Associate Professor of Video and Critical Studies
In 1994 she received an Arts International six-month Artist Residency in Moscow, Russia and in 1996 and 2001 she attended thematic artist residencies at the Banff Centre for the Arts. During the summer of 2006 she participated in el Laboratorio Fronterizo de Escritores/Writing Lab on the Border in Tijuana, Baja MX and Chula Vista, CA, sponsored by the Fondo de Cultura Economica and ITESM Toluca Campus.
Recent works include: 'Invisible: episode 03 meet me in Okemah, Ok' 2003/4 a speculative fiction audio/video installation; 'Xing Over' 2003 6hr performance 2.36min 3 channel audio piece; 'Black Russians' 2001 117min documentary video; "The Outing Trilogy" experimental video piece including: 'Mi Companera' 2002 12min and 'Me-ba... I'm Coming' 1998 9min.
Her writing can be found in the online journal, XCP Streetnotes Spring 2005, in Ulbandus Review no. 7 and Black Filmmakers Magazine. kara has also contributed audio work to Cabinet Magazine no.13 and video to the DVD zine, PocketMyths: Odysseus.
She has served as a juror for Outfest Los Angeles, on the selection committee for MIX: New York Experimental Film and Video Festival, and has been involved with the New Festival as a member of the shorts selection committee and print traffic co-coordinator.
kara currently serves on the board for The Mountain School, Clockshop, and the Denniston Hill Foundation. She is a member of La Linea Interdiciplinario, a collective of women writers and artists in dialog across the US/Mexico borderlandia. She completed her M.F.A. in Visual Arts at University of California, San Diego.
This introductory seminar on media analysis and production will consider how constructions of power are embodied in technologies and conversely, how technologies shape our notions of authority and how we actively mobilize against it. In recent years, access to information and images has shifted dramatically. PDAs/Handheld technologies, social media networks, live web-streaming, video games, and podcasts eclipse mass-media broadcast channels distributing entertainment, news, and information. Drawing upon Media Arts, Critical Ethnic Studies, and Cultural Studies, we will examine models of Digital Resistance like Citizen Journalism, Community Access, Artivism, Hacktivism, and Digital Movements like BlackLivesMatter, Occupy, Arab Spring, and IdleNoMore in order to understand: precursors to contemporary innovations; Corporate Media and Government gatekeeping of information; modes of production; the relationship between media, information and action. Through readings, responses, visual projects, and research essays, students will learn to critically read and make digital media and contend with it as a mass language.
This Division II production workshop, Media for Democracy : Imag(in)ing Political Struggle, is designed for students who would like to continue to develop their skills in media making, media analysis, and socially engaged art practice. From the Battle of Algiers and Black Panther Mix Tape to citizen journalism and community media, we will look at the role of media, images, and art making within social and political movements and contend with questions of modes of production, access, distribution, and the relationship between form, content and meaning making. Weekly readings, screenings, in-class discussions, and writing and visual responses will lay groundwork for our collective critical analysis of the contemporary moment within a historical context; while weekly production labs and workshops and research/action projects provide an opportunity to put theory into practice.
This course will explore the social and historical context for Irish traditional music performance in Ireland, in diaspora, and as a tradition in the Pioneer Valley. We will also study Irish popular music from the perspectives of post-colonialism, Irish nationalism, and political/economic change in Ireland during the 20th and 21st centuries. There will be regular writing and reading assignments (both primary and secondary sources). We will spend roughly 25% of class time learning Irish traditional music and/or song by ear. Instrumentalists will learn to play various types of Irish dance tunes -- reels, jigs, slip jigs, hornpipes, slow airs, and others. Vocalists will learn Irish sean nos (old style) singing. No prior experience is necessary; however students should have an interest in singing or have a basic working knowledge of an instrument specific to this genre: fiddle (violin), guitar, mandolin, tenor banjo, piano, accordion, flute, pennywhistle, and potentially others.