From: owner-aml-list-digest@lists.xmission.com (aml-list-digest) To: aml-list-digest@lists.xmission.com Subject: aml-list-digest V1 #990 Reply-To: aml-list Sender: owner-aml-list-digest@lists.xmission.com Errors-To: owner-aml-list-digest@lists.xmission.com Precedence: bulk aml-list-digest Friday, March 7 2003 Volume 01 : Number 990 ---------------------------------------------------------------------- Date: Wed, 5 Mar 2003 00:42:55 -0800 From: "Jongiorgi Enos" Subject: [AML] re: Programming as Art Jacob Profitt's comments about the recently proffered Zappa definition = of art motivated a number of responses in my mind. Actually, I was less = concerned with taking a side on the debate in question, than in = responding to the actual internal logic of the argument as such. The = post states: > If that's your definition of art, then sure. But I think that's a = pretty > silly definition of art. By that definition, books aren't art. = Theater > isn't art. I dare you to frame the last performance of "The Way We're > Wired" tonight. Frankly, a lot of modern art is stuck in parks or = looming > over multi-story office lobbies. Frankly, the frame of a computer = monitor > stacks up better than any frames for those do. Did Dutcher frame = "God's > Army"? Are you going to say there's no art there? Your definition > removes the term "art" from anything we can discuss on this list. Obviously the concept of a "frame" around art is a metaphorical one, but = there's also some pretty obvious literal "frames" that might have been = missed by these comments. For example, with respect to live theatrical performances, I think that = the proscenium arch is one of the biggest physical "frames" there is! = The proscenium arch is a huge, literal frame. It's not even a = metaphorical one, such as the very good example Thom Duncan later = mentioned. The physical proscenium arch is so visible in fact, and such = a literal frame around the physical space of the play, that it is = understood to be one of the "conventions" of theater about which we must = specifically suspend our disbelief, a category which also includes = curtains, lights, the programs we hold in our hands and use as fans, = etc. This precise question (the physical conventions of the stage that = pull us out of the created reality and which partially require our = suspension of disbelief) is studied in depth in various works on theater = history. To take another example, the post cites works of art that are "stuck in = parks or looming over...office lobbies". But in these cases (the = sculpture, for example) the pedestal is the "frame." And for a mobile or = hanging art, the string suspending it is the "frame." Other literal = spatial frames include the lawn around the art in the park, the wall of = the building, the architectural lobby space, etc. All are uniquely = crafted "frames". Finally, it is quite startling to mention books as being in a category = "without frames." This statement might cause us to overlook some of the = most obvious frame metaphors in our world: the page itself! Take, for = example, the white borders all the way around the words. A frame, no? = What about the covers on both sides of the book? Other conventions = abound: the titles; the advertisements: the entire industry which holds = the book up literally and metaphorically within about a dozen "frames." These conventions are not just figurative, they are literal. Any aspect = which sets the work apart from the surroundings can be considered a = frame. Zappa's "sound-bite" statement is so simple, punchy and seemingly = superficial, that it actually belies a very thought-provoking and = surprisingly inclusive definition of art.=20 Jacob worries that Zappa's definition might not allow us to discuss = anything as art on this list, but I would beg a reconsideration. While = it might not be the best definition, while we might argue that it is = even correct, it is certainly not limiting, but mind-bogglingly = inclusive. It just forces us to think about things a little more deeply = and from different directions. Which is, after all, one of the goals of = intellectual exchange. To continue the thought, Zappa's definition could certainly include = architecture, gardening, bonsai trees, flower arrangements, and on and = on. They are all very clearly "framed." It is ironic that Frank Zappa = came up with this interesting tid-bit, because I met his daughter Moon = Unit Zappa at a little party she threw in LA several years ago at a = little art gallery I frequented at the time. Her art was a collection of = amazingly detailed rag dolls which she had hand made and then placed = inside shadow boxes (their frames) and hung on the wall. Strange, = amazing, interesting. I liked them. They were out of my price range. = Sharon Stone bought one (apparently). Anyway, does this definition limit = us? No, it's very liberating, actually. Hilariously (or obnoxiously, I can't tell which) the post asks = rhetorically: "Did Dutcher frame "God's Army"? Of course he did! Every = shot was framed: physically, literally, meticulously, and with a great = deal of thought. Cinematographers actually use that word "framing"! = Actors ask "Am I in frame here or out of frame?" The gaffer yells, = "Dude, that 10K is in frame!" This word is used on set all of the time! = Nothing is more replete with "frame" metaphors than film itself, the act = of shooting it, then the act of projecting it. Consider that the physical medium of film must be projected through = frames (have you ever looked inside a projector? There is a little metal = square in there, a perfect little frame!); and then the image is = actually viewed on a giant screen (a frame) or a TV (which the post = brings up), which is obviously a frame.=20 Even the video box sitting on a shelf in the store is a tiny frame. A = neat package of speciality. Getting back to the ubiquitous boob-tube: of course the TV screen is a = frame. Perhaps it is the penultimate frame of our generation, for better = or for worse. However, in these cases, be it TV or computer, it is interesting to ask = ourselves, what is it that is "framed"? It is the ultimate result of the = work of the artist, but not necessarily the process or underpinnings of = the creation of that work. For example, a programmer creates code which creates, ultimately, the = image that is framed on the screen. But what is it that is being held up = (framed) as art? What is actually IN the frame? Is it the image created = by the function of the programmer's code, or the code itself? That is an interesting question. If I say a house is the architect's = art, are the framing timbers beneath the skin the art? Perhaps they are. = I am prepared to accept that programming is art, but I don't think this = thought has yet been conclusively defended or denied.=20 But Zappa's Frame Definition is certainly as interesting and = thought-provoking a concept as one could wish, and has certainly not = been exhausted. One axiom to the Frame Definition is that we are not, by this = definition, made party to the actual work which lead up to the art in = the frame. We are not typically not shown the bits of film on the = cutting room floor; we don't usually pay to see the first read-through; = we don't print all those awful, awful first drafts. These things are the = underpinnings of various modes of art which are eventually turned into = the result which we then "frame."=20 Does programming fulfill the role of stud within the wall? Is it the = wall itself? Is it both? This is an interesting debate, which I do not wish really to enter at = this time, but I must respectfully beg to differ that there are not both = literal and metaphorical "frames" which "surround" such things as = theatrical plays, books, statuary, etc., etc., etc. A careful discussion = of the concept of art should not ignore a deeper exploration of the = thought model proposed. Ultimately, I think, a discussion, or even if you want to call it an = "argument" (which I must define using the classic Monty Python = definition: "an argument is a connected series of statements intended to = establish a proposition". to which you then reply: "No it isn't!") must = follow the Golden Rule ("Do unto others.then split!). No obviously, you = want people to consider your ideas with the same respect and depth of = thought that they naturally want theirs considered with, even if you = ultimately end up disagreeing. So I must throw up a flag of caution when I hear someone calling someone = else's ideas or definitions as "silly." Perhaps it is silly, but to call = it such creates the responsibility in the caller of showing how it is = silly, of arguing the point with a connected series of statements = intended to establish the proposition of silliness. And this has not = been done by the post above, not even remotely.=20 A careful consideration of the Frame Definition, even a casual = consideration of it, reveals it to be quite interesting and actually far = from silly, but quite inclusive and deep. That does not mean we all have = to agree with this definition. But in attempting to refute the position = we should consider all sides of the issue. I guess I'm more interested = in saying that than anything else. Perhaps programming is art, but it needs to be argued carefully as such. = Every one of the examples used in the above post as being "art without = frames" can easily be argued to be well within the Frame Definition. And = perhaps programming will ultimately be shown to be within it, too.