media studies

Public defenders: Is the PBS, NPR model better than commercial media amid polarization?

Anonymous — Tue, 22 Oct 2024 21:08:50 +0000

Public defenders: Is the PBS, NPR model better than commercial media amid polarization? Anonymous (not verified) Tue, 10/22/2024 - 15:08

By Joe Arney

If you get your headlines from NewsHour or stream Fresh Air on your ride to work, you have a little-known Colorado experiment to thank.

In the 1930s, the Rocky Mountain Radio Council wanted to reach every student working in mountain mines, to ensure they received the same public education opportunities as in Denver. The group hit on program transcriptions that could be relayed over the air—basically, pressing shellac records—so that a student working in remote Golconda Mine, in Hinsdale County, benefited from the same curriculum as his peers in Denver.

That local consortium eventually became the Public Broadcasting Service. And the focus on public education that gave it its start continues to differentiate the mission of public news networks.

“It was just by chance that I moved out here, and so I loved finding out that the inception moment for all noncommercial media was actually the mining communities,” said Josh Shepperd, an associate professor of media studies at the ��«��Ƶ’s College of Media, Communication and Information.

Last year, Shepperd published Shadow of the New Deal: The Victory of Public Broadcasting. It’s notable as the first academic attempt to present communication studies and public broadcasting as historically connected enterprises, and it comes at a time when criticism of the media—especially related to politics—is running especially hot. Shadow has since won the Book Award from the Broadcast Education Association and has been a finalist or runner up for prizes from four other organizations, including the American Journalism Historians Association and Association for Education in Journalism and Mass Communication.

Not necessarily better—but different

“This book isn’t about saying one mode of media is automatically better, or that public media is perfect or a corrective to commercial media,” he said. “But I do think public media is different because of its mission to provide a forum for every kind of voice.”

“Everyone keeps saying public media is too state based, but commercial media seems to be much more of a mouthpiece for politicians right now.”
Josh Shepperd, associate professor, media studies

That’s different from most commercial media, “where the ethics are really tertiary to how the industry works. If there’s an audience for it, it’s good,” he said. “The idea that there is a necessity for every voice to be placed equally within a community is very important, even if I’m not sure that public media is always successful.”

In some countries, “public media” raises the specter of propaganda, like TASS or Xinhua. In the United States, PBS is insulated from such a threat, since affiliate stations don’t receive direct funding from the government.

“That doesn’t mean they aren’t political, because they are,” Shepperd said. But, he said, an endless news cycle revolving around politics and partisanship has warped the relationship between government and independent media: “Everyone keeps saying public media is too state based, but commercial media seems to be much more of a mouthpiece for politicians right now.”

Spend a few minutes watching Fox News or MSNBC and you won’t disagree. For Shepperd, it’s another effect of a polarized media market “where people think through the abstractions of their gatekeepers’ framing, instead of just looking at what’s in front of them in their own lives,” he said. “We allow issues of public interest to become obscured by demographic affiliations as we increasingly become categories and brands instead of people.”

How we got to that point is part of Shepperd’s next project, which will examine the history of decision-making at media industries to better understand the mechanisms radio, television and digital players use to make tough calls about programming and advertising.

It’s a different thrust, but one that still hearkens back to his interest in uncovering and preserving the history of communication studies, which Shepperd called the only discipline that hasn’t completely traced its own history.

An accidental pathway

“You can’t have a discipline that doesn’t know why it exists,” he said. “Understanding that history gives us a sense of why we ask and answer the questions the way that we do, and helps us answer questions about the ethics of the discipline.”

Shepperd got into this work almost by accident. He was studying theories around public life and civil society when a professor at the University of Wisconsin Madison, where he earned his PhD, inspired him to pursue his nascent interest in public broadcasting.

“She told me it was good to think about these ideas, but that you could actually have evidence, too,” he said. “In other words, the idea that how it works is just as fair of a question as how it should work.”

He was able to put Wisconsin’s extensive archives to work for his thesis, which paved the way for the book project. Shepperd is now co-writing the official history of NPR and PBS for the Corporation for Public Broadcasting.

It’s fitting work, as before Shepperd dove into this subject in earnest, “no one in the history of film and media studies or communication studies had ever asked where public media came from in scholarship,” he said. Commercial media, by contrast, has been widely examined by experts and thought leaders, “and the idea that we wouldn't apply the same kind of investigation to the public system, I think, is an ideological issue that we need to face within communications research.”

A CMCI thought leader has documented the history of public media—an important lesson in understanding how broadcasting works and could be improved amid partisanship.

