exhibits & Events at the GBC Art Gallery Argentum – GBC’s Literary & Creative Arts Publication Visit www.gbcnv.edu/ace for updates on upcoming cultural events. Contact Angie de Braga at the GBC Continuing Education Department at 775-753-2231 for info on: ARGENTUM 2016 Theme: Design for the Human Spirit (Cash award to the submission that best depicts the theme.) Website: http://gbcnv.edu/argentum Email: argentum@gbcnv.edu Cover Art: Shelby Wilson/Spring Creek, GBC Art 100 - Beginning Drawing Student “Curls and Glasses” Pencil (Photo by Toni Milano) Arge nt u m 2 015 3 �In Appreciation Three years ago, when GBC President Mark Curtis moved to Elko, he brought with him his wife of 43 years, (who was also his high school sweetheart), and an appreciation for the art of stained glass making. In 2012 the couple left Michigan, a state they called home for more than six decades, trading rainfall for desert, lakes for peaks. Curtis’s wife Margaret says the couple fell in love with Nevada mountains, and that love inspired the creation of an 18-foot by 3-foot stained glass landscape scene now displayed in their home. Curtis created seven, free standing, stained glass panels in order to make up the mountain and foothill scene. This is one of almost 50 major stained glass creations he has finished since taking up glass making in a community education class 30 years ago. Curtis has said that his interest in stained glass was spurred by a desire to repair broken glass windows in a Michigan church he attended. After his wife signed him up for a stained glass class, he discovered the real joy a finished piece of art brings to others. “With stained glass, both the end product and the hands-on process of creation, are so satisfying,” he says. As a community college graduate, Curtis believes deeply in access to higher education. As a stained glass artist, he believes the real beauty of the medium is the positive effect it has on others. Argentum thanks President Curtis for his support of artists and authors. This publication is funded by the GBC Office of the President. Mark Curtis/Elko, GBC President “Mountain Range and Foothills” Stained Glass, Lead Came, Zinc 4 Arge n tu m 2 015 �Argen tu m S ele c ti o n Co m m i tt e e - 2 015 A heartfelt “thank you” goes to the following community members who gave generously of their time to select this year’s Argentum entries. Your expertise and efforts are appreciated. L o r e t ta R e e d , Photographer and Educator Loretta Reed graduated from the University of Nevada, Reno with a Bachelor’s Degree in both Biology and English. She has taught English in the Elko County School District for 29 years, and photography at Spring Creek High School for 20 years. She strives to impart a love of photography and the ability to truly see the world around us to her students. Reed began teaching photography as part of her yearbook adviser position and quickly developed a lifelong love of capturing images through a lens. She takes portrait and event photos as a sideline and hopes to pursue photography as a second career when she retires. Reed’s photos have been published on the cover of a number of magazines. She loves to take images of the Nevada landscape. M a r s h a D av i s , Curator and Art Lover Marsha Davis, a retired draftsman, Nevada native, and local area resident for 45 years, is a lifelong student of art who continues to learn about art everywhere she goes. As curator of Sierra Java’s art exhibits for the past 10 years, Davis is familiar with local artists and the abundance of talent in our community. She says Sierra Java is one of the few places in the area that will allow artists to exhibit their work for 90 days. These “one-man shows” provide artists exposure and the opportunity to get community feedback. Nancy harris Mclelland, Poet and Educator A seasoned and “user-friendly” college writing instructor, Nancy Harris McLelland has conducted writing workshops in collaboration with the Western Folklife Center, Great Basin College, and the Great Basin Writing Project. An Elko County native with a background in ranching, McLelland has presented her Poems from Tuscarora at both daytime and evening events at the National Cowboy Poetry Gathering. She currently publishes essays and poetry monthly on her literary blog “Writing from Space” and conducts weekend writing retreats at her home in Tuscarora. Additional info at www.tuscarora-writers-retreats.com. Arge nt u m 2 015 5 �Ta b l e o f C o n t e n t s Artist Title Shelby Wilson Debra Zoback Gail Rappa/Kristen Frantzen Orr Adam Minter Frank Daniels Gretchen Greiner Lois Ports Joshua Webster Nicci M. Freeman Sidnie Miller Simone Marie Turner Amelia Torrance Ashley Mendoza Jessica Smith Debbie Heaton-Lamp Sally Haueter Rampe Jennifer Stieger Lynne Volpi Patricia Gray Dan Thurston Jolina Adams Norman Whittaker Thelma Richie Homer Ryan Douglass Karen Blair Patty Fox Cynthia Delaney Jeffie Mackey Jessica Smith Arthur Asson Michelle King Julie Wallace Krys Munzing Paul Bowen Shawn Collins Cindy Joyce Kari Denham Brendan Abel Frank Henley Frank L. Sawyer Troy Edler Cami Stephenson Angie de Braga Niki Jonson Gaye Terras Sarah Nahnacassia Ann Hagland Mike McFarlane Diane Rice Sarah Sweetwater Kathi Griffis Kacie Ortiz Maggie Corbari Adam McKinney Meghan Rich 6 Arge n tu m 2 015 Page Curls and Glasses...................................... Cover Twist and Shout................................................ 7 Infinite.............................................................. 8 Christmas in the Eye of a Child......................... 9 Choosing the Right Path.................................. 10 Serial Bundling #5, #4, #6.............................. 11 Strutting Along ............................................... 12 Starkmoor College Facts: Alina Zoya Ilkin....... 13 I Had Always Meant To................................... 14 Jewelry Artist’s Chatelaine............................... 16 Fleur de Lis Shield........................................... 17 Flight II........................................................... 18 Industrial Bridge............................................. 19 A Divine Map................................................. 20 Tahoe Treasures.............................................. 21 Goldilocks Bracelet........................................ 22 Place & Nature............................................... 23 Mountain Majesty.......................................... 24 Bristlecone III................................................. 26 The Backside of Summer................................ 27 Reba Cluckintire............................................. 28 Warmth.......................................................... 29 Jukebox Blues................................................. 30 This Side of the Glass...................................... 31 Argentum 2015.............................................. 32 Goats at the Home Ranch.............................. 34 Spirits............................................................. 35 Life Comes from Above.................................. 36 Claim Staker’s Lament..................................... 37 The Worst Gospel Singer................................. 38 Symbol and Flowers....................................... 39 Timeless......................................................... 40 Sylvan II......................................................... 41 Ready to Play................................................. 42 Beaded Woman’s Gauntlets............................ 43 Contemplation............................................... 44 Thin Walls....................................................... 45 Tunnel............................................................ 46 Shed............................................................... 47 My Love is Like a CPU.................................... 48 Star Love........................................................ 49 Bowling Reflections........................................ 50 Old Dodge..................................................... 51 Hummingbird................................................. 52 Nature’s Wonder............................................ 53 Spring Showers............................................... 54 Nature’s Abstract #1....................................... 55 West Avenue Tuscarora, Nevada..................... 