Tom Powers Application

February 19, 2020 Cynthia M. Patterson, Ph.D. Senior Consultant Academic Search Washington, DC 20036 Dear Dr. Patterson, Today, I am submitting my CV to California State University, Long Beach (CSULB) for the Dean position with the College of the Arts (COTA). Because my degrees are in Fine Art (terminal degree is an MFA), I do not possess the Ph. D that I assume adds preeminence to those candidates with doctoral degrees; I do, however, possess the intuitive intelligence to be the COTA Dean: “The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift.”—Albert Einstein I believe what the new dean at COTA will have to create is a consortium of artists, educators, and technologists who will create the finest 5G online-education network in the world? My consortium would combine elements from Harvard Project Zero, the Eugene O’Neill Theater Center, the University of North Carolina School of the Arts, Maryland Institute College of Art, Black Mountain College Museum + Arts Center, the San Francisco Opera and Apple Inc. I have worked with all seven entities. At some time, they were all members of my OPEN EYES consortium. In 1993, after contributing a rubric entitled “OPEN EYES” to my Winthrop University mentor Dr. Margaret Johnson for her VAPA Framework and teaching visual arts on the South Carolina Educational Television Network, I created a consortium of artists, educators, and technologists modeled after Black Mountain College (BMC) and Harvard Project Zero (PZ) called “Black Mountain Productions/OPEN EYES”. Just like OPEN EYES, I propose my “Powershaus” rubric will be a drop-in-place solution designed to turn COTA into a 5G powerhouse and just like BMC/PZ it will be based in the arts (STEAM). In 1997, with only a hundred thousand dollars, I created a consortium of colleges (Harvard, University of North Carolina, and UCSD) that would be connected via a global fiber-optic network called “InterChange”. It was delivered in “real time” over the North Carolina Information Highway to every school in the state. In 1999, the Clinton Administration sent my OPEN EYES education technology system to China. President Clinton put his White House Chief of Staff Erskine Bowles in as President of the UNC system and Treasury Secretary Lawrence Summers in as president of Harvard. He also put Warren Hellman’s son-in-law, UCSD chancellor Robert Dynes, in as president of the University of California. My college consortium was turned over to Irwin Jacobs (UCSD) and became Technion and the Clinton

Global Initiative. In December of 1999, President Clinton used my InterChange technology to create the first Presidential Town Hall Meeting teleconference. My OPEN EYES curricular framework has been fully developed and is ready to be implemented (drop-in-place solution). Buckminster Fuller, Black Mountain College’s Dean of Architecture, once said: “You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.” COTA has a long and impressive history of serving the Long Beach arts community, but it is in many ways still living in the 20th century. The most obvious example is their CSU technology platform. The CSU system is still using a hard-wired, antiquated satellite system that I used when I conducted a global classroom at The Role of the Artist in Digital Age Conference in 1996. At that time, California schools ranked 50th in Education Technology, and sadly, they still do. Because of the skyrocketing cost of higher education, college has become cost prohibitive for many middle and low-income families. Additionally, the harsh reality of having to pay their student loans back also caused entering freshman to direct their focus towards STEM majors: science and technology, engineering and mathematics that could provide a salary that would enable them to pay their student loans back before retirement. Where does that leave arts colleges in the Trump epoch like Cooper Union, Corcoran College of Art and Design and Peabody Institute Conservatory of Music? These private arts colleges will be absorbed by major universities and so will their creative ethos (intuitive/critical thinking). These outside the box intelligences will be invaluable and necessary in the 5G epoch. Recently, the Kiplinger Letter published a list of the ten Worst College Majors for your Career. Of the ten “worst,” five were in the Arts. It currently costs the average COTA student $135,884 for an undergraduate degree in Dance and Theater Arts. But this is the lowest starting salary on the Kiplinger list, 30% below the median for the top 100 majors and only 2.3 times the federal poverty level. There is also a very high likelihood that a COTA ballerina will be paying off her student loans working for minimum wage. My alma-mater, Maryland Institute College of Art (MICA), did a survey in 2000 that tried to determine how many of their MICA graduates were still working artists 10 years after graduating. More than 50% of MICA alumnus had abandoned the muse. Speaking on the floor of a General Electric plant just outside Milwaukee, Wisconsin, President Obama made some remarks on the state of education and employment in the U.S., bringing up art history degrees in the process. Politico reports: “A lot of young people no longer see the trades and skilled manufacturing as a viable career, but I promise you, folks can make a lot more potentially with skilled manufacturing or the trades than they might with an art history degree.” The intuitionistic intelligence that I would bring to the Dean position are my creativity and my ability to solve existential challenges via outside-the-box constructs. I am a strong believer in collaboration and possess the ability to network, promote my agenda and provide COTA with measurable and quantifiable outcomes for the dollars invested.