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Recycle, reuse—rethink? How a fresh approach to storytelling could put plastics in their place

Anonymous — Thu, 17 Oct 2024 13:43:37 +0000

Recycle, reuse—rethink? How a fresh approach to storytelling could put plastics in their place Anonymous (not verified) Thu, 10/17/2024 - 07:43

By Joe Arney

We’re going about environmental storytelling all wrong.

When Rachel Carson published Silent Spring in 1962, it became a rallying point for the nascent environmental movement—not because it was a scientific book (though it is), but because of its haunting opening pages that described a town where the birds and bees had vanished, fish were gone, fruit wouldn’t blossom, and disease ran rampant.

That scene moved people to ban pesticides and rethink humanity’s role in the larger environment. But, Phaedra C. Pezzullo said, until we figure out how to tell stories about today’s environmental crises—like plastic pollution and climate change—all we have are data that, alone, fail to move people to action.

“What many people are arguing is that the climate crisis is a crisis of imagination and of communication,” said Pezzullo, a professor of communication and media studies at the ��«��Ƶ’s College of Media, Communication and Information. “The idea is, we struggle to grapple with what is the climate—I can’t touch it, I can’t see it—so how do we tell stories that empower people, instead of only getting caught up in the data?”

Interdisciplinary insights

Pezzullo’s interdisciplinary approach to the problem of plastics—the science of microplastics permeating the human body and the way of explaining that crisis in a way that inspires people to demand action—has helped her see a need for a fresh approach to how we talk about such complex problems.

It’s partly what moved her to start a podcast series, Communicating Care, and her most recent book, Beyond Straw Men: Plastic Pollution and Networked Cultures of Care, which was published last year. The book has generated significant attention as the media struggles to cover the plastics problem; since the summer, it has won three significant prizes from the National Communication Association: a Diamond Anniversary Book Award, the James A. Winans-Herbert A. Wichelns Memorial Award for Distinguished Scholarship in Rhetoric and Public Address and, significantly, the Tarla Rai Peterson Book Award in Environmental Communication, named for a prolific scholar who Pezzullo met years ago at a conference.

“It’s an honor to have this book recognized and affirmed by my colleagues with expertise in environmental studies, rhetoric, and across the entire field of communication,” Pezzullo said.

In some ways, Beyond Straw Men and Pezzullo’s search for impactful storytelling is the kind of scholarly work that’s uniquely possible at a place like CMCI. The college was created to address the complex challenges of today’s interconnected world, which require interdisciplinary perspectives to effectively engage.

It’s an approach that resonates with partners outside the university. In her role as director of CU ��«��Ƶ’s graduate certificate in environmental justice, Pezzullo has been working with Colorado’s Department of Public Health and Environment to help update its quantitative database of communities most affected by environmental damage. Undergraduates in a new class she’s teaching, Advanced Topics in Storytelling, Culture and Climate Justice, are updating story maps to help the state assess how the message it’s spreading about climate impacts local communities.

At CMCI, expertise in ‘how to move people’

“These stories need to be assessed so they can figure out if they are empowering residents,” she said. “Are they rich enough, compelling enough, moving enough? Or did we lean too hard on data that maybe is too dense for this audience?

“And that’s why the state would love more partnerships with people in CMCI who can help them build capacity for the storytelling component, because they spend so much of their own time in the weeds. There’s a thirst for research that understands the climate science, but also brings to the conversation an appreciation for how to think about audiences, context and how to move people.”

Part of that is finding ways to avoid confining stories about topics like pollution and climate to negative headlines, disaster movies, dystopian fiction and the like.

“We’re getting to the point with climate justice where you have to change attitudes, beliefs and the culture, and that means you need a range of stories—including comedies, as my colleagues I work with across campus have shown. We have to use a whole range of human emotions to change a culture.”

It also means those stories need broad appeal, so they aren’t just preaching to the converted.

“There’s a thirst for research that understands the climate science, but also brings to the conversation an appreciation for how to think about audiences, context and how to move people.”
Phaedra C. Pezzullo, professor, communication and media studies

“The argument of folks who are working on climate storytelling in the industry is any film or media content created for the present or the future that does not have climate change as part of its backdrop should be considered fiction, because it is a part of life,” she said.

The desperation to find the right storytelling techniques for plastics is easy to see in the endless drumbeat of bad news about plastics clogging rivers, causing floods; being burned, destroying air quality; and invading our drinking water, food supply and bodies. But like all good stories featuring hardship, this one has a protagonist we can easily root for.

“What I’m interested in right now is the idea of repair,” Pezzullo said. By that, she means material repair—in May, Colorado passed its third right to repair law, empowering consumers to fix, not flush, things like broken phones—but also repairing relationships, especially in the case of well-meaning partnerships where, say, an NGO promised a solution to a plastic problem in the global south that failed.