56 Hand Coin..................................................... 57 A Travel Trilogy............................................... 58 In the Spotlight............................................... 59 Corsair........................................................... 60 Ole Nevada.................................................... 61 Laying One Down.......................................... 62 Motorcross..................................................... 63 �Debra Zoback/Lovelock, Community Member “Twist and Shout” Glass Beads “Beading is a natural extension of my long fascination with stippling and pointillism. There are so many stitches, variations and applications. Add all those gorgeous bead colors and what can be done in such a small space is simply amazing.” Debra Zoback Arge nt u m 2 015 7 �Gail Rappa/Tuscarora, GBC Faculty Kristen Frantzen Orr/Spring Creek, GBC Faculty “Infinite” Sterling Silver, Flameworked Glass 8 Arge n tu m 2 015 (Photo by Kristen Frantzen Orr) �Adam Minter/Elko, Community Member “Christmas in the Eye of a Child” Digital Photo “Creating art provides a space and place where everything else disappears except for the flow of the paint and the image that appears.” Debbie Heaton-Lamp Arge nt u m 2 015 9 �Choosing the Right Path Two roads diverged in a different wood. One way was bad while the other was good. A villain had taken the old road sign. Which way to choose was for us to find. We talked and we chatted, but neither knew Which way was false or which was true. Then you pointed left and I pointed right. We started to argue and began to fight. So you stormed off in the one direction. THAT was the path that would lead to protection. And I went the other way. I didn’t know why. Perhaps I was lured by the deep blue sky. I looked back at you, and I saw you go Into howling winds and blowing snow. My way was better, or so I felt told, But then it got dark and grew very cold. It must be too late to turn back, we thought. So we each pressed onward, but all for naught. For I realized as I growled at the weather That the right path to take was the one together. Frank Daniels/Ely GBC Faculty 10 Arge n tu m 2 015 �Gretchen Greiner/Elko, GBC Jewelry II Student “Serial Bundling #5, #4, #6” Pressure Formed Copper, Bone, Alcohol Ink, Torch Patina (Photo by Kristen Frantzen Orr) Arge nt u m 2 015 11 �Lois Ports/Elko, Beginning Glass Beadmaking and Jewelry II Student “Strutting Along” Copper, Brass, Enamel, Flameworked Glass (Photo by Kristen Frantzen Orr) “We are the stories we tell ourselves; the world is an anthology. Tell worthwhile stories.” Joshua Webster 12 Arge n tu m 2 015 �Starkmoor College Facts: Alina Zoya Ilkin APPROVED FOR POSTING BY STARKMOOR PUBLIC RELATIONS & MARKETING At the age of 148 years, Ms. Alina Ilkin is the oldest person on Starkmoor’s historic campus. in a makeshift ceremony, but no official record of this exists. Alina’s preservation, conducted anonymously and in violation of law, informed the work of Dr. Abrikosov, the embalmer of V.I. Lenin. Named in over eight hundred scholarly articles, dissertations, and books, Ms. Ilkin has the longest curricula vitae of any Starkmoor faculty member. Sergei Korotkin, the famed author of novels, short stories, and dramatic works, paid to preserve his longtime lover’s corpse as he could not continue to write “without the heavenly presence of my [his] radiant muse.” He paid an estimated 1600 rubles, more than $50,000 (adjusted for inflation), for the unsavory work upon her death in 1910. Marcel DuChamp once referred to Alina Ilkin as, “the foremost exquisite corpse.” Friends and colleagues report Korotkin kept Alina in her airtight glass case in his study, wedged between a teak curio cabinet and a bookshelf housing his first editions. A number of colleges and universities in the United States and Europe expressed interest in Korotkin’s papers, but only Starkmoor President Ferguson Whitehall agreed to house Alina along with the author’s writings, an inviolable condition of their possession. Three poems by Adrienne Rich reference Alina. Paul McCartney’s original sketch for the cover of Sgt. Pepper’s Lonely Hearts Club Band included Starkmoor’s revered lady, but Blake and Haworth left her out of the final design. In a letter to Harold Bloom, Philip Roth claimed that during his week-long visit to Starkmoor in 1986 menacing dreams of Alina Ilkin haunted his sleep. John Updike, who visited in 1982, claimed to have “slept like a baby.” In a 2010 interview, Slovenian philosopher Slavoj Zizek stated he has intermittently worked on a monograph examining Ilkin as an artifact of the postmodern subject. Eve Ensler has, reportedly, sought financial backing for a play entitled Dollmadder examining the relationship of the woman and author through the lens of both Mary Shelley’s Frankenstein and Ibsen’s During the culture wars of the late ‘Eighties and early A Doll’s House. ‘Nineties, when faculty and students demanded Alina receive a proper burial, current Starkmoor President, Alina Ilkin’s middle name, Zoya, translates as “life,” an Reginald Wilbur, refused, stating Korotkin “was a very irony equally preserved. important author.” The funding for Alina’s upkeep comes from a special P.T. Barnum offered Kortokin’s representatives $20,000 for Ms. Ilkin alone, expressing no interest in the rest of the estate. Despite his intention to join Alina at Starkmoor ostensibly in eternal repose, Korotkin never left the Soviet Union. Imprisoned on charges of subversion, he died in a remote gulag, the location of his remains unmarked or recorded. Alina arrived at Starkmoor College in the winter of 1932 and spent the spring term in the Vanderbilt Library’s Atrium. When concerns about UV damage arose, administrators ordered her remanded to the third floor archive space. Currently, Alina holds honorary memberships in every fraternity and sorority on campus as well as a number of campus clubs not including ROTC. endowment established for this sole purpose in 1943. Most of the donors chose to remain anonymous. The birth and death records of Alina Ilkin have been lost to antiquity, victims of the Bolshevik Revolution. Despite the overwhelming shadow Alina cast over Korotkin’s life, his writings offer few (some would argue disturbingly so) references to her personal life, history, and habits. Though circumstantial evidence supports the assertion Ms. Ilkin studied ballet, scholars of pathology and mummification suggest any present jarring, intentional or otherwise, would result in severe and catastrophic erosion of the skin and musculature to a degree they describe as “horrific.” As part of a particularly raucous Christmas party in 1952, members of the faculty and administration Alina Zoya Ilkin is on view to the public during regular including writer-in-residence William Faulkner archive hours and by special appointment. reportedly awarded Alina with an honorary doctorate Joshua Webster/Elko GBC Faculty Arge nt u m 2 015 13 �I Had Always Meant To… He wandered up from the stream with a defeated look and came to sit beside me. “I didn’t catch anything.” “I didn’t think you would. Fish were all done biting hours ago.” We sat in silence for a while, the bubbling and gurgling of the stream resounding in the background. I could hear his heavy breathing. It was so close to my ear that it sounded like the wind that beat at our doors and windows last fall when the biggest hurricane of the season hit on the first day of school. I reached down beside me and came up with a plastic water bottle that was slick from condensation. I unscrewed the lid and lifted the rim of the bottle to my lips and drank greedily. When I had had my fill, I offered the bottle to him. “Troy, do you want some water? It’s awful hot out here.” He shook his head. “No thanks. I’m good.” I shrugged and tipped the bottle and peered inside. There wasn’t that much left anyway. I set it aside for later. We continued to sit on the flat rock that overlooked the stream for quite some time. Silence crept upon us once again, but that was alright. We just sat there, each of us pondering our own small problems and not really getting anywhere. In reality, we were both stalling because neither of us really wanted to go to our respective homes. It’s not like we were abused at home or anything – we just didn’t want to be there, being told what to do and when, where, why and how to do it. We’d much rather be alone, together. Just us two