=20 At any rate, I think that none of us need fear that we will ever be at a = loss for things to discuss on this list, no matter what definition of = art we finally agree upon. Jongiorgi Enos - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 21:57:24 -0500 From: "Eric D. Dixon" Subject: [AML] Re: Little Mermaid >> let's not bring up the urban legend of the castle resembling >> part of the male anatomy. > >I've never heard that one, and I never noticed such a comparison. I may >have to go back and look. It was just on the original video artwork, and for the record, the resemblance is accidental: http://www.snopes.com/disney/films/mermaid.htm There was another phallocentric "Little Mermaid" myth -- the minister in a wedding scene appeared, to a few overexcited prudes, to be a little too happy to see the bride and/or groom. But it was just his knee: http://www.snopes.com/disney/films/minister.htm Eric D. Dixon - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 22:30:30 -0700 From: "Kim Madsen" Subject: RE: [AML] Introductions: Jongiorgi Enos I've never heard/read such an interesting intro before. Makes me wonder how many other fascinating lurkers there are out there. C'mon...speak up... My favorite part was to Jeffrey Needle. "Get baptized, dammit" may be the new door approach of the 21st century now that they've done away with memorized discussions. I'm writing my son in Louisiana to suggest it to him right now. (He's depressed, finishing out his mission in heavily Cajuncatholic Lake Chuck, LA where he can buy fresh Gulf shrimp $15 pounds for $10, but investigators ain't to be had for love nor money. Hey, he might not make much headway in teaching the people, but he's gonna come home King of Gumbo.) Welcome, Jon. I can't believe you have an Italian sounding first name and a Book of Mo last. How cool is that? Kim Madsen, of the pedestrian first and last names. - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 23:05:04 -0600 From: Linda Adams Subject: [AML] _Prodigal Journey_ on Clearance Hi all, Due to a complex set of circumstances, I have managed to purchase the remaining 2000 copies of my book, _Prodigal Journey,_ and I'm very interested in recouping my investment as quickly as possible. I consider all of you my friends, and so I am offering AML-List members my "Friends & Family Discount" of $3.99 per copy plus actual shipping charges, for as many copies as you'd like to order. Contact me off-list if you're interested. (That way if nobody responds, no one has to publicly feel bad for me either! :->) I'll personalize and sign them however you want. I will also have a limited number of copies available to distribute free as review/promotional copies, but you have to promise to review or promote it somewhere! Just ask. Also, and more important for the list to know, I *AM* the *SOLE* [<--great big letters] rights owner at this point, therefore I am the ONLY person with the legal right to sell and distribute this work. I can't do much about what's currently stocked at bookstores, but in the future, all orders should be getting filled by yours truly. If any of you should hear of its being distributed or sold by any individuals or companies that do not trace directly back to me, I will sincerely appreciate being informed. There are just over 2000 copies left, which will arrive on my doorstep in Kansas City, I am told, sometime Tuesday the 11th. Yep, just my idea of a fun afternoon, unloading 83 boxes of books off a truck and finding somewhere to put them. I will not print this identical edition ever again, so this is it if you want a potential family heirloom! Here's hoping they won't end up as my 15-year emergency TP supply. If they do sell out, and I choose to print more on my own, it will go through an editorial overhaul, change format, and get an all-new cover. I am still searching for a NY agent and publisher to take over this series, reprint the book (maybe) and (at least) continue with the second. I have one solid lead on an agent, with a few others still out. Ace SF is also looking at it. The major LDS publishers didn't bite, busy with projects of their own. Cross your fingers for me! I also finally bought a domain name, so you may reach my website here: www.alyssastory.com (If you already have it bookmarked, don't worry about changing the bookmark, because the site hasn't moved. This is easier to tell your friends, that's all.) Thanks for all your support over the years. I truly could not have come even this far without your combined encouragement. Linda Adams adamszoo@sprintmail.com http://www.alyssastory.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 22:16:42 -0600 From: Linda Adams Subject: [AML] Re: _Little Mermaid_ >I can see where Mr. Bronson is coming from on his cynical evaluation of >the Disney flick, but I guess I saw a different movie than he did. Nah, I saw Scott's version, too. Your analysis was interesting and different though, something to think about. >The redemption of her character comes when she realizes the grave mistake >of her choice and she goes about doing all in her power to set things right. . . . But in the original fairy tale, she died. No happily ever after. King Triton also insisted on secrecy from the humans because, don't forget, he's been watching the whalers and other brutalities at sea and he knows what most sea-going