Choose Privacy Week, an initiative that invites library users into a national conversation about privacy rights in a digital age, takes place May 1-7, 2012 and is an ongoing program of the American Library Association.

OUR LIBRARY IS COMMITTED TO PROTECTING YOUR PRIVACY. WHY?

Because we believe that freedom of speech is meaningless without the freedom to read. Confidentiality and privacy are essential to these freedoms, because if library users have to worry about being judged, punished, or put under surveillance, they may censor themselves. They may not seek answers to their questions or read the things they want to read, either in print or online. To be free and to govern themselves, people must be able to explore ideas—even controversial ones—without fear. You can read our policy at http://library.uvm.edu/about/policies/privacy.php

This video from the American Library Association features Cory Doctorow, Neil Gaiman, and social media users and experts talking about the challenges to privacy in the digital age.

In September of 2011, the University of Vermont Libraries co-sponsored an Jeff Chester’s talk on “Digital Media at the Crossroads” at Champlain College. Chester, Executive Director for the Center for Digital Democracy, lectured on the topic of digital democracy, the role of online marketing agencies, changes to policy affecting internet users and their privacy, neuromarketing, and data profiling.

To learn more about privacy, visit the Bailey/Howe Library. Handouts on privacy and our policies are available at the Reference and Circulation desks.

Want to take action? Tell your representatives in Washington how important privacy is to you.

These works can be found on our New Book shelf in Bailey/Howe, an ever-rotating sampling of things we’re adding to our collection. You can also review all our newest books online, and subscribe via RSS to receive alerts about acquisitions, by discipline.

DO THE MONSTER MASH

Fairy Tales, Monsters, and the Genetic Imagination, Edited by Mark W. Scala

This catalog explores the psychological and social implications contained in the hybrid creatures and fantastic scenarios created by contemporary artists whose works will appear in the exhibition Fairy Tales, Monsters, and the Genetic Imagination, which opens at Nashville’s Frist Center for the Visual Arts in February 2012. Curator Mark Scala’s introductory essay focuses on anthropomorphism in the mythology, folklore, and art of many cultures as it contrasts with the dominant Western view of human exceptionalism. Scala also provides an art historical context, linking the visual fabulists of today to artists of the Romantic, Symbolist, and Surrealist periods who sought to transcend oppositions such as rationality and intuition, fear and desire, the physical and the spiritual.

THE REAL OCTO MOM

Learning from the Octupus: How Secrets from Nature Can Help Us Fight Terrorist Attacks, Natural Disasters, and Disease, by Rafe Sagarin

UVM Special Collections invited students in the Department of Art and Art History’s Spring 2012 “Projects in Printmaking” class to produce broadsides in recognition of Special Collections’ 50^th anniversary. Each student was asked to produce prints that were open in terms of content but combined text and image in some way that acknowledges the historical tradition of the broadside. The prints in this exhibition, “The Broadside Project,” are the result of this process of creative investigation and exploration.

The exhibit and reception are free and open to the public. For more information, call 656-2138 or email uvmsc@uvm.edu

Take Shelter(2011) may be one of the most terrifying films since John Carpenter’s The Thing was released in 1982. Although when categorizing this film, one would actually fit it in as the crowning jewel of the psychological thriller genre, this film is still so effective in making the audience feel the same fear and anxiety that the character experiences which I believe makes this film rank alongside The Exorcist or Rosemary’s Baby in its stature to disturb.

The story is like an episode of the Twilight Zone spliced with Komodo Dragon DNA to give it fangs that sink into you and never let go. It’s about a man, who feels a threatening atmosphere in the world around him, whose sense of helplessness and inadequacy lead him to not know what’s real anymore. Curtis (Michael Shannon in a performance that hits you like a sledgehammer) is your typical American workingman with a home, wife, child and all the bills and anxiety that come with modern living. He begins experiencing terrifying dreamscapes every night, nightmares of destruction from a massive storm building in the distance. The vividness of his continued dreams are so strong it makes him question whether they are in fact just dreams or dark prophecies of a terrifying future. He begins to build a storm shelter in preparation that there might be a real danger behind his sleeping horrors and wants to be ready for when they surface to the real world. The building sequence of events truly shows the erratic fear, panic and alienation that comes from an emotional breakdown, all of which is wrapped up with a mind-shattering ending.

The film has an unsettling and threatening music composition that makes your skin shiver as it patters down high pitched tones like the beginning of rain fall. The cinematography is clear, stunning and brilliant with colors that pop and ingenious lighting schemes. The acting is incredible and compliments the visuals well, one never over-shadowing the other. Jessica Chastain plays Curtis’ wife, giving a performance in a few scenes that should have won her an Oscar. If you enjoy this film,  check out The Machinist or Shutter Island.

http://voyager.uvm.edu/vwebv/holdingsInfo?bibId=2271932

On Friday, March 30, Libraries’ Assistant Professor Amber Billey (who moved to Vermont from Brooklyn in December) had her picture taken with President Obama during his day-long stint in Burlington. We asked Amber to describe the experience of meeting him.