against the world. That’s how it feels when you find your soul mate, and your soul mate is your best friend. You don’t need the drudgery of daily life, because together you have superpowers. “We’d better head back before it gets too late,” Troy said quietly. I nodded in reluctant agreement. We bustled around, gathering packs, tackle boxes, fishing poles and the like. When we were properly outfitted to return home, Troy offered to carry my bag for me. 14 Arge n tu m 2 015 � “No, no. That’s alright. I’ve got it.” “Are you sure? It looks heavy…” He seemed very concerned. “Troy, I’m a girl, not an invalid. It’s fine, really!” “Hurumph,” was the sound he made as he adjusted his load and started down the path that would lead us to the base of the mountain. I hung back for a moment, taking a final glance at the stream. It was dazzling in the summer sun. The light that filtered through the leaves of the full summer trees made dancing reflections on the already sparkling water. I stood a moment more, inhaling deeply, taking it all in. Then I turned to join Troy, who had kindly stopped on the path to wait for me. Together, we descended the mountain. That was when we were fifteen. I’m all grown-up now, living a grown-up life in a grown-up world. Every day I drive a grown-up’s car to a grown-up’s job and earn a grown-up’s paycheck. Then I go home to a grown-up’s house where a grown up’s family is waiting for me. We have dinner, do homework, watch TV, read bedtime stories, put the children to bed, check our email, watch the news and do other things that grown-ups do. Then we get up and do it all again the next day. Troy should have been doing this same routine with his family. As we got older, Troy and I started to grow apart. I had always meant to call him, just to say hi. Let him know he was still so special to me. I had always meant to drop in on him and rehash old times. I always meant to tell him I loved him – loved him more than I loved anyone else. Only now it’s too late, he’s gone. I forget how they told me he died – drunk driver, texting and driving, heart attack, broken ankle, aliens called him home, I don’t know and it really doesn’t matter. The point is, he’s gone. It’s too late to do any of the “I had always meant to’s.” I wish one of the “I had always meant to’s” I had gotten around to had been to say goodbye. Nicci M. Freeman/Spring Creek GBC Staff Arge nt u m 2 015 15 �Sidnie Miller/Elko, GBC Jewelry II Student “Jewelry Artist’s Chatelaine” Copper 16 Arge n tu m 2 015 (Photo by Kristen Frantzen Orr) �Simone Marie Turner/Spring Creek, GBC Jewelry II Student “Fleur de Lis Shield” Brass, Copper, Silver, Aquamarine, Labradorite (Photo by Kristen Frantzen Orr) Arge nt u m 2 015 17 �Amelia Torrance/Winnemucca, Community Member “Flight II” Digital Photoshop 18 Arge n tu m 2 015 �Ashley Mendoza/Elko, GBC Digital II Student “Industrial Bridge” Digital Photo “A professor once told me that art helps develop your problem-solving skills. More than that, without creativity, the world is just dull.” Ashley Mendoza Arge nt u m 2 015 19 �A Divine Map Maps show so many things Treasures and tales Of lost golden rings. Some maps are dirty And yellowed with age Some maps are crisp Some printed on noble page. Some are folded Hidden in some corner And some are rewarded With county recorders. Maps are like you Maps are like me Born a blank page Empty and free. But as time rattles on All of us draw our own maps With pencils of experience We plot our own path. Who else but God Could show you the way When you have no idea where you are going And no idea of what to say. You are not born With a draftsman’s keen eye So, how can you tell The mountains from the sky, But if you look around on your map There are a few hidden clues To the state you were born And the life you will choose. One knows not The roads you will take Or the mountains you’ll climb Or the fences of fate Which cross the designated path Often when least suspect Covered in rusty nails and barbs God draws you a fence. The map you are drawing Is unique and intense And you must always remember There’s a path around that nasty fence. Look to the scale bar To find out how long An inch is a mile But I might be wrong. But of the drawing of maps The most important rule is such That the North Arrow Must always face up. Like hands towards the sky It acts as your guide No matter the weather Or if your map leads you awry. So say a little prayer And you’ll find your way. Just look where you are going And always have faith. Jessica Smith/Orovada GBC Student 20 Arge n tu m 2 015 �Debbie Heaton-Lamp/Elko, Community Member “Tahoe Treasures” Watercolor Arge nt u m 2 015 21 �Sally Haueter Rampe/Elko, GBC Jewelry II Student “Goldilocks Bracelet” Copper, Brass, Silver (Photo by Kristen Frantzen Orr) “I have been an avid reader and writer since my childhood. Writing allows me to express my emotions, and to explain and interpret experiences in my life.” Jennifer Stieger 22 Arge n tu m 2 015 �Place & Nature: How Landscape Impacts Memory April 2007 A spring rain falls and the musky scent of wet sagebrush reminds me of childhood. The Nevada high desert has been home for more than thirty years; yawning deep blue skies and towering purple mountains are as familiar to me as the yellow swing set that used to occupy my grandparents’ backyard. Granny and Poppy lived in a single-wide trailer on the outskirts of Battle Mountain, a sleepy rural community in northern Nevada. During the summertime, parched alkaline soil shriveled the tomato plants in Poppy’s garden. Winter months temperatures hovered below freezing as long silver icicles dangled from the covered front porch and brilliant stars glistened in a canopy of darkness. Yet once inside Granny’s home, savory aromas overwhelmed the senses. Fragrant fried chicken and buttery biscuits mingled with the sweet smell of Poppy’s pipe. This isolated place situated in the barren Nevada landscape influences my memories, first molding, then solidifying them into permanent pieces of the past. Memories, like an intangible apparition, possess dream-like characteristics as well. In a dream, an almost forgotten loved one may have a blurry face or reside in an unfamiliar place. As with memory, the many facets of a person’s character cannot be recalled, but strong emotion - perhaps love or bitterness - will remain. The natural world and memory are intertwined as tightly as a master weaver spins his cloth. The smell of damp sagebrush after a summer thunderstorm; the soft kiss of a dandelion seed; the brilliant blood-red sunset during a wildfire - these sensory images conjure memories and sentiments. Place and the natural world resuscitate emotions once thought dead. After my grandmother passed away, it was her home and the surrounding landscape that revived my memories of her. The house was not as I remembered. I went with Mom to visit Poppy not long after the funeral. Like Poppy, the single-wide trailer was worn-out, battered from the harsh elements of the high desert. The dilapidated front porch had long since faded under an unrelenting Nevada sun. Granny’s collection of wind chimes used to serenade my entrance, but on that day only the whistle of a lonely wind tickled my ears. Entering the trailer, I noticed worn furniture and dust particles swirling in the sunlight. The kitchen the nucleus of Granny’s life - was cluttered with dirty dishes. If I cocked my head and listened closely, giggles of unruly children echoed down the hallway, phantoms from the past. Later I stood outside on the shaky wooden porch and gazed at rolling brown hills gilded by the sun. Memories of Granny wrapped warm around me like a pair of arms. September 2014 Poppy is dead. Clouds billow and roll in the late afternoon heat; large white masses of cotton obscure the deep blue of a Texas sky. The highway, a gray ribbon of concrete, stretches far into the horizon, and the human eye cannot tell where earth and sky touch. I follow Dad along the roadside as tall green grasses undulate in the wind. The air is like syrup viscous and wet. A plastic bag heavy with white ash swings from Dad’s hand; it is his father’s remains. This field in a remote region in the Texas Panhandle is where my grandfather wished to have his and Granny’s ashes scattered. As Dad spreads the ashes, and I watch the dust settle into the earth, the land transforms from dirt and grass into a sacred resting place for two souls. As I stand next to Dad on the side of the road in an obscure Texas valley, I feel a connection with the land. This is earth where my grandparents walked. The dips and swells of the verdant fields are where two families met and became one. With a bright sun beating down upon my head and the whisperings of the wind in my ear, a reverence resonates in my soul, and I close my eyes to listen. Jennifer Stieger/Elko GBC Student Arge nt u m 2 015 23 �24 Arge n tu m 2 015 �Lynne Volpi/Spring Creek, Community Member “Mountain Majesty” Watercolor Arge nt u m 2 015 25 �Patricia Gray/Spring Creek, Community Member “Bristlecone III” Acrylic Ink on Clayboard “Since I’ll never drive 2,000 cows up the Chisholm Trail, I try to write what I know…try to find romance (in a broader meaning of the word) in the American West of today.” 