“How do we have accountability, but also find a way to forgive people for mistakes?” she said. “It’s very challenging right now to admit that people have made mistakes, and then—if they’re willing to do the work or willing to do the repair work, forgive them.

“And, of course, how do we repair the earth? That’s the most important question to me.”

A CMCI expert’s book has won a trio of awards for its attempt to change how we think about, and tell the story of, plastics pollution.

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Demonstrative democracy: At forum, students show energy, curiosity about engaging with politics

Anonymous — Wed, 02 Oct 2024 21:32:25 +0000

Demonstrative democracy: At forum, students show energy, curiosity about engaging with politics Anonymous (not verified) Wed, 10/02/2024 - 15:32

By Joe Arney
Photos by Arielle Wiedenbeck

In sports, it’s often said, offense wins games, but defense wins championships.

For Cody Walizer, when it comes to politics, that’s inverted—good defense can win a debate, but it’s offense that wins elections. And that’s unusual because of how little time candidates spend on offense when they are sparring onstage.

“When someone has an opportunity to build, to go on the offense, but choose to play defense, that’s a bad sign for their position,” Walizer, an assistant teaching professor of communication in the College of Media, Communication and Information, said. “It’s also a sign maybe they’re trying to play these political games, as opposed to being a good debater.”

Walizer was one of nearly a dozen panelists speaking at a voter engagement fair put on by CMCI, CU Student Government and the Office of the Chancellor, in association with CU ��«��Ƶ’s Conference on World Affairs. 150 students attended on Tuesday night to ask questions about politics and elections, register to vote, and learn how to become involved in local elections.

Walizer was invited to participate because of his expertise in debate. He captained his high school debate team and has extensive experience coaching debaters, and said, “I can very firmly state that I have never seen a presidential or vice presidential debate that was a good debate.”

That’s because politicians rarely play offense, which Walizer described as constructing arguments and showing why your side is right. Instead, they play defense—deconstructing arguments and saying why the other side is wrong.

Three panels answered questions submitted by students ahead of time, which covered issues such as the role social media plays in political messaging, how ideology plays out with voters, and how students can involve themselves and help ensure electoral integrity.

Not taking sides

Leah Sprain, an associate professor of communication and director of the university’s Center for Communication and Democratic Engagement, co-moderated the event and frequently praised the quality of questions that students contributed.

Sprain studies democratic engagement, particularly how to support the ways people come together to make decisions on public issues—enabling participation, designing better meetings or rethinking civic norms. When she has worked to help other groups structure their meetings more effectively, she found participants may assume more knowledge about a particular issue than they actually possess.

“They wanted to hear more about how this election would have consequences throughout their lives,” Sprain said. “They were asking about how to make sense of politics, versus just taking sides on issues. That surprised me.”

Of nearly 200 student registrants, dozens submitted questions, “which is a proportion of interest you don’t typically see, especially when some people are registering for things like extra course credit.”

Some of the liveliest discussion concerned social media’s capacity for good and harm, through generative artificial intelligence, advertising and the like. Sandra Ristovska, associate professor of media studies, and Alex Siegel, associate professor of political science, said elections have always been shaped by new technologies. Siegel said the railroad and telegraph helped create a national audience for Abraham Lincoln by offering more timely coverage of the Lincoln-Douglas debates.

“They were asking about how to make sense of politics, versus just taking sides on issues. That surprised me.”
Leah Sprain, associate professor, communication

Bogus content isn’t new, Ristovska said, and recent research suggests we’re good at not letting it influence how we vote, but in India’s elections earlier this year, “deepfakes did contribute to sexual harassment of women, the intimidation of journalists and the intimidation of human rights activists in the country,” she said. “We need to be paying more attention to those things.”

Michaele Ferguson, an associate professor of political science, talked about an essay she has students write at the start of her undergraduate course on modern ideologies. Each student describes his or her ideology; she consistently finds students support a mix of free-market economics and social justice issues, like reproductive and LGBTQ+ rights.

That’s not a coalition you typically see in the United States, she said, as those issues are claimed, respectively, by the right and left of the spectrum. Ferguson said she’s intrigued by Vice President Kamala Harris’ attempt to signal support for both camps “as a way to peel away voters who would otherwise sit out elections or vote Republican.”

“It’s really exciting to me to see her doing the very thing that my class exercise would tell you is the strategy to win an election in the United States.”

Other presenters included Chuck Plunkett, director of CU News Corps; Toby Hopp, associate professor of advertising; Patrick Deneen, a visiting scholar at the university’s Benson Center for the Study of Western Civilization; Molly Fitzpatrick (PolSci’11), ��«��Ƶ County clerk; and junior Grace Covney, a tri-executive with CU Student Government.