My wife, Lydia and I were shocked when we received the call notifying us that we had won the lottery to meet and have our pictures taken with him. On the day of his rally I made sure to wear my bow-tie by Beau Ties Ltd. of Vermont and my Library of Congress lapel pin. My wife wore her Americorp Alumni pin as well. We were given a special yellow wristband and ushered to a separate section in the front row with about 40 other people.

Right before President Obama was scheduled to speak, all 40 of us were taken backstage and lined up to meet the him. We were so nervous! When it was our turn to meet the President, he asked our names and shook our hands. As we were posing for the photo, I told the president that my wife and I are so proud to be married in the State of Vermont, but that we would love to be married throughout this great country. To which he replied, “We’re working hard on it.”

I felt that he was genuine and kind. His eyes are warm and caring. I joke now that I saw rainbows and unicorns and world peace when I looked into his brown eyes. His hands are also very soft. It was a once in a lifetime experience and I’m so happy that my wife and I could represent Vermont — our new home.

Prompted by President Obama’s March 30 visit to the UVM campus, Special Collections librarians searched the University Archives and discovered that President Gerald Ford visited the campus in 1974, and Vice Presidents Richard Nixon and Lyndon Johnson were here in 1960 and 1963.

President Gerald Ford came to Burlington on October 8, 1974 to speak at a dinner honoring Vermont Senator George Aiken. The front page of the Cynic, the UVM student newspaper,  for October 10, 1974 included articles about the dinner and the crowds of demonstrators.  On October 25, 1963, Vice President Lyndon Johnson came to Vermont for the first time.  At his request, the visit was organized to allow him to see and speak to as many Vermonters as possible, according to the Burlington Free Press (10/23/1963).  During the 1960 presidential campaign, Vice President Richard Nixon gave an impromptu speech to a crowd of UVM students on Sept. 29.

Two thousand people attended a dinner in Patrick Gymnasium to honor Senator Aiken. According to the Cynic, President Ford praised Aiken for his independence of mind and his contributions to education, electric power development, rural America, and foreign relations. President Ford was at the gym for just over two hours, arriving at 7:42 pm and leaving at 10:15.

The Cynic described the crowds of demonstrators as large, antagonistic and nonviolent. Among the groups of protestors were the Vietnam Veterans Against the War/Winter Soldiers, the Living Theater, and a group that served free vegetarian soup (in contrast to the $50 per plate roast beef dinners served in Patrick Gymnasium), and folksinger Bruce “Utah” Phillips.

Senator Aiken and President Ford.  Photo courtesy of the University Archives.

Vice President  Lyndon Johnson, Vermont Governor Phil Hoff, and UVM President John Fey, October 25, 1963. Johnson’s motorcade from the Burlington airport included brief stops and talks at a shopping center in Essex Junction, St. Michael’s College in Colchester, Winooski, and UVM. Photo courtesy of the University Archives.

Vice President Lyndon Johnson, UVM President Fey (left), Mrs. Johnson (right) and students on the steps of the Billings Student Center, October 1963. Photo courtesy of the University Archives.

Vice President Richard Nixon and wife in motorcade on Main Street, September 29, 1960. Photo courtesy of Special Collections.

According to the Burlington Free Press (9/30/1960), “More than 1,000 UVM students engulfed Nixon’s car near the Green and the Vice President halted the motorcade and gave a brief talk to the students on the value of education to win men’s minds.” The Nixons are visible above the cheering crowd because they are standing on the car. Photo courtesy of Special Collections.

DVD 1708

2001: A Space Odyssey is the quintessential science fiction film, spanning space and time, the fears of growing technology and the evolution of man. This film is a mind bending journey like no other movie that has ever been made. A vast commentary on society, its machines and the benevolent beings that exist in our galaxy. Possibly Stanley Kubrick’s greatest masterpiece and one of the most visually stunning films in cinema with one of the most rich and thoughtful narratives in science fiction. The film was cutting edge in special effects at the time, being released in 1968, that continue to boggle viewers of today –  the film even depicts very accurate images of the surface of the moon before we had even visited it. My favorite aspects of the film are the visually dazzling shot compositions and color that pops off the screen. These fantastic visuals are also complimented by one of the best film scores in history.

The film’s plot is complex and hard to summarize but to explain it basically, it revolves around the journey of man from the basic evolutionary beginnings into something much more. A journey that begins with our primate ancestors creating the first tool, then cuts to the greatest extent of our creation in space travel. During the journey man’s creations become too great, almost overshadowing humanity as an artificial intelligence becomes sentient and jeopardizes the entire journey. The film ends on the very boundaries of space and god-like presence.