26 Arge n tu m 2 015 Dan Thurston �The Backside of Summer I drove home last week, and from Wilma’s Hill The valley below me was gold. And it hit me, we’re on the backside of summer. The rabbit brush is turning gold. The goslings that were little and cute in the spring Have grown to almost goose size. The first doe goat has come into heat And the buck is coming alive. Last weekend we spent stacking up hay; The hay shed has all it can hold. It’s a good feeling, being ready for winter. The rabbit brush is turning gold. Last month we poured concrete at five in the morn, And the sky already was light. Last week, when we poured at five-thirty, We did it with pickup headlights. They’re painting an Indian head on the high school gym floor; It’s all done up in Elko maroon. But the coach is checking his schedule, “I hope they finish it soon.” It’s still warm after lunch and the calendar says August has a few days to go. But we know this won’t last too much longer The rabbit brush is turning gold. I best check the furnace and heat tape the pipes, Clean the culvert down on the road. We don’t want to be caught unready; Summertime is now growing old. I’m a tad apprehensive, a bit excited, ‘Cause you can’t put winter on hold. It happens each year, in late summer, As the rabbit brush turns gold. Dan Thurston/Elko Community Member Arge nt u m 2 015 27 �Jolina Adams/Winnemucca, GBC Staff and Beginning Glass Beadmaking Student “Reba Cluckintire” Flameworked Glass Bead 28 Arge n tu m 2 015 (Photo by Kristen Frantzen Orr) �Norman Whittaker/Elko, GBC Faculty “Warmth” Clay Stoneware (Photo by Toni Milano) Arge nt u m 2 015 29 �Jukebox Blues Our t-shirts never had anything written on them advertising a secret life we wished to have; we didn’t sit around with incense lit blowing our minds about sex revealing tattooed buttocks above hip-hugger jeans. Even though we lived in guarded innocence we still caught the spirit of the blues, tuned our ears to the Hit Parade, imagined being one of the 20,000 bobby-soxers pressed against the doors of the Paramount Theatre screaming our heads off swooning to Sinatra’s “I’ve Got You Under My Skin.” We saved our nickel tips for the jukebox juggling car-hop trays to “Mack the Knife,” or the enlivening nostalgia of the Big Bands, snapping our heels to “Mule Train.” Mostly though, we swung to the “Tennessee Waltz,” “Mockingbird Hill” or hummed “Doggie in the Window.” From sophisticate to swinger we twisted with Chubby Checker ‘til Elvis with his urgency on-the-rocks blues transformed our baby doll nights into musical euphoria waggin’ his tail and telling us we weren’t “Nothin’ but a Hound Dog.” Thelma Richie Homer/Elko Community Member 30 Arge n tu m 2 015 �This Side of the Glass From this side of the glass, The bitter wind is saved from my cheeks. Though it beats the frozen glass for weeks, I sit beside my fire with fervent desire And watch snowflakes amass. From this side of the glass, No cold could dare find my sorrowful heart. The winter’s howling chill cannot tear me apart From my crackling fire, but I do so admire Its persistent crystal clash. From this side of the glass, I no longer recall its bite upon my face. I’ve been held hostage in this pleasant place. Heated by glowing fire I wish now to acquire A brief touch of the flurry’s pass. From this side of the glass, I say a great many things about the other side. But if the blustery wind became my bride, I’d lose my fire that I’ve come to require And my comfort would cease at last. From this side of the glass, I shall watch this storm carry to the next, And mortality will find me wholly perplexed, As I sit beside my fire with apathetic desire And watch snowflakes amass. Ryan Douglass/Elko Community Member Arge nt u m 2 015 31 �Argentum - Light Graffiti “This image was created with a technique called light graffiti, also known as light painting,” explains photographer Karen Blair. “Simply put, it is painting with a hand held light source (flashlight, glow sticks or fire) and long exposure photography.” So, how did she do it? Blair chose a Lake Tahoe site with stars and trees as a backdrop. She selected the camera’s manual or bulb setting, turned auto focus OFF, and set the ISO as low as possible. Using a small ball made out of different colored glow sticks, she wrote “Argentum” in the air all at once during a 30-second shot triggered by her niece, Lauren Sharp. Blair is not visible in the image because she wore dark clothing and kept moving. “All letters were done just as if I was using a pen and paper, but I was painting with light,” she says. “I did have to get creative to cross the “t” without a tracer!” She says that since letters will be flipped, the light writer has to learn to write backwards in cursive, or learn how to flip the image in Photoshop. 32 Arge n tu m 2 015 �Karen Blair/Spring Creek, Community Member “Argentum” Light Painting Photography Arge nt u m 2 015 33 �Patty Fox/Spring Creek, GBC Faculty “Goats at the Home Ranch” Watercolor, Ink 34 Arge n tu m 2 015 �Cynthia Delaney/Elko, GBC Faculty “Spirits: Photo Collage, Images from Many Countries” Digital Photo Collage Arge nt u m 2 015 35 �Jeffie Mackey/Spring Creek, GBC Art 100 - Visual Foundations Student “Life Comes from Above” Color Pencil 36 Arge n tu m (Photo by Toni Milano) 2 015 �Jessica Smith/Orovada, GBC Student “Claim Staker’s Lament” Oil Arge nt u m 2 015 37 �The Worst Gospel Singer Well, I’m the worst Gospel singer that you ever did hear; I’ve sung in every church around, but the people cringe in fear. Strong men whimper, women faint, and preachers just get sore; It isn’t pretty and I’m done real quick, and then I’m out the door. I loved to sing in church, as a boy I did pretty good; ‘Til my voice changed, and then I sounded like a saw on wood. I tried my luck at rodeos and bars - it was an extensive search; But at last I thought, “There’s no place like home,” and went back to church. First I tried the Baptists, a really agreeable bunch; But they threw me out of church before the casserole lunch. Next I tried the Methodists, but they also gave me the boot; And left me with the impression that they and the Baptists were in cahoots. So then I tried the Catholics, and though they didn’t mention Hell; They did mention Purgatory, and ran me out of town on a rail. Next it was the Presbyters, but it wasn’t meant to be; I thought I might survive, ‘til they mentioned a rope and a tree. Next in desperation I gave the Seventh Days a try; But they were never there on Sundays when I dropped by! At last I tried the Episcopals, and they were most polite; They said that they would pray for me, and then they put me to flight. So I’m the worst Gospel singer that you never want to hear; I’ve sung in every church around, but the people plug their ears. Strong men whimper, women faint, and preachers just get mad; At least I’m good at something, but I’m good at singing bad! Arthur Asson/Spring Creek Community Member 38 Arge n tu m 2 015 �Michelle King/Elko, GBC Art 100 - Visual Foundations Student “Symbol and Flowers” Color Pencil (Photo by Toni Milano) Arge nt u m 2 015 39 �Julie Wallace/Spring Creek, Community Member “Timeless” Digital Photo 40 Arge n tu m 2 015 �Krys Munzing/Elko, Community Member “Sylvan II” Fiber Art Arge nt u m 2 015 41 �Paul Bowen/Elko, Community Member “Ready to Play” Digital Photo 42 Arge n tu m 2 015 �Shawn Collins/Spring Creek, Community Member “Beaded Woman’s Gauntlets” Brain Tanned Buckskin Beads (Photo by Laura Gallegos) Arge nt u m 2 015 43 �Cindy Joyce/Wells, Community Member “Contemplation” Digital Photo 44 Arge n