Learning to lead through government

Tyler Rowan, another CUSG tri-executive and a junior studying international affairs, said he hoped the energy of the room translated into active participants in the election.

He got into student government not for partisan reasons, he said, but because “I wanted to make the most out of school and learn how to lead. Student government has taught me that—it’s taken a majority of my time, but I’m very passionate about it and it’s the best decision I ever made.”

That youthful energy was exciting for Walizer to see, as well.

“The emotional intelligence students need to have to be asking things about how do I engage in politics in a way that’s healthy, how do I have conversations with my roommates in a way that’s respectful—those are not things I’ve seen asked in a situation like this before,” he said.

In addition to being open to all CU ��«��Ƶ students, the discussion was livestreamed to audiences at Colorado Mesa University, in Grand Junction, and Fort Lewis College, in Durango. It was followed by a live viewing of the vice presidential debate between JD Vance and Tim Walz.

Lori Bergen, founding dean of CMCI, kicked off the event by encouraging students to seek out difficult conversations as a way to learn and grow.

“On our campus, we really are in a place where difficult conversations can and should occur,” Bergen said. “When we approach those with courage and curiosity and care and consistency, that’s when learning and growth and progress really happen.”

CMCI faculty panelists praised students for raising thoughtful, serious, nonpartisan questions about how to be active citizens.

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Influential media conference becoming a CMCI showcase

Anonymous — Wed, 14 Aug 2024 16:11:04 +0000

Influential media conference becoming a CMCI showcase Anonymous (not verified) Wed, 08/14/2024 - 10:11

By Iris Serrano

Empowered by social media and generative artificial intelligence, fake news is spreading faster than ever online—and it’s becoming harder to avoid, let alone identify.

Muhammad Ali hopes his research helps users battle back against malicious misinformation.

Ali, a PhD student studying journalism in the College of Media, Communication and Information at the ��«��Ƶ, analyzed how extremist organizations use stories and messaging on social media platforms to enforce their ideologies to individuals and networks.

“Platforms like Facebook and X are increasingly recognized as hotbeds for extremist narratives,” Ali said. “There is still a big gap in understanding the personal and psychological aspects of online radicalization, but the findings of this research show us how we can protect ourselves from propaganda.”

“The college does a great job promoting a diversity of viewpoints, research interests and intercollegiate venues.”
Kyle Harris

Ali was among the CMCI students and faculty recognized with best paper awards at the annual conference of the Association for Education in Journalism and Mass Communication, which took place Aug. 8 to 11 in Philadelphia. All told, CMCI won five awards and presented 47 peer-reviewed papers at AEJMC.

“Our college was created to catalyze and nurture research like Muhammad’s, which doesn’t fall into any single category,” said Patrick Ferrucci, chair of the journalism department at CMCI. “The cross-disciplinary approach to our doctoral programs means our students are challenged to bring an unconventional approach to research and problem-solving. It was incredible to see that recognized over and over at this year’s conference.”

Another CMCI best paper publication also turned on social media trends. Kyle Harris, a PhD student in the advertising, public relations and media design department, co-wrote a paper on disability influencers and self-representation on Instagram with his mentor, Erin Willis, an associate professor. Their research, which conducted a visual and textual analysis of the narrative discourse of 14 influencers to see how they represent invisible and visible illness—won second-place honors.

“I owe a lot to the APRD department and CMCI for believing in me and my research and valuing my contributions, and providing the resources and support to shepherd the work of Dr. Willis and myself to the conference,” Harris said. “The college does a great job promoting a diversity of viewpoints, research interests and intercollegiate venues.”

A full list of CMCI presentations at AEJMC follows. Names in bold are CMCI faculty and students. In addition, many CMCI faculty and students in journalism, APRD and media studies moderated or served on panels, or led workshops, in addition to serving as heads of different divisions.

With multiple best paper awards, CMCI is building an impressive reputation at the annual AEJMC conference.

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Crushing creativity? That’s one way to think different

Anonymous — Fri, 21 Jun 2024 16:27:15 +0000

Crushing creativity? That’s one way to think different Anonymous (not verified) Fri, 06/21/2024 - 10:27

By Joe Arney

As a college student 20 years ago, Steven Frost had a poster of Apple’s “Think Different” campaign hanging in their Alfred University dorm room.

That campaign touted the company’s quest to be something other than a tech titan. It was about supporting creatives like Frost, who saw computers as tools to unleash their artistic potential. Advertising to support the campaign highlighted icons like Bob Dylan, Pablo Picasso and Amelia Earhart to celebrate the “crazy ones” whose vision and determination set them apart from the rest.

