Most of my departmental service has had to do with conference coordination. For each conference, my responsibilities included some combination of the following: conceptualizing the theme (in consultation with Professors Adrian Daub and Stephen Hinton for Heroism in the Age of Beethoven and Opera after Freud, and with other DLCL grad students for Urban Jungles), building and/or populating a conference website, communicating with presenters, arranging travel details and catering, working with administrators in the DLCL and the Stanford Institute for the Arts, arranging and testing technology, ensuring smooth transitions during the event, moderating panels, and participating in the conference (for example, giving a blitz talk at Urban Jungles). After working through these three conferences, from initial conceptualization to cleaning up after the final dinner, I am confident in my ability to pull off an academic event.
I have also served on the search committee for a tenure track professor of digital humanities, as the DLCL graduate student representative. I found it fascinating to read through the applications and debate the merits of specific candiates with faculty members, most of whom were intimidatingly famous in their respective fields. It was a particularly eye-opening experience as a graduate student, and the opportunity helped me to imagine what being a faculty member in a department would actually be like.
While I have never held the title of "Program Manager," I have managed, coordinated, and executed several programs. At Fluent City NYC in the spring and summer of 2011, I instantiated a German program, wrote curricular goals for 20-hour courses based on extant French and Spanish curricula, created textbooks, lesson plans, and activities based off of those goals, helped to interview and hire a new German teacher, tutored individual students, and taught six 10-week courses (2 hr/wk, 5-20 students/course) to adult learners. For the Code Poetry Slam series at Stanford, I have planned and executed 3 successful slams and one hack-a-slam (each with attendance of up to 70 people and extensive press coverage for a campus event), which involved applying for a grant from DLCL chair Gabriella Safran, running a team of 3 graduate student judges, co-creating and managing the website, co-creating and distributing all publicity materials (digital and printed posters, advertising to listservs, emails with press), evaluating over 50 entries per slam, communicating with finalists and coordinating them with their surrogate slammers, organizing the events themselves (catering, room reservation, technology), creating power-point presentations of all the final poems, emceeing the event, and responding to emails from national and international interested parties (including creating a "code poetry slam kit" with detailed instructions on how to carry out a similar event in another school or community). As the stage director as well as general dogsbody for Stanford Opera Workshop, I have worked through every inch involved in bringing a piece of musical theater to performance (and have usually served as stage manager, a job which involves arriving first, leaving last, and doing basically anything that needs to be done). I am certain that I have the people skills and organizational abilities necessary to conceptualize, manage, and execute an academic program or event.
2/2/2012–2/3/2012 Stanford Humanities Center The conference took as its point of departure two peculiar facts: that interpreting (especially German) opera with Freud's theories in mind is not just productive, but almost imperative at a particular moment of the form's history (in particular after Wagner); and that psychoanalysis suddenly loses at least some of that heuristic purchase in the period after the first World War. We hoped to detail and interrogate the elective affinities between Freudian psychoanalysis and fin-de-siecle opera in light of the severance of that affinity later in the twentieth century. What unspoken factors subtended the uncanny felicity of Freud as a paradigm for analyzing the operas of Wagner, Pfitzner, Schreker, Zemlinsky, Braunfels, etc., and what factors fell away in the wake of Schoenberg, Wolpe, Berg, and Weill? Conference Participants: Thomas Grey, Brian Hyer, Lawrence Kramer, Paul Robinson, Richard Leppert, Lydia Goehr, Peter Burgard, Jessica Payette, Charles Kronengold, Heather Hadlock, Daniel Albright, David Levin, Mary Ann Smart, Gundula Kreuzer, Ryan Minor, Adrian Daub, Bryan Gilliam, Stephen Hinton. For full program, please visit https://www.stanford.edu/dept/DLCL/cgi-bin/web/events/opera-after-freud Sponsored by the Office of the Associate Dean of the Humanities, the Division of Literatures, Cultures and Languages, the Stanford Humanities Center, the Europe Center, and the Department of Music
From philosophical musings on city-states to literature set in modern day ghettos, the idea of the city and one's place within it has always held a fascination. The relationship of individuals and communities to the "wilderness" - be it desert, forest, or jungle - is often described as the site of the abandoned origins and the outermost limits of urban civilization. This conference sought to look more closely at individuals and cultures within these structures, as well as cultural mediation within and between the city and the jungle. Some of the questions we hoped to answer were: How do humans, as both animals and philosophical beings, culturally navigate the urban jungle—as pioneers, flaneurs, naturalists, cyborgs? How do we understand mobility and movement within the urban jungle, be it physical, literary, cinematic, or theoretical? We invited readings of cultural objects that emerge from these environments, or mediate between "the urban" and "the jungle." We sought presentations that explored the representation of urban/jungles through multiple forms of media (i.e. literature, film, the visual arts, television, and theater) and through a variety of approaches (literary or cultural studies, historiography, sociology, ethnology, philosophy, and anthropology). We encouraged scholars working in all time periods to consider the existence of the urban jungle in their epochs, from the pre-modern divide between wilderness and city-state in the Epic of Gilgamesh to the jungle of 16th-century Paris to the implications of (then) current urban Occupy movements.Conference Schedule Conference Panel Abstracts
Presented in conjunction with the ongoing Beethoven Project, Heroism in the Age of Beethoven was a day-long conference moderated by Stephen Hinton, Blair Hoxby, and Adrian Daub. Speakers included Michelle Fillion (University of Victoria), Nicholas Mathew (U.C. Berkeley), William Meredith (Director of the Ira F. Brilliant Center for Beethoven Studies, San José State University), Thomas Pfau (Duke University), Alex Rehding (Harvard), and Stephen Rumph (University of Washington). It was co-presented by the Stanford Arts Institute and the Seminar for Enlightenment and Revolution. See Website Conference Schedule
As the DLCL graduate student representative on the search committee, I read and responded to over fifty applications for a tenure track professor position. I met numerous times with the committee to share opinions and observed the candidates at their on-campus interviews and presentations. The committee served from October 2013 until February 2014 and resulted in the hiring of Mark Algee-Hewitt.
As a stage director for Stanford Opera Workshop, I've had the opportunity to design and produce many operatic productions starring students from the Stanford Music Department. Usually collaborating with Professor Marie-Louise Catsalis, the Musical Director and Producer of Stanford Opera Workshop, and Professor in Vocal Performance Nova Jimènez, I've worked on these pieces in many different capacities, learning how to do everything from choosing the individual songs and scenes that will comprise a production, blocking scenes, teaching improv and acting technique to students, designing and constructing sets, creating and collecting prop and costume pieces, stage managing, and working with professionals from the San Francisco Opera. Most of these productions were offered as courses in the Music Department.
Check out my opera section for more information!
I am the co-founder, organizer, and main judge of the Stanford Code Poetry Slam series, which has held 3 slams so far (CPS 1.0 (November 2013), CPS 1.1 (February 2014), and CPS 2.0 (January 2015)). For each slam, we accept submissions for code poems in any language (computer or human); then we select finalists and invite them to present their poem however they want (through vocal performance, compiling the program, creating a video, using several techniques at once, etc.), followed by a discussion and pizza. The slam series has received significant press coverage and inspired similar events at universities across the country and internationally (particularly in New York City and Vienna). The project was funded by the DLCL.