humans were like back then. If humans find out mermaids are real, they will be hunted, very likely to extinction. She endangered her whole society with her curiosity. What she was doing *was* incredibly dangerous, and his shallow response only made the situation worse. He should have sat down and had a calm, rational talk with her about what humans do to things they don't understand, and maybe this particular human is okay, but as a group, they're dangerous, and we don't want everything we have down here ruined by your romantic silliness. And if she still persisted, just give her the stupid old legs she wants and let her go. So it's as much a story about how *not* to parent as it is all the things Scott wrote. >I still have yet to hear of any special study or news report that teenage >rebellion is the direct result of kids watching The Little Mermaid I doubt that too. I refuse to own it, but my kids have all seen it, and it does have some classic fun parts. But my kids all, also, think Ariel was pretty stupid. >and let's not bring up the urban legend of the castle resembling part of >the male anatomy. Not a legend. I don't have my mother's VHS case available right now to prove it, but on the original edition cover, one of the spires definitely resembles, no, *is,* a large tall golden. . . yep, it's there. I imagine the newer-edition covers have taken care of the problem. I heard that happened due to a disgruntled employee. Anyway, I'm awfully tired and I hope I'm not as incoherent as I feel. The Little Mermaid has always been one of my pet peeves too, and not because I haven't given it any thought to it. Now if anyone wants to diss "Caillou" I'm game for that too. But I let my children watch it ; it's on three times a day and hard to avoid. But it's another interesting example of new-age let-the-child-win parenting that obviously has created a monstrously behaved four-year old. So I talk to my six-year old son about my goodness, what a tantrum. Wow, Caillou is really whiny, isn't he? (One of the reasons it's so annoying is that I hear enough of it all day without the television adding to it.) And I'd really like to know why the kid is bald. I have no idea. A young version of Charlie Brown? Everyone else on the show has hair. . . it's just a little creepy. Linda Linda Adams adamszoo@sprintmail.com http://www.alyssastory.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 23:03:59 -0700 From: Melissa Proffitt Subject: Re: [AML] Surprise Endings [MOD: I would like to revise Melissa's request. Michael: Please send your analysis TO THE LIST, with a clear label that there's a spoiler in process. This is completely appropriate AML-List fodder; I don't want to have it taken away from us! Waah!] On Tue, 04 Mar 2003 13:04:05 -0700, D. Michael Martindale wrote: >Melissa Proffitt wrote: > >> For _Ender's Game_, maybe what it means >> is that readers with a certain level of reading experience picked up = on >> overly obvious clues, and other readers didn't. Of course, that = raises the >> question of whether it actually was done well as long as some readers = were >> surprised, but that's more philosophical than I want to get right now. > >But if the overly obvious clue was unnecessary and easily fixed, then=20 >that is a literary sin. I agree with you about this. What I'm getting at is how one determines whether it's a problem with the book or with the reader. Which is why = your further comment here: >I've tried to avoid mentioning specifics so I wouldn't make the problem=20 >worse for anyone who hasn't read the book yet, but I certainly can point= =20 >out exactly where the problem occurred. It was fixable by a very simple=20 >trick: remove the part completely--it added nothing beneficial to the=20 >book and could easily be cut. is so important, because it makes the analysis specific and not just a matter of one person's reading preferences and abilities. You should tell me privately what the relevant part is, so as not to = spoil anyone. I've always wondered about what people are seeing when they say they figured out the plot well in advance. Melissa Proffitt - ----- English doesn't borrow from other languages. English follows other = languages down dark alleys, hits them over the head and goes through = their pockets for loose vocabulary. - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 23:16:22 -0800 From: "BJ Rowley" Subject: Re: [AML] Introductions: Jongiorgi Enos Jongiorgi Enos wrote: >Memo: A Letter Of Introduction > > > Jon, Welcome to The List. I've enjoyed seeing you on the screen, and look forward now to hearing you on The Screen. (and a mutual acquaintance says Hi. Mary Kay Kelly xxxxx [junk ... can't remember her married name now ... sorry]) Anyway, welcome aboard. - -Brent "BJ" Rowley - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 6 Mar 2003 07:45:28 -0700 From: "Scott Parkin" Subject: Re: [AML] Programming as Art Marianne Hales Harding wrote: > Personally, I don't think I'd say