For Frost, one of Apple’s latest ads is threatening to undo a lot of the goodwill the “Think Different” campaign created in the artistic community.

The “Crush!” ad is 68 seconds of watching symbols of humanity’s creative achievements—sculpture, paint, music, film, video games, novels, photography—destroyed in an industrial compactor, which then opens to reveal the company’s shiny new iPad Pro.

“I can see the logic behind the ad,” said Frost, assistant professor of media studies at the College of Media, Communication and Information at the ��«��Ƶ. It looked to them like an attempt to play off the viral videos showing everyday objects crushed under car tires—“but in the current climate, this was a bad idea, and super tone deaf.”

“Everything exists in a context, and in the context of a place where A.I. is literally replacing creatives, this was not the moment for this ad.”
Steven Frost, assistant professor, media studies

The current climate, of course, is one where artists are forced to ponder a future where generative artificial intelligence can create screenplays, images, designs and so on with just a few user prompts. In May, the company took the unusual step of apologizing for the ad and reportedly canceled plans for a national television campaign.

“What’s interesting is, less than two months after the ad comes out, Apple announces they’re integrating ChatGPT into iOS,” Frost said. “Everything exists in a context, and in the context of a place where A.I. is literally replacing creatives, this was not the moment for this ad.”

Seeing the use case for A.I.

Frost is not only an expert in media studies, they also are a creator who works in both digital and physical media. They are an accomplished textile artist who brings a passion for weaving to classes as well as Slay the Runway, an annual fashion creation and exhibition event for ��«��Ƶ-area LGBTQ+ teens.

But while they’re critical of the Apple ad, Frost is more upbeat on the use of generative A.I. than you might expect. In fact, they worked on a project in 2016 that put a novel twist on speed dating. Called “Screen Dating,” the exhibit featured 12 screens that participants could cycle through, interacting with “celebrities”—actually chatbots trained on the works of Gertrude Stein, RuPaul, Ta-Nehisi Coates and others—to see what it would be like to interact with an algorithm.

Notably, exhibit creators Frost and Joel Swanson—a faculty affiliate at CMCI—fed the chatbots text, rather than engage in the wide-scale scraping OpenAI and others have used to teach their chatbots.

“There are definitely reasons to be suspicious of it,” Frost said. “But while I know it’s a really unpopular opinion, in order to stay relevant, we all need to evolve. Otherwise, what happens to artists when we can just ask a machine to make a postcard, a poster? Those people are going to have to learn new skills, learn how to be part of a collaborative process with those machines.”

Transparency on teaching models

Part of that, of course, involves those technology companies being more honest about the tools they’re creating—their potential to displace creatives, yes, but also how they were trained. Frost envisions A.I. as a collaborative tool in line with The Jetsons or Knight Rider, as opposed to Black Mirror. It’s no surprise, then, that they want companies to be more collaborative, as well.

“What if tech companies were transparent about how and where their chatbot was trained?” they said. “It’s like if I’m buying junk food—if I see sugar free, I know it’s unhealthy, but it makes me consider that it was manufactured, that there was a process. So, for an A.I. model—what’s in it? Is it soy? Where was it grown?”

Collaboration with companies is also important, they said, because relying on regulation is not the only option.

“At this point, it’s more like thinking of different ways of approaching how those models are trained, and making sure that creatives whose works are getting pulled into these learning models get paid for the work they’ve done,” Frost said.

Perhaps that’s what most troubles them about that Apple ad. Because its tone reminded Frost of another commercial that seized the public imagination 40 years ago.

“The ‘1984’ ad was a breakthrough in that it reimagined what computers could be used for, and a literal breakthrough in that there’s violence and destruction at the center of it,” Frost said. “This ad is clearly referencing ‘1984.’ In a sense, they’re showing how far they’ve come and that they do all these things right, but the tone couldn’t be further from the young, upstart artist protagonist in the original ad.”

A creator and scholar says a much-hated Apple ad is standing in for a larger conversation about how tech companies build and deploy A.I.

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Class of 2024: Inspired by our graduates

Anonymous — Wed, 12 Jun 2024 21:05:01 +0000

Class of 2024: Inspired by our graduates Anonymous (not verified) Wed, 06/12/2024 - 15:05

The Class of 2024 overcame unique challenges when they arrived in ��«��Ƶ. In this issue, we celebrate their successes.

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CMCI Now: #ComputeHer

Anonymous — Wed, 12 Jun 2024 20:38:52 +0000

CMCI Now: #ComputeHer Anonymous (not verified) Wed, 06/12/2024 - 14:38

A PhD graduate’s ethical takes on tech have landed her at Google, where she hopes to shape conversations about shaping the digital world for users.