tu m 2 015 �Thin Walls They’re calling out my name I’ve rolled the dice, it’s my turn, and they are Whispering answers to the game. They’re alongside and filed behind Cheerleaders, then friends, and thumbs up fans. Outspoken, outlying and internal, Struggles of the mind make time bend. Peering out of broken shades The screams of nos and pleads of yes begin, blaring in chorus with each blinking light As I wander through the tokenless arcades Watching others think for free they’ll win. Darkened corridors Exploring the never there Piping seagulls, salty sickness, crashing echoes As I wade through waterless shores. Hissing, snakey, figure eights of smoke I watch them escape evil Using the most faulty of wicked antidotes. Breathing in a lung full of hope, I exhale the bittersweet contents Of a cocktail of self control and see it wisp and float up and linger amongst the poor lost souls that walk around not sure which way’s even up. You start to fear the rooftop’s creatures That perch on corners, The most pleased and relentless pieces of them all, For they’re your biggest fans And the least of things to fear Beware it isn’t them that clicks and squawks Their master’s sitting with a blinkless stare, Slumped, unmoving, staring in an office chair Making thousands of different lists A referee to this game, I’m told it’s my turn. I didn’t want to roll, don’t deal me in No longer do we have a choice when all the Walls are not paper but digital thin. Kari Denham/Spring Creek Community Member Arge nt u m 2 015 45 �Brendan Abel/Elko, GBC Digital I Student “Tunnel” Digital Photo 46 Arge n tu m 2 015 �Frank Henley/Spring Creek, Community Member “Shed” Digital Photo “My photos are a journal to me. Each photo I make is a piece of my soul. It’s my therapy, and my never-ending journey through life.” Frank Henley Arge nt u m 2 015 47 �My Love is Like a CPU My love is like a CPU, I long to interface with you. Caught up in your memory, I’m the board and you’re the key. I monitor your every move, You bring life to color, too. I may be floppy time to time, I’m just a call away on-line. You and me and our own house; You turn me on, You click my mouse. You got a slot, I’ve got the card, Let’s just hope my drive is hard. Looking in your steel grey eyes, You’re my PC love surprise. Let cathode rays strike my heart, Still we’ll never be apart. You know I love you, I always will; I’ll gaze out from my Windows sill, Think of you and take your hand, Place you on my printer stand. I want to spend my life with you, ‘Cause my love is like a CPU. Frank L. Sawyer/Elko GBC Faculty 48 A rge n tu m 2 015 �Troy Edler/Elko, Community Member “Star Love” Digital Photo Arge nt u m 2 015 49 �Cami Stephenson/Elko, Community Member “Bowling Reflections” Digital Photo 50 A rge n tu m 2 015 �Angie de Braga/Elko, GBC Faculty “Old Dodge” Digital Photo Arge nt u m 2 015 51 �Niki Jonson/Elko, GBC Digital II Student “Hummingbird” Digital Photo 52 A rge n tu m 2 015 �Gaye Terras/Spring Creek, GBC Staff “Nature’s Wonder” Digital Photo “Photography reflects your personality as you capture an image with your eyes in order to tell a story with your heart.” Cindy Joyce Arge nt u m 2 015 53 �Sarah Nahnacassia/Spring Creek, GBC Digital I Student “Spring Showers” Digital Photo 54 A rge n tu m 2 015 �Ann Hagland/Elko, Community Member “Nature’s Abstract #1” Watercolor Arge nt u m 2 015 55 �Mike McFarlane/Spring Creek, GBC Vice President “West Avenue Tuscarora, Nevada” Digital Photo 56 A rge n tu m 2 015 �Diane Rice/Elko, GBC Digital II Student “Hand Coin” Digital Photo Collage Arge nt u m 2 015 57 �A Travel Trilogy MIDDLE AGE SPREAD I AM NO LONGER WHO I WAS ST MARTINS IN THE FIELD In pre-dawn darkness, My winter weight Is a bodyguard. Hair colored, curled and coiffed Bled dollars from my purse Arresting my age. The lean coyote Of summer days Fled the scene. “Arresting” did I say? Am I being held prisoner In a stand-still life? Three of us Sitting at separate tables, alone. Wearing comfortable shoes, Black soft-cushioned soles Neighbors to the white pair of Nikes All: real walking comfort. Heavy weight on bone vs Delicate image in mind Imprison me. Let Silver creep in Curls grow straight Be-coming myself. The first, a California lady, sighs Begins to eat her meal. The second sips wine, Her eyes cast down. I sit silent, no words. The lady rising is black, slender, serene She cleaned her table carefully The white woman also rises Adding her dishes Carefully to the pile. “Words and images are my meditation, my expression.” Sarah Sweetwater We sat there, separated, silent Yet joined by glance, By white hair and aged face, Perhaps by similar thoughts And comfortable shoes. Around our global neighborhood We often eat alone, Sit at separate tables, Savor our adventures, And wear comfortable shoes. Sarah Sweetwater/Elko Community Member 58 A rge n tu m 2 015 �Kathi Griffis/Spring Creek, GBC Staff “In the Spotlight” Digital Photo Arge nt u m 2 015 59 �Kacie Ortiz/Elko, GBC Student “Corsair” Digital Photo 60 A rge n tu m 2 015 �Maggie Corbari/Elko, GBC Student “Ole Nevada” Digital Photo Arge nt u m 2 015 61 �Adam McKinney/Battle Mountain, Community Member “Laying One Down” Digital Photo 62 A rge n tu m 2 015 �Meghan Rich/Elko, GBC Digital II Student “Motorcross” Digital Photo Arge nt u m 2 015 63 �“Creating art means getting to scream and whisper and sing all without opening my mouth. Art is often the only way to get an emotion out of my head. By exploring emotions through art, I think I come to understand them better. Art keeps me sane, or at least it helps me hide the crazy.” Shelby Wilson
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Argentum Art and Literary Magazine
Subject
The topic of the resource
Great Basin College's Art and literary magazine featuring student, faculty, and community works.
Description
An account of the resource
Great Basin College's art and literary magazine devoted to highlighting the excellent artistic expression of its students, faculty, staff, and members of the communities in which GBC serves.
Creator
An entity primarily responsible for making the resource
Great Basin College / Arts and Cultural Enrichment
Source
A related resource from which the described resource is derived
<a title="Argentum web site" href="http://www.gbcnv.edu/argentum/">Great Basin College Argentum web site.</a>
Publisher
An entity responsible for making the resource available
Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
07/01/2014
Contributor
An entity responsible for making contributions to the resource
Great Basin College's students, faculty, staff, and members of the communities in which GBC serves.
Rights
Information about rights held in and over the resource
c. 2010-17. Great Basin College. All rights reserved.
Format
The file format, physical medium, or dimensions of the resource
The issues of Argentum are in Adobe .PDF format.
Language
A language of the resource
English
Type
The nature or genre of the resource
Art and literary magazine
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
art, arts, literature, photography
Document
Documents such as transcripts, pdf files, legal documents, letters, etc.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Argentum 2015
Subject
The topic of the resource
The 2015 edition of the Argentum Arts and Literary Magazine. <br /><a href="/omeka/files/original/80756781b116ddc303712110b1734c9d.pdf" target="_blank" rel="noopener">View pdf of magazine in new tab</a>
Creator
An entity primarily responsible for making the resource
Great Basin College
Description
An account of the resource
The 2015 issue of Great Basin College's art and literary magazine, Argentum. Devoted to highlighting the excellent artistic expression of its students, faculty, staff, and members of the communities in which GBC serves.
Source
A related resource from which the described resource is derived
Great Basin College Argentum web site: <a href="http://www.gbcnv.edu/argentum/" target="blank">http://www.gbcnv.edu/argentum/</a>
Publisher
An entity responsible for making the resource available
Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
1 May 2015
Contributor
An entity responsible for making contributions to the resource
Great Basin College's students, faculty, staff, and members of the communities in which GBC serves.
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
c. 2015. Great Basin College. All rights reserved.