that the act of framing something makes it > art but I could go with the idea that the act of framing something indicates > that a person is attempting to create art. Whether or not one > succeeds....well we'll just keep arguing that one now won't we? Which I think is the foundation of this discussion. When is it art, and when is it merely pretention? The Art vs. Entertainment argument is an old one. One argument suggests that Entertainment isn't Art, though it may exhibit some art (artifice) in the way it's produced or presented. Entertainment may contain artistic elements, but it is entertainment after all, whereas Art is art because the producer frames it as such. I think there are some useful elements in that definition. It allows electrical engineers to earn a BA at some universities instead of a BS--the art of applying known science to issues of design is considered an art, though the finished products are rarely presented as Art. (Though for me looking at a microchip under a microscope is actually quite a moving experience that illustrates the grandeur of human imagination. There's an enormous elegance and even beauty to the way the functional design is visually rendered.) It seems like the basic question is who is allowed to call their work Art, and what validates that claim. Artists, like everyone else, want to claim a certain elite status. They want to close the doors against every juice gargler who claims creative regurgitation should be viewed as artistically equivalent to the Mona Lisa or the Taj Mahal. They want to protect their own status against the unwashed, the unititated, the uninvited. Tough question. I could argue that open source programmers are both technicians and artists because the nature of open source requires making both the uncompiled code and the binary available. It means you're explicitly exposing not just the finished functionality, but the *way* that functionality was created. It's a form of public performance--albeit for a small audience who isn't paying royalty to the creator. As opposed to proprietary coders whose code never reaches outside the private community of co-creators. Is it the royalty that makes a difference? The expectation that the artist is being paid for each and every performance by the viewer rather than some private patron? I'm not sure all programming is art, but some of it is offered as such. Which makes it no less artistic than an awful lot of what I see proudly proclaimed as art by painters, sculpters, performers, and authors around the world. Almost nothing as a class qualifies, but there are instances of pretty much everything that can and should be called art. Zappa's frame seems a little too easy to me. It only defines intent, not execution. In the end, I think the success of the execution matters--even if it means that many self-proclaimed artists suddenly find that their work no longer qualifies as Art. Scott Parkin - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 01:30:30 -0600 From: "Preston Hunter" Subject: [AML] Bill SHIRA, _A Truce with Death_ (Review) Bill Shira's short film "A Truce with Death", starring Marvin Payne http://www.ldsfilm.com/short/TruceWithDeath.html "A Truce with Death" is a remarkable, interesting, inspirational yet challenging short film. Based on a true story, it depicts a pioneer couple which stays behind after its company moves forward because their baby is sick. When the baby stops breathing the husband and wife mourn her death in different ways, but must quickly abandon her half-buried in the brush because of the danger of Indians that surround them. I won't give away what happens next, because it really is an amazing story and it makes for a very compelling film. Frankly a friend of mine said he had seen this and didn't like it. I'm wondering if we saw the same film, because I thought this was quite good, and deserves greater attention. This is a relatively low budget production, but I liked the rich colors and semi-classic look achieved by co-D.P.s Grant Williams and Mark Taft. The sound mix is completely mangled during the first minute, which is just opening credits shown over a painting. But once the body of the film begins the sound is mostly fine, except form some spots with poorly matched ADR. One of the highlights of "A Truce with Death" is Marvin Payne's performance as the weary, low-on-faith pioneer husband who abandons his daughter in the wilderness. The film also stars J. Scott Bronson, who does a great job as a somewhat bigoted Gentile. Payne also did the musical score, which ranges from perfunctory to mediocre. But this doesn't detract much from film overall. All in all, I really liked "A Truce with Death." I was interested in watching it mainly because of Shira's upcoming feature film. Seeing what he did 10 years ago makes me even more certain that his upcoming feature film will be one that critics and serious audiences will be pleasantly surprised by. Shira is the director of the