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Announcing the spring 2024 dean's list

Anonymous — Fri, 24 May 2024 21:27:13 +0000

Announcing the spring 2024 dean's list Anonymous (not verified) Fri, 05/24/2024 - 15:27

CMCI students who have completed at least 12 credit hours of CU ��«��Ƶ course work for a letter grade in any single semester and achieve a term grade point average of 3.75 or better are included on the dean’s list. They receive a notation on their transcript and a letter from CMCI Founding Dean Lori Bergen. Congratulations to all honorees!

Matt Abatangle
Alysia Abbas
Alyssa Abbate
Kristin Adams
Simrita Advani
Sana AlJobory
Sophie Allaway
Kay Louise Altshuler
Jessica Amend
Lisa An
Alexandra Anaya
Bridgette Anderson
Josh Archie
CJ Armitage
Bella Arney
Cole Arnot
Zion Atwater
Keara Aughney
Brooke Aulerich
Lisbeth Avalos-Parra
Niles Ayer
Mason Bailey
Meredith Baker
Noa Baker-Durante
Kathryn Ballode
Emilie Barbattini
Blake Barnes
Emily Barnes
Emalee Barr
Emma Barry
Jenna Barsocchini
Maddy Barth
Ellena Bassoukos
Taylor Beamer
Kayla Beebower
Haya Ben Essa
Jane Bengston
Eddie Benjamin
Charlie Bennett
Kayla Bennett
Madelyn Bennett
Aspen Christina Bentley
Tommy Berman
Tony Beum
Adrianna Bhan
Teak Biaggi
Tommy Bittner
Logan Blackburn
Grace Blitz
Jess Boehner
Cassidy Boldvich
Patrick Boley
Anvitha Bompalli
Elena Bonner
Brooke Bonynge
Sophia Books
Jack Boruchov
Abby Boutrous
Grant Bowditch
Elijah Boykoff
Marisa Bracke
Ben Brechtel
Beth Brechtel
Hannah Brennan
Audrey Brice
Bailey Brown
Courtney Brown
Benjamin Browning
McKenna Bryant
Renee Buchenroth
Mia Buchholz
Annilise Burgess
Eric Burns
Grace Burns
Parker Burt
Gabbie Burton
Madeline Byerly
Noelia Caballero
Cam Cahoon
Victoria Calton
Isabelle Calvanese
Lourdes Camarillo
Mackenzie Campbell
Bianca Cano
Alyx Carifa
Sarah Carleo
Jessie Carlin
Mitchell Carswell
Quinn Cassell
Mia Castro
Sofia Cecchini
Zachary Chagnon
Natanya Chatfield
Ryan Chilson
Rachel Choi
Matthew Cicero
Emma Clary
Emme Clymer
Raphael Coelho
MacKenzie Cole
Sydney Coleman
Sophia Collins
Natalie Coniglio
Gabriella Connell
Scott Connor
Olivia Conrad
Breah Conradson
Diego Cordero
Kyndal Corkins
Ainsley Cox
Lily Cox
Bailey Craig
Elise Crall
Curtis Croll
Gavin Crowson
Charlotte Croy
Eryn Cryer
Kat Culpepper
Lilly Curry
Liz Cutting
Ella Elisabeth D'Orazio
Lacey Daniell
Hannah David
Katherine Davis
Sasha Davison
Alex DeMartine
Madison DeSimone
Eric Deuchar
Kelley Deveny
Zach Dial
Jacob Dilling
Jack Dobson
Campbell Dokken
Connie Dolati
Ally Doll
Lexi Dolsak
Reeve Donner
Sydney Dossa
Wylie Douglas
Daniel Doupe
Averie Dow
Lucas Drager
Noah Drewes
Michael Drozd
Paris Dunlavey
Hannah Duthie
Ansley Edelbrock
Lily Edwards
Camryn Eickenberg
Jenny Ellis
Josie Elowsky
Lucy Esquivel
Lily Estes
Jack Evans
Morgan Evans
Elena Exenberger
Conor Farah
Gavin Faulkner
Trent Finnegan
Elena Fisher
Alexys Fitz
Max Fitzloff
Daisy Flakus
Lily Fletcher
Katie Ford
Emma Fraser
Lyla Fruehstorfer
Alexia Funk
Roxy Fusco
Evanie Gamble
Bailee Gammel
Ruby Gara
Katelyn Gardner
Stephanie Gauval
Nicole Geary
Audrey Geer
Kiara Gelbman
Piper George
Ellie Gianola
Bobby Gibbons
Tegan Gie
Lauren Gillespie
