student portfolio
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Senior Portfolio from Woodbury UniversityTRANSCRIPT
brandon scott kurtz
Design & Photography Portfolio
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2007 All rights reserved. SP Records #J008. Recorded at Nolan Shaheed Studio, Pasadena, CA. September 23, 2007
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Praise for Blindness
"A superb novel by the internationally acclaimed
Saramago…echoes of Orwell's 1984…a brilliant
allegory that may be as revolutionary in its own
way and time as were, say, The Trial and The Plague
in theirs. Another masterpiece."
Kirkus Reviews
"Extraordinary…through scenes of the greatest
bleakness there runs and undercurrent of verbal
beauty that surfaces at unlikely moments."
The Observer (London)
"The spare simplicity of Saramago's narrating
voice, the stripped-down quality of his
characterizations, the austerity of the style…
all contribute to the mythic air there is about
Saramago's work, the distinct impression of
having been given, not made."
Times Literary Supplement
"His work recalls García Márquez for its epic reach
and Primo Levi for its insight into the fragility of
human nature under adversity."
The Times of London
"There are Absurdist echoes, deft ironies, and
passages of great lyrical beauty. There is — dare
one say?—something millenial about Blindness. It
is swept by a gust of the Zeitgeist."
The Financial Times
"Saramago is an emphatic, impassioned writer and
Blindness is a bold piece of work—almost biblical
in scale and style, hauntingly sustained."
The Independent (London)
BlindnessA NOVEL
José Saramago
Winner of the 1998 Nobel Prize for Literature A city is struck by an epidemic of
"white blindness." The first man
to succumb sits in his car, waiting for the
light to change. He is taken to an eye
doctor, who does not know what to make
of the phenomenon—and soon goes
blind himself.
The blindness spreads, sparing no one.
Authorities confine the blind to a vacant
mental hospital secured by armed guards
under instructions to shoot anyone trying
to escape. Inside, the criminal element
among the blind holds the rest captive.
When the compound is set ablaze, and the
blind escape into what is now a deserted
city, strewn with litter and unburied
corpses. The air is permeated with a smell
of mustiness and indefinable putrefaction.
The only witness to this nightmare is the
doctor's wife, who faked blindness in order
to join her husband in the camp. She guides
seven strangers through the barren streets.
The bonds within this oddly anonymous
group—the doctor, the first blind man and
his wife, the old man with the black eye
patch, the girl with dark glasses, the boy
with no mother, and the dog of tears—are
as uncanny as the surrounding chaos is
harrowing. Told with compassion, humor,
and lyricism, Blindness is a stunning
exploration of loss and disorientation in the
modern world, of man's will to survive
against all odds.From the universally
acknowledged master story-teller, one of
the most challenging, thought-provoking,
and exhilarating novels published in any
language in recent years.
José Saramago was born in Portugal in 1922. His
novels have been translated into more than twenty
languages and have established him as one of the
world's most influential living writers.
"No candidate for a Nobel Prize has a better claim
to lasting recognition than this novelist."
Edmund White
The New York Times
"José Saramago's Blindness is his most surprising
and disturbing book. It is a fantasy so persuasive
as to shock the reader into realizing how fragile
and contingent our social conditions always have
been and will be. This is a novel that will endure."
Harold Bloom
"Saramago is one of Europe's most original and
remarkable writers…His writing is imbued with a
spirit of comic inquiry, meditative pessimism, and
a quietly transforming energy that turns the
indefinite into the unforgettable."
Richard Eder
Los Angeles Times
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José Saramago
BlindnessA N
OV
EL
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While the wetlands have been saved from development, the adjacent upland areas are quickly vanishing due to residential development.
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7675
On an overcast day, I left my Valley Village apartment and headed towards Atomic Cycles in Balboa Park. I planned to be a spectator at an event called, The Choppercabras Horrorcycle Club’s Spring Thing 2006 (aka, The Mustache Ride), but I didn’t quite know what to expect. All I knew was that the event’s participants needed to have a bicycle and a real or fake mustache. A promotional poster proclaimed the ethos of the event: Two-wheel fun, never so dumb! As I walked through the alley next to Atomic Cycles, I saw that the rear parking lot had been turned into a playground for the big kids. Many of the big kids were dressed in blue, button-up shirts and khaki pants, had wild haircuts, and wore dark shades. Most importantly, every participant, male and female, adult and child, donned a mustache. Mustached people moved from group to group, like in a game of musical chairs, admiring each other’s bikes and mustaches,
Choppercabras
The shining,
tricked-out,
personalized
bicycles, made
individual
statements
about creativity.
other like brave warriors and all for the ultimate prize—a trophy made out of old, spare bike parts. After these two events were completed, the winners named, and participants haphazardly bandaged, everyone was invited to ride their bikes through the streets of the Valley in one intimidating, yet humorous mass of metal and color. The shining, tricked-out, personalized bicycles, made individual statements about creativity. The most interesting object I saw strapped to the front of a bike was a Bert doll from Sesame Street. The bikes eschewed those mass-production looks many bicycle
manufactures and designers seem to value. These were bike riders with individuality, and could not be dismissed as mere outcasts, shunned by four-wheeled society. Although the ride was meant to be fun, it also carried a very important message: motorists need to be reminded that they share the streets with bicyclists. The bicyclists rode unique bikes that day also because they wanted to protest city laws that they feel limit their creativity and unique qualities. The riders seemed to violate one code in particular, code 21201.