Format
The file format, physical medium, or dimensions of the resource
pdf file
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
arts, literature, poetry, photography
Type
The nature or genre of the resource
PDF of print magazine
ACE
Action
Argentum
Community
Faculty
literature
photography
poetry
Students
Symphony
-
https://humanities.gbcnv.edu/omeka/files/original/bcfb2748b141b2d554138a9aeec1a1e8.pdf
969168ff6c5e32958ebc8f1b464a8f8b
PDF Text
Text
General Education Objective: Critical [and Creative] Thinking Humanities Core Skills/ Habits of Mind At the heart of GBC’s Virtual Humanities Center (VHC) is this list of core skills and habits of mind that the humanities encourage and promote. Every aspect of the VHC is centered on these skills. They are not only college learning skills, but life skills, and they are aligned with GBC’s General Education Objectives. ÐÐ the ability to use facts: working from evidence to a conclusion (induction) ÐÐ gathering enough facts to warrant the conclusion ÐÐ making valid inferences based on facts ÐÐ using accurate observation to form a hypothesis and then test it (the scientific method) ÐÐ the ability to use principles: working from principle(s) to a conclusion (deduction) ÐÐ avoiding prejudices, pressure from authority or peers ÐÐ avoiding flaws in thinking: personal attack, overgeneralization ÐÐ the ability to absorb, analyze and interpret complex artifacts or texts ÐÐ the ability to assess the reliability and validity of information, especially on the web ÐÐ the ability to synthesize information from diverse sources ÐÐ the ability to place data into a larger context ÐÐ the ability to make decisions based on evidence ÐÐ the ability to analyze and interpret abstract ideas ÐÐ the ability to recognize and compensate for ambiguity ÐÐ the ability to prioritize ÐÐ the ability to innovate ÐÐ the capacity for curiosity General Education Objective: Communication Skills ÐÐ the capacity to write intelligently, lucidly, and fluently ÐÐ the capacity to speak intelligently, lucidly, and fluently ÐÐ the capacity to communicate through a variety of media: visual, performance, design & composition ÐÐ the ability to participate effectively in deliberative conversation ÐÐ the ability to analyze and interpret visual communication General Education Objective: Technological Understanding ÐÐ the ability to utilize new technologies as they are developed ÐÐ the ability to understand the ethical implications of technological advances ÐÐ the ability to use technology to benefit humanistic inquiry, not to replace it ÐÐ the ability to capitalize on technology as a tool to enhance the experience of the humanities ÐÐ the ability to use technological tools to expand and extend our understanding of what it means to be human General Education Objective: Personal/Cultural Awareness ÐÐ the ability to understand the historical and cultural foundations of ethical behavior, and develop and apply a personal code of ethics based on that understanding ÐÐ the maturity to take responsibility for one’s thinking and actions ÐÐ the capacity to express an opinion that diverges from that of the majority [OR the ability to hold and defend a divergent point of view and to allow others the same right] ÐÐ the capacity to recognize the validity of alternate viewpoints or opinions ÐÐ the capacity to recognize multiple perspectives, from local to global ÐÐ the capacity to accept diversity of people and ideas ÐÐ the capacity for a critical understanding of fine arts expressions ÐÐ an awareness of the past and its application to the present ÐÐ the application of knowledge to real-world problems Visit our website at humanities.gbcnv.edu
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Toolkit - Student Aids
Subject
The topic of the resource
Student Aids for Classroom Use
Description
An account of the resource
The collection contains student aids that faculty at GBC have used in their classes to help students.
Creator
An entity primarily responsible for making the resource
GBC Faculty
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
July 2014
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Text
Any textual data included in the document
pdf file
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
pdf file
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Humanities Core Skills Flyer
Subject
The topic of the resource
The core skills which humanities-based education can help develop in students.
Description
An account of the resource
A flyer listing the core skills a humanities-based education can deliver. The skills are broken down into the categories used by Great Basin College in the General Education Requirements.
Creator
An entity primarily responsible for making the resource
GBC Humanities Grant Committee of the Whole
Publisher
An entity responsible for making the resource available
GBC
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky
Rights
Information about rights held in and over the resource
GBC
Format
The file format, physical medium, or dimensions of the resource
pdf file
Language
A language of the resource
English
core skills
humanities education
Symphony
Toolkit
VHC
-
https://humanities.gbcnv.edu/omeka/files/original/e7871fe8e6d32709ea0de5ea636daf33.pdf
46de0605954ce7bb1a441777619f6776
PDF Text
Text
CONCLUDING REMARKS
This is the last column in the series on college knowledge. I
truly hope that it has been a help to those considering
college attendance. Taken in their totality, the eight
columns were written to take the mystery out of college
and put the new college student and his or her family and
loved ones at ease with all that is involved in receiving a
college education. I also want to thank the Elko Daily Press
for their willingness to publish this series as a public
service. It has been my honor to be given this forum to
advance college information I believe to be important.
GBC
College
Knowledge
Congratulations to GBC’s 2013 graduating class!
For more information or assistance call Great Basin
College’s Admissions and Records Office at 775.753.2110.
Also, Great Basin College alumni can call 775.753.2246 for
more information about the newly forming GBC Alumni
Association.
8
Great Basin College (GBC) does not discriminate on the basis of race,
religion, color, age, sex, sexual orientation, military status, disability,
national origin, gender identity or expression, or genetic information. For
inquires, 775.738.8493.
Articles written by:
Dr. Mark A. Curtis, President
Great Basin College, 2013
Graduation and
Beyond
(transcripts,
job hunting,
interviewing,
and alumni
associations)
www.gbcnv.edu
�This brochure describes graduation and many related
aspects of life surrounding graduation. This brochure is the
last in a series of eighth that will provide readers
information about many important aspects of college.
For many the goal of a college credential and the benefits it
will provide has been a powerful motivator. Yet even as the
date for graduation is in sight much remains to be done.
This column lays out many of those important details and
provides a bit of advice for those transitioning from school
to work or part time work to a full time position for which
they have been prepared.
GRADUATION
Most think of graduation as that formal ceremony where
graduates don caps and gowns, march in and out and listen
to speeches filled with well-meaning and inspirational
advice; this ceremony recognizing years of hard work and
sacrifice is extremely important. The value of attending the
formal graduation ceremony is not to be underestimated;
attendance here places an exclamation point on one's
achievement and allows all those associated with the
graduate to share in this special occasion. However, there
are things to be done before and after college graduation
that must not be ignored.
Prior to a student's last semester of college, the student
should request a formal graduation audit. This request is
made through the registrar's office. The audit itself is an
official analysis of all courses taken by the student to see if
all requirements for graduation in a particular degree
program have been met. If the audit tells the student they
are on track for graduation, all is well and the student
simply finishes up that semester and takes the necessary
remaining course in their final semester. Provided all
courses are passed with an appropriate passing grade
graduation is assured. On the other hand, if the audit
indicates that a student must take a course or meet a
requirement not previously known to them they will have
that final semester to take care of any deficiencies so they
can graduate on their desired timeline.
As the student identifies the semester in which the plan to
graduate, an application for graduation must be submitted
to the Registrar's office. Some colleges charge a modest
fee for submission of the application for graduation while
others do not. If an audit of course has not been done
previously, this application will trigger one. Other routine
information like the address where the student wants their
diploma mailed, their height and hat size for the cap and
gown, and whether the student will participate in the formal
graduation ceremony. It should be noted that participation in
the graduation ceremony is not required for one to graduate
from college. At the ceremony the graduate will be handed a
diploma cover as their name is called and they cross the
stage. The actual diploma will be mailed to the graduate
approximately six weeks after graduation following the
completion of a final audit of all courses taken. One final
note on diplomas; they are an important symbol of
achievement, but they are not proof of graduation; that proof
and the actual degree resided in the official transcript (more
on that below).
Most colleges have formal alumni associations that publish
newsletters, to keep graduates informed about happenings
at the college and upcoming events that they might be
interest in.
Alumni associations typically charge their members modest
dues to help defray the cost of the secure three or four
references. This involves directly asking someone if they will
serve as a reference and gaining their permission to do so.
Even though a perfect letter of application and resume with
references has been provided to the potential employer, the
whole process may require the filling out of a company's
unique "application for employment" document. This will
often be a restatement of what has already been provided,
but will have one significant difference, namely: the
applicant's signature at the end of the document attesting to
the truthfulness of all the information contained above.
The resume, letter of application, etc. should have just one
major goal and that is to get an interview. The interview is
where the job will be won or lost.
INTERVIEWING
After submitting materials and applying for a job, some
applicants will receive a call inquiring about the applicant's
continued interest in the job. If the applicant is still
interested and available, a mutually acceptable time for an
interview will be set up. At this point, the applicant should do
a little more homework on the company they will be
interviewing with. Knowledge about the company will
indicate the applicant's seriousness about the job and
hopefully distinguish them from other less diligent
candidates.