Ryan Giordano
Gianna Girardi
Lily Goldstein
Max Gong
Lauren Gooding
Maxx Goodman
Richard Gorman
Ashley Gosch
Cj Grandi
Lilly Gray
Mia Graziano
McKenna Green
Eli Gregorski
Satori Griffith
Will Griffiths
Sarah Grim
Eli Grimm
Will Guanci
Jack Guerena
Beth Gurgel
Nate Habteyonas
Victoria Hall
Hannah Hamilton
Norah Hampford
Nate Hankins
Zoë Hannan
J.T. Harland
Wilson Harper
Maeve Harrington
Ella Harris
Sabrina Harris
Alex Hartman
Nick Haseman
Wessam Hassan
Oda Haugen
Sophie Hayes
Madison Hays
Stevie Hemans
Will Henrickson
Kate Herigon
Amanda Hetland
Shannon Ho
Sophie Hodgson
Hannah Hoffman
Jason Hoffman
Will Holmsen
Tatum Hood
Taylar Houck
Donavon Houston
Owen Houtakker
Jordan Houten
Caleb Hoversten
Ava Howe
Samantha Hruska
Mary Ryan Huerter
Wyatt Humble
Eric Huynh
Reese Illston
Jacob Ivener
Lauryn Iverson
Caroline Jackson
Anna Jacob
Max Jacobs
Reed Jacobs
Bri Jaramillo
Hannah Jemsek
Alana Jenks
Aaron Jensen
Keely Jester
Sofie Jimenez
Mia Jochamowitz-Endersby Chikhani
Andy Johnson
Hayley Johnson
Nick Johnson
Skye Johnson
Liv Johnstad
Neda Jonaitis
Eve Jones
Gianna Jordon
Marina Juboori
Max Julian
Lizzie Kalt
Chase Kanger
Jake Karp
Bailey Karraker
Peri Kay
Rhett Kaya
Grace Keating
Emily Keely
Samantha Keenan
Tre Kelly
Charlotte Kendall
Rowen Kennedy
John Kerklo
Jordan Kesner
Josh Kesner
Amy Kibort
Samson Kidane
James Kim
MacKenzie Kim
Julia Grace Kirk
Marin Kirkman
Ian Kligora
Ava Knopping
Mack Kolligian
Rian Korb
Frankie Kramer
Riley Krane
Ella Krelovich
Katie Krochalis
Oona Krukowski
Samuel Kurtz
David LaPaglia
Amy Labontu
Ruby Laemmel
Ella Landry
Sophia Landry
Luca Langella
Sarah Lawrence
Connor Leach
Juliette Leclercq
Emma Leek
Nicholas Leen
Claire Lemel
Bella Leon
Ava Leonard
Jake Levin
Taylor Levine
Claire Levitt
Jackson Lewis
Sydney Liebhauser
Kara Liguori
Keanna Limes
Kya Lini
Chris Lloyd
Leif Lomo
Kate Long
Skyler B. Longerbone
Courtney Loomis
Lauren Lopez
Linus Loughry
Janie Ludington
Julia Lyons
Julia Maclean
Emelia Mantz
Sophia Marshek
Jillian Martellaro
Stella Martens
Jackson Martin
Kendall Martin
Paula Martinez
Sofia Massignani
Jake May
Ainsley McComb
Maddy McManus
Shen Mcconnell
Monday Mccue
Katie Mcdonald
Quinn Mcdonough
Tanner Mcintosh
Emori Mcquigg
Sam Meldner
Alex Melvin
Gabby Mendoza
Courtney Mercer
Lindsay Mescall
Elena Mesker
Jackson Meyer
Olivia Meyers
Zoe Michael
Kristee Mikulski
Creed Miller
Hannah Miller
Mayce Miller
Ally Milton
Hallie Mitchell
Macy Mohlenkamp
Camryn Montgomery
Lilli Moon
Jack Mooney
Emily Moore
Nick Morrell
Carter Morris
Catherine Morse
Madison Moss
Emma Mostello
Hope Munoz-Stanley
Mackie Munsey
Brad Munson
Clare Murphy
Rue Murray
Jacob Myers
Liv Myers
Nick Myers
Sydney Myrick
Justin Naidrich
Aahana Nandy
Katharine Nanke
Henry Napientek
Becca Napier
Presley Nemecek
Hailey Newsum
Christine Nguyen
Sophia Nicolai
Dahlia Nin
Ella O'Brien
Maggie O'Brien
Rory O'Flynn
Naomi Ogren
Ivonne Olivas
Olivia Olshever
Karina Opalski
Annika Ort
Max Osterman
Alina Ouligian
Logan Paddock
Carmen Palmblad
Hazel Palmer
Aly Pardo
Emily Parker
Owen Passmore
Frankie Patton
Maya Paustenbaugh
Cate Pavolonis
Jaclyn Pereira
Bianca Perez
Amy Phillips
Rachel Pilik