Code 21201:(a) No person shall operate a bicycle on a roadway unless it is equipped with a brake which will enable the operator to make one braked wheel skid on dry, level, clean pavement.
(b) No person shall operate on the highway any bicycle equipped with handlebars so raised that the operator must elevate his hands above the level of his shoulders in order to grasp the normal steering grip area.
(c) No person shall operate upon any highway a bicycle which is of such a size as to prevent the operator from safely stopping the bicycle, supporting it in an upright position with at least one foot on the ground, and restarting it in a safe manner.
as they waited for the event to begin. It was a lot of visual information to process. Two events occurred in the parking lot. The first event was called, The Demolition Derby. For this event, old tires had been stacked in a large circle. Grown men sat on brightly colored children’s bikes and proceeded to smash into
each other, much to the delight of the spectators. There seemed to be no rules for this event. The participants started when they felt like it and abused each other with reckless abandon. These men wore joyful smiles on their faces, but their bodies were bruised, scraped, and
bleeding after just a few minutes in the ring. The second event was The Ben Hurt Race, influenced by the chariot scene in the movie, Ben Hur. The chariots were constructed from old girls' bikes and were modified to hold a second rider on a platform behind the driver. The course the event took place on was the shape of a figure eight, leaving tons of room for collisions with other chariot riders. These men fought each
The impact of the “Mustache
Ride,” compared to normal
bicyclists on the road is like
the difference between
night and day.
A group of free-thinkers on two wheels rebel against local laws and conventions at an event called Spring Thing, sponsored by the Choppercabra's Horrorcycle Club.
By: Brandon Scott Kurtz
Editorial Design
78
competed in the Tour de France. A majority of the bike riders were aerodynamically dressed to cut down wind resistance. They all rode multi-speed bikes in unison, with numbers on their backs, making them just another number in the crowd and less of an individual. The only people with any kind of individuality in the race were either at the front or back of the pack, simply because they were easiest to identify in a sea of bicycles. But no matter where these bicyclists are located in the group, most of them were forgotten once the race was over. The same is true when I saw bicyclists on the street before attending the Spring Thing. They may be carrying groceries home or just using their bike as a cheap form of transportation.
I didn’t really notice what they were doing or what their bikes looked like. Only after attending Spring Thing did I noticed that there are many personalized and unique bikes on the street. Just one look at a Choppercabra bike and you can tell that both the bike and their owner are overflowing with attitude.
References
Choppercabras Horrorcycle Club Spring Thing
2006 Poster California.
Department of Motor Vehicles.
Vehicle Code. Equipment Requirements 21201.
Amended Ch. 723, Stats. 1979.
Effective January 1, 1980.
http://www.dmv.ca.gov/pubs/vctop/
d11/vc21201.htm.
De Valera, Paul. Personal Interview.
22 May 2006.
Events like this ride show
us what happens when
people loosen up
the unwritten social
conventions and
use their sense
of individuality.
77
Mustache Ride
likethe Spring Fling are provoking thought by forcing motorists to recognize them and remind them that they share the road. They are also calling into question some of our deeper values staged as
a confrontation between “the individual” (bicyclist) and “technology,” (the car) and ultimately, humanity vs. progress. Events like this ride show us what happens
when people loosen up the unwritten social conventions and use their sense of individuality. Lance Armstrong is the perfect example of a bike rider that represents advanced technology. This is most apparent when he
The Choppercabra riders’ presence on the streets brought traffic to a complete halt. A single person, riding a regular bike, in the bike lane, could never have as great of an impact. That’s what most American are used to seeing on the streets — one bicyclist. It was clear that passing motorists were both angered and amazed by what they encountered on the streets that day. The ringleader for the day was the owner and operator of Atomic Cycles; a man known as Paul De Valera. A few days after the event, I returned to Atomic Cycles to meet Paul, because I wanted to get a better perspective on the madness behind the organized event. Paul told me he was inspired to get people into an arena of violence. He clearly invites everyone to join in and release their built up aggressions. Paul referred to the blood spilled in the arena as
badges of honor. The owner of Atomic Cycles suggests that the purpose of these rides is to have fun and act like kids, but, more importantly, the purpose of these events is to create awareness among motorists that bicyclists have the right to ride safely on the streets. In a city like Los Angeles where motorists are under the impression that they own the road, they rarely have any kind of recognition of or care for pedestrians - let alone bicyclists. They make the roads generally unsafe. The bicycle riders who comes to events
It was clear that passing
motorists were both angered
and amazed by what they
encountered on the streets
that day.