upcoming feature film "Where Rivers Meet", a movie starring most of Utah's top film stars, including Jaelan Petrie ("Handcart"), Tayva Patch ("Brigham City", "Out of Step"), Rick Macy ("Brigham City", "Testaments", "Out of Step"), Jan Felt (Disney's "Poof Point", "Little Secrets", "Everwood" Sariah in Gary Rogers' Book of Mormon movie), Bruce Newbold ("Testaments of One Fold and One Shepherd", "How Rare a Possession", "The Lamb of God"), Connie Young ("The Singles Ward"), Julie West, and Joan Mullaney. Marvin Payne ("Pure Race", "Saturday's Warrior"), the top-billed star of "A Truce with Death", is also one of the stars of "Where Rivers Meet." Preston Hunter - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 08:55:35 -0700 From: "Eric R. Samuelsen" Subject: Re: [AML] Des News on Samuelsen's Film Paper One quick and deeply embarrassed response to this: I dabble? Seriously, = that's what 17 produced plays in 10 years adds up to? Dabbling? Argghh. At the end of the interview, she asked if I wanted to write something like = this, and I said, 'sure.' So all I need now is a story, characters, a = situation, dialogue, a mise en scene. . . . Eric Samuelsen - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 08:57:16 -0700 From: "Eric R. Samuelsen" Subject: Re: [AML] Introductions: Jongiorgi Enos Hey Jon. Welcome. How are Mireille and Veronique these days? Eric Samuelsen - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 08:59:03 -0700 From: "Eric R. Samuelsen" Subject: Re: [AML] LDS TV Sitcom Class? We made the sitcom, and it is currently in post-production. It turned out = pretty well, and was astounding more work than any of us anticipated. Of = course it's student work, but it holds up pretty well, and is quite funny. = I'll let you know when and if it will air. Oh, it does air during Final = Cut, our student film festival, at BYU. I'll pass on time and date info = later. Eric Samuelsen=20 - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 09:31:07 -0700 (MST) From: Ivan Angus Wolfe Subject: RE: [AML] YOUNG, _Heresies of Nature_, KIMBALL, > Now a non-AML related > question--unless someone can come up with a literary tie, in which case, > I'd love to see it on list. The "Hate Crimes" bill got pulled from the > Utah State senate. I have very deep feelings about this and simply > don't understand WHY. I'm assuming it has to do with lobbyists afraid > of gay rights, but the implications of not having the bill pass are > pretty serious and extend far beyond the gay community. (And why would > anyone think we shouldn't have a bill which protects gays from hate > crimes?) > Margaret Young here's a possible literary tie: I took a writing workshop from ORson Scott Card once (and he's written this in his other non-fiction as weel, so it's not a new concept). He said the great strength of fiction is that it allows us to see what motivates characters - why they actually do things. In real life, it's not that easy, as we can't read other people's minds, and we even lie to ourselves about why we do things. In real life, it is nearly impossible to figure out WHY someone did something. In fiction, we can give our characters reasons, and because the authors are in charge, no one can really argue with it (unless the author deliberatley makes the motivations ambiguous). OSC said one of the main reasons people read fiction is to figure out why people do things, since in real life we can't really figure that out. (This was usually followed by attacks on psychology and sociology as bogus, but that's neither here nor there). I think that's why the legislature is hesitant to pass it - to be truly effective, it would require mind reading. We can have evidence that strongly points in a direction for a motive, but if there's enough evidence that the guy shot someone and the fact of his actions are beyond a reasonable doubt, why is there a need to go further? Another non-literary tie in would be my concern that, having been attacked by someone who claimed he did it because I was white, would that guy be charged under hate crimes if they existed. Likely not, the way they are enforced elsewhere. In other words, Hate crime laws provide unequal protection. FWIW. - --ivan wolfe - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 6 Mar 2003 09:45:18 -0700 From: Christopher Bigelow Subject: [AML] League of Utah Writers The Utah County chapter of the League of Utah Writers is having the following meeting: We have our March speaker confirmed. John Moyer will speak to us on March 26th at 7:00 p.m. in the Provo Library. He is the screenwriter for the popular local movie productions, "Singles Ward," and "RM". He will speak about how he began his career and will give us useful information on the fundamentals of screenplay writing. In April we'll hear from Ann Cannon, humor columnist for the Deseret News and Young Adult novelist. Thanks, Heather Moore Utah Valley Chapter President - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 