Be prompt and arrive just a bit early to the interview. Again,
promptness at the interview is a good indication of future
workplace behaviors and will make a good first impression.
Next, dress appropriately. This means dressing a bit better
than normal everyday workplace dress. Remember going to
an interview is different than going to work. There is a old
saying "it is always better to be overdressed the
underdressed."
As one prepares for the interview, try to anticipate some of
the questions that might be asked so as to not be caught
flat footed without a ready response. Often an interview will
begin with a question like "tell me a little bit about yourself"
or "tell me what you know about our company" or "tell me
why you are interested in this position." Later during the
interview, questions about technical competence and
suitability for the job will undoubtedly come. The applicant
should remember the interviewer does not interview people
all day everyday so they may also be a bit nervous. As such,
the applicant being interviewed must never give one word
answers forcing the interviewer to do all the work of
painfully pulling information out of the interviewee. The
applicant can increase their chances of being hired
immensely if they are personable and conversational during
the interview.
The applicant will need to know several things about the job,
including wages and benefits before they can make an
informed decision about accepting employment when and if
it is offered. However, during the interview, questions about
wages, benefits and retirement should be avoided. If the
company is serious about hiring an individual, they will
volunteer this information near the end of the interview or it
will be explained in detail when the formal offer of
employment is made.
�
https://humanities.gbcnv.edu/omeka/files/original/39462b584122da5668d0f1633bcb5fd5.pdf
c5c3a934e2ebccf0f73b336e97b258b7
PDF Text
Text
personas de confianza para corregir y criticar el currículum
antes de considerarlo finalizado.
A menudo, las cartas presentes de referencias o nombres y
direcciones de las referencias pueden ser solicitadas como
una parte del paquete de solicitud de empleo. Por lo tanto,
antes de iniciar un serio esfuerzo de búsqueda de empleo, se
debe garantizar tres o cuatro referencias. Se trata de
preguntarle directamente a alguien si le servirá de referencia
y ganar su permiso para hacerlo. A pesar de que una carta
perfecta de solicitud de empleo y un currículum con
referencias han sido previstos al empleador prospectivo,
todo el proceso puede requerir la cumplimentación de una
"aplicación de solicitud de empleo" de una empresa. Esto
suele ser una repetición de lo que ya se ha previsto, sino que
tendrá una diferencia significativa, a saber: la firma del
solicitante en el final del documento que acredite la
veracidad de toda la información que figura arriba.
El currículum, la carta de solicitud de empleo, etc. deben
tener sólo un objetivo principal y es conseguir una
entrevista. La entrevista es donde se gana o se pierde el
trabajo.
LA ENTREVISTA
Después de la presentación de los materiales y la solicitud
de un puesto de trabajo, algunos de los solicitantes recibirán
una llamada preguntando por el interés continuo en el
trabajo. Si el solicitante está todavía interesado y disponible,
una hora para una entrevista se establecerá. Entonces, el
solicitante debe de hacer un poco más de tarea sobre la
empresa para la entrevista. El conocimiento de la empresa
indicará la seriedad del solicitante sobre el trabajo y los
distinguirán de otros candidatos menos diligentes.
Es importante ser puntual y llegar un poco temprano para la
entrevista. Una vez más, la rapidez en la entrevista es una
buena indicación de futuras conductas en el lugar de trabajo
y puede hacer para una buena primera impresión. A
continuación es vestirse apropiadamente. Esto significa
vestirse un poco mejor que el vestimento de trabajo normal
de cada día. Recuerde que ir a una entrevista es diferente
que ir a trabajar. Hay un viejo refrán que dice "Siempre es
mejor estar sobre vestido que mal vestido."
Cuando uno se prepara para una entrevista, trate de
anticipar algunas de las preguntas que puedan ser hechas
para no ser desprevenidos sin una respuesta preparada. A
menudo, una entrevista se iniciará con una pregunta como,
"Cuéntame un poco sobre usted" O "Dígame lo que sabe
acerca de nuestra compañía" O "Dígame por qué está
interesado en esta posición." Más tarde, durante la
entrevista, las preguntas sobre la competencia técnica y si
uno es adecuado para el puesto, sin duda resultarán. El
solicitante debe recordar que el entrevistador no entrevista a
gente durante todo el día, todos los días, por lo que el
entrevistador también puede estar un poco nervioso. Como
tal, el solicitante entrevistado nunca debe dar respuestas de
una sola palabra obligando al entrevistador que haga todo el
trabajo para obtener toda la información de la persona
entrevistada. El solicitante puede aumentar sus
posibilidades de ser contratado inmensamente sea
agradable y converse durante la entrevista.
El solicitante de empleo tendrá que saber varias cosas sobre
el trabajo, incluido los salarios y los beneficios antes de que
puedan tomar una decisión informada acerca de aceptar el
empleo siempre y cuando se les ofrezca. Sin embargo,
durante la entrevista, se deben evitar las preguntas sobre
los salarios, los beneficios y el retiro. Si la empresa toma
en serio la contratación de una persona, esta información se
dará de forma voluntaria casi al final de la entrevista o se
explicará en detalle cuando se haga la oferta formal de
empleo.
OBSERVACIONES FINALES
Para obtener más información o asistencia llame a Great
Basin College y la Oficina de Admisiones y Registros al
775.753.2110.
Además, ex alumnos de Great Basin College pueden llamar
al 775.753.2246 para obtener más información acerca de la
nueva formación de la Asociación de Ex Alumnos de GBC.
Gran Colegio de la Palangana (GBC) no discrimina por carrera, por la
religión, por el color, por la edad, por el sexo, por orientación sexual, por
estatus militar, por la incapacidad, por origen nacional, por identidad de
género ni expresión, ni por información genética. Para pregunta,
775.738.8493.
Articles written by:
Dr. Mark A. Curtis, President
Great Basin College, 2013
Translation:
Jose Torres
8
Conocimiento
de la
universidad
GBC
La graduación y
el más allá
(las transcripciones, los
currículos personales,
la búsqueda de empleo,
las entrevistas, y
las asociaciones de
ex alumnos)
www.gbcnv.edu
�Para muchos, el objetivo de un título de la universidad y de
los beneficios que dispone ha sido un gran motivador. Sin
embargo, mientras la fecha de la graduación se acerca,
queda mucho por hacer. Este artículo presenta muchos de
los detalles importantes y ofrece consejos para aquellos en
transición de la universidad al trabajo o de un trabajo de
tiempo parcial a un puesto de tiempo completo por lo que
han sido preparados.
LA GRADUACIÓN
La mayoría de la población piensa que la graduación de la
universidad es un acto protocolario donde los que se van a
graduar se visten con las tapas y los vestuarios. Los
estudiantes marchan dentro y fuera y escuchan discursos
llenos de consejos intencionados para la inspiración, lo que
la ceremonia reconoce son los años de trabajo duro y el
sacrificio, esto es importante de entender. El valor de asistir
a la ceremonia formal de la graduación no debe ser
subestimado; la asistencia a ella pone un signo de énfasis
en el logro de uno y permite a todos los asociados con los
graduados a participar en esta ocasión especial. Sin
embargo, hay cosas que hacer antes y después de la
graduación de la universidad que no deben ser ignoradas.
Antes del último semestre de la universidad, el estudiante
debe solicitar una auditoría formal de graduación. Esta
solicitud se hace a través de la oficina de registro. La
auditoría es un análisis oficial del curso de estudios por el
estudiante para ver si se han cumplido todos los requisitos
para la graduación de un programa en particular. Si la
auditoría le dice al estudiante que está en camino para
graduarse y que todo está bien, el estudiante simplemente
tiene que terminar ese semestre y tomar el curso restante
necesario en su último semestre. Dado que el estudiante
pase todos los cursos con una calificación adecuada, su
graduación será asegurada. Por otro lado, si la auditoría
indica que un estudiante debe tomar un curso o cumplir con
un requisito que el estudiante no tenía en cuenta antemano,
ellos tendrán el último semestre para atender a las
deficiencias para que se puedan graduarse a su línea de
tiempo deseado.