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Diamond Springs, CA 95619
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(408) 924-3227
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Industrial
Technology
Education
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Industrial
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CA 95619www.CITEA.org
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Technology Education
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Technology
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About UsCurrently celebrating its 77th year in service,
the California Industrial Technology Education Association is a statewide user organization that
advocates and promotes Industrial Technology Education, and Vocational Education through
professional development, social events, and political advocacy, for the state's ITE and
VocEd teachers. Our goal is to develop a strong community of trained and qualified
teachers working in up-to-date facilities that are in parity with other disciplines.
VisionEvery school provides every student with experience
in industrial technology educational, to develop technology literacy, self-sufficiency, creativity,
imagination and an appreciation of craftsmanship.
Professional RecognitionCITEA awards serve to recognize and reward
excellence in teaching, professional contributions, and support for ITE in the State of California. Awards
in the following categories are presented at the Annual Conference banquet:
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Administrator of the Year The CITEA Distinguished Service Award
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programs and ITE programs in middle schools, high schools, community colleges and universities. CITEAF is
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Support of CITEAF strengthens your profession and enables effective communications and networking,
professional development, and strengthening of both local and regional programs.
Professional ConnectionsCITEAlist is a statewide e-mail list-serve with
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connecting professionals in Industrial Technology Education and Vocational Education, sharing
important announcements and information.
Please join us by volunteering and/or making a contribution today!
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The California
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P. O . B o x 7 2 9 , D i a m o n d S p r i n g s , C A 9 5 6 1 9
The California
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Technology
Education
Association
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The California Industrial
Technology Education
Association
P.O. Box 729
Diamond Springs, CA 95619
www.CITEA.org(408) 924-3227
The California Industrial
Technology Education
Association
MissionThe California Industrial Technology
Education Association serves the
Industrial Technology and Vocational
Education communities by providing
professional development, legislative
analysis, advocacy and networking.
The California Industrial
Technology Education
Association
Educational Areas Include
Construction/Wood Shop
Manufacturing/Metal Shop
Graphic Arts
Transportation/Auto Shop
Drafting/Engineering
Electronics
Identity System
DISCO
VER CREATIVE WOODBURY
Animation
Communication
Fashion Design
Graphic Design
Interior Architecture
Psychology
This CD-Rom is your starting point for a career in the creative design fields.
The minimum requirements to view this cross-platform CD are:
Macintosh
4X CD Rom drive 16mb RAM (required)24mb RAM required for "Woodbury Creative" Quicktime (included)Adobe Acrobat (included)
WindowsPentium (100 MHz minimum)
4X CD Rom drive 16mb (required)24mb RAM required for "Woodbury Creative" Quicktime (included)Adobe Acrobat (included)
DIS
CO
VER CREATIVE WOODBU
RY
Discover Creative Woodbury brings you information about the creative programs offered at Woodbury University. Explore this CD by the way of the “Career Path” or the “Professional Interview”
The “Career Path” guides you through the various classes and areas of study, while the “Professional Interview” allows you to sit in on interviews with former Woodbury students and current professionals working in the field of interest.
DISCOVER CREATIVE WOODBURY
WOODBURY UNIVERSITY
Call (818) 767-0888 today and speak with a career advisor and get started today.
Made possible through a gift from The Woodbury University Alumni Association
Animation
Communication
Fashion Design
Graphic Design
Interior Architecture
Psychology
Animation
Communication
Fashion Design
Graphic Design
Interior Architecture
Psychology
Programs:Adobe Illustrator
Discover Creative Woodbury brings you information about the creative programs offered at Woodbury University. Explore this CD by the way of the “Career Path” or the “Professional Interview”
The “Career Path” guides you through the various classes and areas of study, while the “Professional Interview” allows you to sit in on interviews with former Woodbury students and current professionals working in the field of interest.
DISCOVER CREATIVE WOODBURY
Call (818) 767-0888 today and speak with a career advisor and get started today.
Made possible through a gift from The Woodbury University Alumni Association
This CD-Rom is your starting point for a career in the creative design fields.
The minimum requirements to view this cross-platform CD are:
Macintosh
4X CD Rom drive 16mb RAM (required)24mb RAM required for "Woodbury Creative" Quicktime (included)Adobe Acrobat (included)
Windows
Pentium (100 MHz minimum)4X CD Rom drive 16mb (required)24mb RAM required for "Woodbury Creative" Quicktime (included)Adobe Acrobat (included)
This CD-Rom is your starting point for a career in the creative design fields.