10:26:54 -0700 From: "Tyler Moulton" Subject: Re: [AML] Introductions: Jongiorgi Enos "Hootie-Hoo!" to you, too, Jon. And welcome aboard. Tyler Moulton - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 06 Mar 2003 14:50:15 -0700 From: "D. Michael Martindale" Subject: Re: [AML] Why Not PG? Thom Duncan wrote: > If something ins invisible, how can it even affect us? I have a tough > time with this idea that media has messages that affect us even if we > don't know about it? Can you explain how something that is not noticed > can be harmful? Two words: carbon monoxide. - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 6 Mar 2003 15:27:03 -0700 From: Marny Parkin Subject: [AML] UVSC Forum on Children's Literature I'm forwarding this announcement for those interested. Marny Parkin The information for the UVSC/SCBWI FORUM ON CHILDREN'S LITERATURE is now on the website at http://www.uvsc.edu/conted/seminars/childlit/. For your convenience, I'm including all of the information--Presenter info, schedules, Gallery of Illustration info, and Registration information--below. Feel free to pass this information on to anyone you think might be interested. FORUM ON CHILDREN AND LITERATURE MARCH 21-22 KEYNOTE Janie Bynum (March 21, 2003) GENERAL SESSION Chris Crowe KEYNOTE Kathleen Duey (March 22, 2003) GENERAL SESSION Susan Kochan GUEST SPEAKERS Aaron Aldridge Vera Bakker Janie Bynum Kathryn Collins Chris Crowe Kathleen Duey Sharlee Glenn Janice Graham Mette Harrison Kimberley Heuston Jim Jacobs Susan Kochan Gabi Kubitz Julie Olson Nancy Peterson Carol Lynch Williams Sherry Meidell Julie Olson Nancy Peterson Paul Pitts Rick Walton Randall Wright And others, too! SPECIAL FEATURES WORKSHOPS FOR: EDUCATORS LIBRARIANS WRITERS ILLUSTRATORS BOOK LOVERS! NATIONAL SPEAKERS BOOK SIGNINGS Friday, March 21, 2003 KEYNOTE Janie Bynum Her desire to create more meaningful and satisfying work launched Janie's career in children's books. She owned and operated a successful graphic design studio for many years, but a personal connection to her work was missing. So, Janie explored her options by moving to Chicago to immerse herself in big city culture and opportunity. That's where she discovered her desire to create art and stories for children. She attended the School at the Art Institute of Chicago for a couple of semesters, taking Children's Book Illustration. She was introduced to Writing with Pictures by Uri Shulevitz and SCBWI-where she connected with other authors and illustrators. Through such networking, Janie obtained her agent who sold her first picture book to Harcourt in the fall of 1997. She is the author and illustrator of a long list of books, including Altoona Baboona, Otis, Altoona Up North, and Pig Enough. The Spaces Between Picture book author and illustrator Janie Bynum discusses the power of the space between the words and how visual "voice" is developed in that silence. GENERAL SESSION Chris Crowe Chris is a professor of English at BYU where he teaches courses in Adolescent Literature and English Education. He is past president of the Assembly on Literature for Adolescents and editor of the Young Adult Literature column for English Journal. In addition to many articles and books, he is the author of Presenting Mildred D. Taylor and Mississippi Trial, 1955, an ALA 2003 Best book for Young Adults and winner of the International Reading Association's children's Book Award in Young Adult Fiction. Blending Historical Fact and Fiction: Emmitt Till and Me Chris will discuss his work on his historical novel, Mississippi Trial, 1995. Schedule for March 21 FRIDAY, MARCH 21 8:15 Continental Breakfast 9:00 KEYNOTE ADDRESS The Spaces Between Janie Bynum 10:20 WORKSHOP SESSION A The Other Half of the Job: Business and Art, the Uneasy Marriage Kathleen Duey Illustrating Picture Books Sherry Meidell Read Alouds in the Secondary Language Arts Classroom: A Killer of Time or an Engaging Teaching Strategy Karen Brown Kathryn Collins From A to Z: A Survey of Utah Children's Book Writers and Illustrators Gabi Kupitz 11:30 GENERAL SESSION Blending Historical Fact and Fiction: Emmitt Till and Me Chris Crowe 12:30 LUNCH AND NETWORKING 1:15 BOOK SIGNING 2:10 WORKSHOP SESSION B Accessing the Write Brain Aaron Aldridge Be Wise, Revise Carol Lynch Williams Writing for Magazines Panel Vera Bakker Sharlee Glenn Janice Graham What's Good About 'Bad' Books? Chris Crowe 3:20 WORKSHOP SESSION C The Survey Says: Editors and Authors Working Together Susan Kochan The Visual Voice Janie Bynum Welcoming Diversity: Bridging Culture & Language with Books Paul Pitts 4:30 Closing and Door Prizes Saturday, March 22, 2003 KEYNOTE Kathleen Duey is in love, full of purpose and happy. She has published more than 50 books for children. In 2003-2004, fifteen more titles will be released. These include upper YA, edgy/dark fantasy for Atheneum, historical novels (with horses!) for Dutton/Puffin and more 3rd grade chapter book fantasy