Macy Place
Alex Plaut
Katharine Polep-Sawyer
Luca Pollara
Oliver Pollock
Elizabeth Pond
Kendall Poppie
Abbey Posey
Ellen Possehl
Bradley Pratt
Grace Ptak
Noor Rajpal
Mia Ramundo
Marissa Rauzi
Huston Rawls
Kuba Raymond
Jack Remington
Ella Revivo
Maddy Reynolds
Saxon Rhodes
Shaela Rhodes
Evan Jeffery Rice
Brooke Richards
Tessa Rieger
Kevin Rios
Rida Fatima Rizvi
Michael Robinson
Jaeda Rodriguez
Audrey Rolstad
Justice Rosen
Eli Rosenthal
Josh Rouland
Liam Rude
Bella Rulon
Reagan Russell
Sam Russo
Emme Rutherford
Kyle Ryan
Luke Ryan
Tanvi Sabharwal
Jessica Sachs
Joaquin Salinas
Luke Samiee
Eli Sanders
Annika Sandquist
Olivia Santangelo
Lydia Sarbacker
Emily Savitz
Maddie Schaaf
Jackson Schalow
Logan Schaper
Lucas Schiffman
Sophie Schnoll
Jaimie Schoenke
Tyler Scholl
Sydney Schrader
Emerson Schroeder
Erin Schwaninger
Andrew Schwartz
Rachel Scott
Olivia Scussel
Mayla Seliskar
Iris Serrano
Julia Sharkowicz
Shubham Sharma
Hannah Shaw
Jenna Shenbaum
Lindsay Shermeta
Amanda Sherter
Anika Siethoff
Olin Silverman
Aidan Sloan
Chloe Smith
Kyle Smith
Lucy Snow
Matt Solari
Lainey Sparks
Jaiden Spence
Jessie Spires
Matthew Spivack
Jacob Stanich
Lola Stanley
Ashlin Stasswender Swasey
Alexander Stein
Jack Stein
Braden Stirrett
Ava Stoller
Mary Strasser
Lucy Suja
Daniel Sullivan
Ben Sutter
Alec Sutula
Nic Tamayo
Sarah Taylor
Sage Thompson
Grace Thorburn
Julia Thorne
Leslie Tingley
Clio Torrance
Eliza Travelstead
Elizabeth Travia
Lauren Tucker
Taylor Tucker
Caroline Tuffy
Jazzy Tung
Ella Turgeon
Nolan Urgo
Jade Valentino
Jill Vallance
Karina Van Den Eeden
Celia Vargas
Alexia Vasilopoulos
Wyatt Vattano
Sally Vaughan
Branden Veale
Téa Villarreal
Lea Wadhams
Kylie Wagner
Jada Walker
Liam Walsh
Jessica Wang
Cameron Warchuck
Emma Ward
Luke Watson
Liam Watters
Anna Wert
Ally Whaley
Hayden Whitcomb
Emma White
Ella Whittall
Mark Whooley
Riley Wiener
Owen Wiggans
Jackson Williams
Rhys Williams
Nick Wilson
Holly Wininger
Emma Winkelbauer
Halle Wist
Trent Wobschall
James Wongsudin
Lily Wright
Sidney Yarnall
Chloe Yearous
Bradyn Yonaha
Elliot Young
Kristen Young
Lily Young-Stallings
Hannah Zafrani
Arwyn Zaleski
Emma Zande
John Zehner
Frank Zhang
Matt Zimmermann
Rachel Zing
Jack Ziporin
Cole Zucker

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Class of 2024: William W. White Honorees

Anonymous — Sun, 05 May 2024 07:28:09 +0000

Class of 2024: William W. White Honorees Anonymous (not verified) Sun, 05/05/2024 - 01:28

William W. White Outstanding Seniors are chosen by department faculty to recognize academic merit, professional achievement and service to the college. The Outstanding Graduate award honors the CMCI student with the highest overall GPA in their graduating class.

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Class of 2024: Bianca Perez

Anonymous — Thu, 02 May 2024 06:42:01 +0000

Class of 2024: Bianca Perez Anonymous (not verified) Thu, 05/02/2024 - 00:42

A CMCI graduate’s working-class upbringing has given her a unique perspective on tech, wage theft and exploitation, which she’s bringing to an Ivy League doctoral program.

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