The minimum requirements to view this cross-platform CD are:
Macintosh
4X CD Rom drive 16mb RAM (required)24mb RAM required for "Woodbury Creative" Quicktime (included)Adobe Acrobat (included)
WindowsPentium (100 MHz minimum)
4X CD Rom drive 16mb (required)24mb RAM required for "Woodbury Creative" Quicktime (included)Adobe Acrobat (included)
DISCO
VER CREATIVE WOODBURY
Discover Creative Woodbury brings you information about the creative programs offered at Woodbury University. Explore this CD by the way of the “Career Path” or the “Professional Interview”
The “Career Path” guides you through the various classes and areas of study, while the “Professional Interview” allows you to sit in on interviews with former Woodbury students and current professionals working in the field of interest.
DISCOVER CREATIVE WOODBURY
WOODBURY UNIVERSITY
Call (818) 767-0888 today and speak with a career advisor and get started today.
Made possible through a gift from The Woodbury University Alumni Association
DIS
COVER
CREATIVE WOODBURY
WOODBURY UNIVERSITY
Replicated by the computer department at Woodbury University 2008 Woodbury Univ
ersit
y, Bu
rban
k, C
A
DIS
CO
VER CREATIVE WOODBU
RY
Macintosh/Windows
Print Design
Editorial DesignPrograms:Adobe InDesignAdobe Photoshop
through the funnel.After that, I dropped a vmarble through the funnel and waited for it to come to a complete stop on the level surface. Once it came to a complete stop, I marked the spot with a black pen. I conducted this experiment several times at this height and noted that the results were stable. I didn’t drop the marble as many times as in the computer simulated experiment. However, Iassume that had I done it as many times, the pattern on the surface would have looked similar.The second funnel experiment I
conducted was also a variation on the
first rule. This time, I positioned the funnel at a higher point. As before, I marked the spot on the surface where the marble would first land when it was dropped. Again, I marked the spot where each marble came to rest, using a
red pen. Because this experiment was also a variation of the first rule,
the results were also stable. However, the marks were more
spread out than in the first experiment because the
funnel was positioned higher off the ground. I then decided to layer the results of the second test over the first test
to get a better sense of the variation between the two tests. Although both results were stable,
I noticed that in test one, the majority of the marble’s stopping points were concentrated closer to the marble drop Conversely, while the second test’s results were still stable, I
noticed that the marble stopping points were
more spread out. About half of the stopping points were marked near the site of the marble drop, while the other half we spread out on the flat surface. This leads
The objective of the funnel experiment is to drop a marble througha funnel and hit a
target. The target is a point on a level surface. The spot on which the marble
sihT .dekram si sdnalexperiment is done several
times. Dr. Deming noted four rules in the funnel
experiment. These four rules are essentially four
different kinds of funnel experiments. In rule one, the
funnel is not moved. It is centered over the target and left there for the duration of the experiment. In rule two, with
each drop of the marble, the funnel is moved from its
previous position. In rule three, the funnel is moved a specific distance
from the target. In rule four, the funnel is simply moved over the
last place the marble rested. When Dr. Deming conducted
these experiments, he noted the variation in the relative
position of the marble coming to rest, in the application of
each of his four rules. For example, even in the first rule where the
funnel remained in one spot, the marble rolled to different spots every time it traveled through the funnel. Despite the different locations of the marble stops in all four rules, Deming described his results as either a stable or an unstable process. For example, rules
me to believe that if the object of the experiment were
to get as many marble stops
concentrated around the original drop spot, it would be better to position the funnel closer to the paper. The funnel test proves that there is variation. Even when an experiment is conducted one hundred times, the
outcome is never exactly the same. The same holds true in Graphic Design. For example,
when I was designing a stamp for a project, I had to take into consideration paper texture, ink quality, stamp size, and ink coverage. I never got the same results twice. I eventually ended up with a final product; however, I had to go through a process of experiments (much like the funnel tests) in order to get the desired results. Various conditions made achieving of a final product a lengthy process. Conducting the funnel test experiments made me view design work in a different light and helped me to see how physical science is relative to other disciplines.
56
one and two are stable, because all the drops are
clustered in a fairly tight group Conversely,
rules three and four as unstable,
because the drops are spread out. I conducted
two funnel experiments using what I have learned about Deming’s work. Both experiments were based on rule one. The funnel was fixed in one area. I set up a level surface (a large piece of paper) and placed the funnel at a specific height above the paper. Using a green pen, I marked the spot on the paper where the marble would first land once it was dropped
Variability and the Funnel ExperimentBy Brandon Scott Kurtz
The funnel experiment puts the theory of variability to the test.