titles. One of Kathleen's books is being developed into TV animation to be aired Fall 2004. Her American Diaries books have been excerpted for the California Department of Education curricula models. Her SURVIVAL service has been translated into five languages. The Unicorn's Secret, her most recent series, is gathering kind reviews and generating 3-6 readers' emails a day. Kathleen believes that literacy is the glue that holds the human race together. It will be the light that leads the whole human family into the future. Literacy: The Human Legacy Kathleen Duey talks about literacy, its importance in our ancestor's lives, in all our lives, and its future in the age of video. Schedule for March 22 8:15 Continental Breakfast 9:00 KEYNOTE ADDRESS Literacy: The human Legacy Kathleen Duey 10:20 WORKSHOP SESSION D Picture Book Perfect, the Process of Creating a Picture Book Susan Kochan and Rick Walton Book Buyers Panel Moderator: Jennifer Heldenbrand Kids Writing Like Writers Sarah Hacken Working Through a First Novel Publication Panel Mette Harrison Kimberley Heuston Randall Wright 11:30 GENERAL SESSION How to Grip Kids On The First Page Susan Kochan 12:30 LUNCH AND NETWORKING 1:15 BOOK SIGNING 2:10 WORKSHOP SESSION E Grounding Fiction in Fact-Researching a Novel Kathleen Duey Contemporary Issues Jim Jacobs "The Tax Man Cometh": The Business of Your Profession Julie Olson It's Not the End: Answers to Your Questions for a New Beginning Rick Walton & Carol Lynch Williams 3:20 GENERAL SESSION Our Favorite Books - That We Didn't Write or Publish Moderator: Shauna Bigham Janie Bynum Chris Crowe Kathleen Duey Susan Kochan Nancy Peterson 4:20 Closing and Door Prizes THE GALLERY OF ILLUSTRATION This year we will be having a new addition to the conference: "The Gallery of Illustration." For an additional registration fee of $5, illustrators enrolled for the conference can expose their work to those in the Children's Book Market. Copies of the artwork must be mounted flat to a surface measuring no more than 18"w X 24"h. Contact julie@ipartner.net with "Gallery" in the subject line for further information. Artwork should be color copies mounted on a board of some sort (foam core, colored cardboard, etc.) and can be no more than 18 inches wide by 24 inches high by 1.5 inches thick. Nothing three dimensional should be mounted to the board. Make sure to have your name and contact information on the board somewhere. You must provide your own table easel or attach an easel or self-standing device to your board for display purposes. This is your chance to promote your work, so make it eye-catching. You will set it up right after you register on Friday morning and will leave it up for the remainder of the conference; or until you are ready to take it (all displays must be picked up by 5pm Saturday or they will be discarded). You are welcome and encouraged to place business cards or postcards in front of your work for interested persons to take. If you have any other questions, email julie@ipartner.net and include the word "Gallery" in the subject line. GENERAL INFORMATION AND REGISTRATION FORM To register by mail, print and send this registration form and payment: UVSC Seminars & Workshops 800 W. University Parkway, MS241 Orem UT 84058-5999 To register by phone using a purchase order or bankcard number, call: (801) 863-8894 -- VISA, MasterCard, or Discover To register by FAX using a purchase order or bankcard number: (801) 863-8968 Registration includes continental breakfast and a lunch. Check-In at 8:15 a.m. in the UVSC main foyer. Refunds accrue at $25 fee and may be granted until March 12. No refunds will be given after February 26. Refunds will not be granted in the event of inclement weather. Substitutions are accepted. Please call (801) 863-8894 to arrange a substitute registration. FORUM ON CHILDREN AND LITERATURE MARCH 7 - 8, 2002 Name _______________________ Home Phone (_____) ____ -______ Address _____________________ Work Phone (_____) ____ -______ City ________________________ PO #_________________________ *Social Security # ____ - ____ - _____ PO Contact Person___________ *Birthdate _____/____/_____ Contact Telephone (___)____-_____ [ ] $99 Early Full Conference Registration by March 12 [ ] $69 Early One-Day Only Registration by March 12: [ ] Friday [ ] Saturday [ ] $119 Full Conference Registration after March 12 [ ] $79 One-Day Only Registration after March 12: [ ] Friday [ ] Saturday [ ] SCBWI Member Discount $5 One-day/$10 Full (Early Registration only) * Student Discount Available with Instructor Signature (call 801-863-8894) # _______-_______-_______-_______ Duplicate this form to register additional participants. *Required to receive Continuing Education Units (CEU) Mail form to: UVSC Seminars & Workshops 800 W. University Parkway MS241 Orem UT 84058-5999 (801) 863-8894 FAX (801) 863-8968 - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ End of aml-list-digest V1 #990 ******************************