Viewers beware though:  this is not a casual film to be watched lightly. This film requires deep conceptual thought and analyses of remarkable poetic images. So if you’re looking for a Michael Bay type film full of action and explosions this is not recommended. This is a film for lovers of cinema and thought provoking film about life, existence and the grand workings of the universe.

Persistent Link: http://voyager.uvm.edu/vwebv/holdingsInfo?bibId=1356961

These works can be found on our New Book shelf in Bailey/Howe, an ever-rotating sampling of things we’re adding to our collection. You can also review all our newest books online, and subscribe via RSS to receive alerts about acquisitions, by discipline.

DEATH BE NOT PROUD

Everyone Loves a Good Train Wreck: Why We Can’t Look Away by Eric G. Wilson

Scholar Eric G. Wilson sets out to discover the source of our attraction to the caustic, drawing on the findings of biologists, sociologists, psychologists, anthropologists, philosophers, theologians, and artists. A professor of English literature and a lifelong student of the macabre, Wilson believes there’s something nourishing in darkness. “To repress death is to lose the feeling of life,” he writes. “A closeness to death discloses our most fertile energies.”

LIVING IN TERRIFYING TIMES

Freaking Out: A Decade of Living with Terrorism by Joshua Woods

Investigating the public’s response to terrorism, Woods examines the link between media coverage of terrorism and public perceptions of the threat, demonstrating how some news coverage elevates people’s worries more than others.

THE HISTORY OF HATE

The New Hate: A History of Fear and Loathing on the Populist Right by Arthur Goldwag

In this deeply researched, fascinating exploration of the ideas and rhetoric that have animated extreme, mostly right-wing movements throughout American history, Arthur Goldwag reveals the disturbing pattern of fear-mongering and demagoguery that runs through the American grain.
 The New Hate takes readers on a surprising, often shocking, sometimes bizarrely amusing tour through the swamps of nativism, racism, and paranoid speculations about money that have long thrived on the American fringe.

The University Libraries’ Center for Digital Initiatives has digitized all 112 volumes of the Ariel, the UVM yearbook that was published by students from 1886-1997. The yearbooks document college life and the evolution of the university.  They include photographs of students and faculty, buildings and facilities, and activities and events. (See a selection of photos from the 1952 yearbook below.)

The first volume of the Ariel was published by the sophomore class in 1886, but it soon became a junior class project. Beginning in 1956, the senior class assumed responsibility for the annual yearbook. The faculty and students of the Medical College were included until 1936. Ariel ceased publication in 1997. The yearbook was superseded by a senior memory book, Folklore, in 2001.

  Selections from the 1952 Ariel

Tiny Furniture

DVD 8676

A film review by Philip Cheney

Tiny Furniture is a comedy that realistically depicts the post-graduate slump and the yearning for growth and success most students feel in the transition from college life to the real world. There is a fear in graduation, an anxiety that is at this time magnified by recession and looms with dread in every college student’s heart; to be thrown into the mass ocean of the job market as guppies when even the big sharks themselves are fighting over tiny morsels of occupation. The film is the second full length picture written, directed and starring Lena Dunham who portrays the main character of a recently graduated film student who feels her life is in turmoil, but as she might not realize it, most of it is probably her own doing. The film was made on a modest budget of $50,000; Dunham makes good use of the resources, directs good performances from her actors and gets good shots from the camera that resulted in an amusing film that grossed almost $400,000 making it a moderate success for the young filmmaker.

As the title beckons one to believe, the character yearns for a world that is small, contained and easily controllable: to find the success her mother found in photographing tiny furniture that lead to her respected artistic talent, but in life one often finds that dreams hold no promises and the apple can fall far from the tree. Aura (played by Dunham) constantly presents a desire for financial independence, as most young people can understand after tasting 4 years of freedom and being one’s own boss then moving back in with their parents and worrying about bills. The anxiety resulting from the struggle to obtain this desire gives the film a feeling of melancholy beneath the humor. Aura seems to have no development as a character by the end of the film, no breakthrough moment and lesson learned from the events that unfold. This could be the result of amateur screenwriting, or the work of someone who wants to portray adolescence with its true sense of naivety and stupidity.

On a technical aspect the movie is composed of very simple but eloquent shots and a fairly compelling soundtrack with a cast of vibrant actors who deliver their lines with a strong realistic tone. At times the script is capable of a sharp sense of humor that rivals the film “Juno” in stature. The style is reminiscent of Wes Anderson films and approaches filmmaking with a very Woody Allen sensibility. Anyone who is a fan of the films of those two directors will probably find this movie enjoyable. As a film student who will graduate in two years I found the film hilarious at times and fear inducing at others; visions to a possible future that is very nearby. I guess all there is to do is keep the laughs rolling and not take oneself too seriously as I feel Dunham promotes in her film.

http://voyager.uvm.edu/vwebv/holdingsInfo?bibId=2191537