Cuando el estudiante establezca el semestre en el que
él/ella planea graduarse, una aplicación para la graduación
debe ser presentada a la Oficina de Registraciones. Algunas
universidades cobran una cuota por la presentación de la
solicitud de la graduación, mientras que otras no lo hacen.
Si una auditoría, por supuesto, no se ha hecho
anteriormente, esta aplicación activará una. Otros datos de
rutina como: la dirección de correo donde el estudiante
quiere su diploma sea enviado, su altura y tamaño para el
vestuario y el birrete, y si el estudiante participará en la
ceremonia formal de graduación. Debe ser señalado que la
participación en la ceremonia de graduación no se requiere
de uno para graduarse de la universidad. En la ceremonia, a
los graduados se les entregará una cubierta para su diploma
cuando su nombre sea llamado: y ellos cruzarán por el
escenario. El título actual se le enviará por correo al
graduado aproximadamente seis semanas después de su
graduación tras la finalización de una auditoría final de todos
los cursos tomados. Una nota final sobre los diplomas, son
un símbolo importante de los logros, pero no son la prueba
de graduación, la prueba y el título real residió en la
transcripción oficial (más sobre esto más adelante).
La mayoría de las universidades tienen las asociaciones
formales de ex alumnos. Estas asociaciones publican
boletines para mantener informados a los graduados acerca
de los acontecimientos de la universidad y los próximos
eventos que puedan ser de interés para ellos. Las
organizaciones de ex alumnos normalmente les cobran a sus
miembros cuotas para ayudar a cubrir el costo de la revista y
otros eventos de ex alumnos. En la ceremonia de graduación,
un miembro de la Asociación de Ex Alumnos les hablará
brevemente a los graduados y serán felicitados como los
nuevos ex alumnos de la universidad. También les explicará
que los nuevos graduados recibirán un año gratis de
membrecía en la asociación.
LAS TRANSCRIPCIONES
La transcripción de la universidad es un registro permanente
de todos los cursos completos en una universidad. En cada
universidad en que usted asistió, se mantendrá un
expediente académico, es decir, si un estudiante asistió a
dos instituciones diferentes, habrá dos transcripciones
separadas. La transcripción registrará el número y el título
de cada curso completo, el semestre y el año que fue
completado y la calificación que se obtuvo en cada curso y el
promedio general de calificaciones por cada semestre.
Fallas, retiros, incompletos y si el curso se repitió, así como
los cursos pasados serán todo parte de ese registro
permanente. Cuando un estudiante se cambia o se transfiere
a otra universidad o busca empleo se le pedirá la
transcripción de la universidad y será necesaria. Debido a los
demás (es decir, los futuros universidades y empleadores)
que estudiarán la trascripción de un individuo, es importante
para el graduado que sepa lo que está en su expediente para
que puedan estar preparados para responder a preguntas
sobre el contenido.
Una transcripción que no es oficial, también llamada “una
trascripción emitida al estudiante,” se le dará al estudiante al
graduarse o cuando él/ella la solicite. Cuando otros quieren
una copia del expediente académico de un individuo, ellos
están haciendo una solicitud de un certificado oficial. Una
transcripción oficial es una emitida por la universidad
directamente a otra universidad o empleador potencial. La
transcripción oficial será imprimida en un papel con una
marca especial y llevará el sello oficial de la universidad. Las
solicitudes de transcripciones, tanto oficiales como las que
no son oficiales se deben ser realizadas por el estudiante, ya
sea en persona o por cualquier otro medio que se considere
aceptable y verificable por la universidad. A menudo habrá
un cargo por cada transcripción solicitada, mientras que
algunas emitirán la primera gratis.
LA BÚSQUEDA DE EMPLEO Y EL CURRÍCULUM
Aunque el último semestre de la universidad sea muy
ocupado, el estudiante debe de comenzar a pensar y a
prepararse para la vida después de la graduación. Al menos
que uno se mueve directamente a la escuela de posgrado,
esta preparación, como mínimo, implicará la preparación de
un currículo y la búsqueda de empleo. La búsqueda de
empleo debe incluir la observación de los anuncios en el
periódico, la ayuda de la oficina de colocación de la
universidad, hablando con sus profesores, visitando los
sitios web de las empresas de interés y otras redes
importantes con amigos, familiares y otros conocidos. Un
consejo que conduzca a un puesto de trabajo puede venir de
cualquier lugar, así que no se limite la búsqueda a una sola
fuente.
Prácticamente todas las posiciones que requieren una
educación universitaria también requerirán un currículum
para acompañar una carta de solicitud empleo. La carta de
solicitud de empleo debe incluir tres elementos básicos en
párrafos separados: 1) una declaración de intereses y donde
se encontró la información sobre la posición, 2) una breve
declaración explicando los antecedentes del aplicador y la
experiencia y la educación que les califica para el trabajo y
3) una declaración final repitiendo un serio interés en la
posición y las múltiples formas en que uno puede ser
contactado para una entrevista.
Para el nuevo graduado de la universidad sin mucha
experiencia, el currículum debe ser sólo una página,
comenzando con el nombre y la información de contacto,
seguido de la educación formal recibida, seguido por la
experiencia laboral como puestos de interno, cooperativos,
puestos de trabajo a tiempo parcial y concluyendo con
algunas fortalezas personales, incluyendo intereses y
aficiones. Si un graduado es un poco más mayor de edad y
tiene experiencia de trabajo significativa, el currículum
puede ser de dos páginas. Hay docenas de libros sobre el
tema de la escritura del currículum. Sobre todo, el
currículum debe de ser preciso, limpio y 100% libre de
errores ortográficos y gramaticales. Debe de tener varias
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
GBC College Knowledge
Subject
The topic of the resource
Guides to first-generation college students written by GBC President Dr. Mark Curtis.
Description
An account of the resource
The collection of articles originally appeared in the <em>Elko Free Press</em> in the Spring of 2013, and have since been printed in brochure form by Great Basin College.
Creator
An entity primarily responsible for making the resource
Dr. Mark A. Curtis
Source
A related resource from which the described resource is derived
"GBC College Knowledge" series in the <em>Elko Free Press</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
Spring 2013
Contributor
An entity responsible for making contributions to the resource
Dr. Mark A. Curtis (author); Laura Gallegos (brochure design); Jose Torres (Spanish translations); Scott A. Gavorsky (VHC)
Rights
Information about rights held in and over the resource
Great Basin College © 2015. All rights reserved.
Format
The file format, physical medium, or dimensions of the resource
PDF files (tri-fold brochure layout)
Language
A language of the resource
English, Spanish
Publisher
An entity responsible for making the resource available
Great Basin College
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Graduation and Beyond (transcripts, job hunting, interviewing, and alumni associations)
Subject
The topic of the resource
GBC College Knowledge - Article 8
Description
An account of the resource
Discussion aimed at first-generation college attendees about navigating the transition from college to the professional world.
Creator
An entity primarily responsible for making the resource
Dr. Mark A. Curtis
Source
A related resource from which the described resource is derived
"GBC College Knowledge" series in the Elko Free Press
Publisher
An entity responsible for making the resource available
GBC Media Services
Date
A point or period of time associated with an event in the lifecycle of the resource
Spring 2013
Contributor
An entity responsible for making contributions to the resource
Laura Gallegos (brochure design); Jose Torres (Spanish translation); Scott A. Gavorsky (VHC)
Rights
Information about rights held in and over the resource
GBC
Format
The file format, physical medium, or dimensions of the resource
PDF file (tri-fold brochure layout)
Language
A language of the resource
English; Spanish
alumni
career training
Faculty
student aids
Symphony
Toolkit