My experience is derived from my 47-year Odyssey, not through an impressive litany of administrative positions with universities. I am a graduate of North Carolina School of the Arts, Maryland Institute College of Art and Laguna College of Art and Design. I have lived the life of an artist. I have worked with such artists as Maya Angelou, Ava Gardner, Wayne Thiebaud, David Judson, Agnes de Mille and Shepard Fairey. In 2018, my American Civics project, with only $15,000, created a new Sacramento landmark: a 15-story Shepard Fairey mural of Johnny Cash across from the State Capitol using an image he created for our American Civics’ portfolio. I have collaborated with Harvard Project Zero, the Eugene O’Neill Theater Center, the San Francisco Opera, University of North Carolina School of the Arts (UNCSA), and Apple Inc. I also collaborated with Harvard Project Zero’s Dr. Bruce Torff and Dr. Seymour Simmons on the development of an Arts PROPEL teacher-training program (“OPEN EYES”) and Black Mountain College Summer Arts Institute (“Re-Viewing”). I co-founded the Black Mountain College Museum + Arts Center in Asheville, NC, with funding I secured from the Mary Duke Biddle Foundation. I am also an experienced curriculum developer and grant-writer. I possess the consciousness to get COTA to go “global” through my 5G drop-in-place solution (OPEN EYES). I have prepared a digital flipbook based on my 1999 Open Eyes Project submission for the Technology Innovation Challenge Grant. If it opens their eyes to the possibilities of a collaboration with my Powershaus’ consortium (“Beach Powershaus”), then I would welcome the opportunity to create a webinar to clearly show them the tremendous challenge COTA faces in continuing to use its outmoded curricular framework and technology platform. One of my principle goals as COTA dean will be to build a statewide CSU Education Network. I did it in 1997 with the University of North Carolina’s support, and I can once again bend the bow of Odysseus with California State University, Long Beach’s support. Respectfully, Thomas Mark Powers



5GGTEK Harmonia 5G Base Station When we were reviewing the site plans for the Helsinki 5G base station design Challenge, we noticed that one of the contest areas is in Hesperia Park which sits on Toola Bay next to Alvar Aalto’s Finlandia Hall. In 1962 Aalto envisioned the Finlandia Hall being the keystone for his Helsinki city center plan. Alvar Aalto, the great Finnish architect and designer sought, through his designs ways to create harmony between art and function by merging his buildings with their environs. Throughout his life he chased the perfect balance between the humanist values of design and the creation of an aesthetic language which provided harmony between nature and technology. As a homage to Alvar Aalto we have named our project “Harmonia” which adheres to his design ethos by creating a base station that harmonizes with the Kamppi-Toolonlahti area. In designing the Harmonia 5G base-stations, we envisioned how Alvar Aalto might have designed these base stations so that they coexisted in perfect balance with their environs. We believe his iconic 1954 “X- leg” stool design will meld perfectly with Helsinki’s architectural and cultural ethos. Alvar Aalto worked with wood, stone and glass, which is why our Harmonia 5G base stations are made of “intelligent” stained glass that is strong enough to withstand the harsh Helsinki winters. We will use intelligent stained glass to achieve the base station’s transparency and light. “Building art is a synthesis of life in materialized form. We should try to bring it under the same hat not a splintered way of thinking, but all in harmony together.”---Alvar Aalto



Harmonia Independent Entity ba

ase station, Töölönlahdenkatu Public Poll

Harmonia Existing Infrastructure base station, Hesperia park

Harmonia Existing Infrastructure base station, Töölönkatu

Harmonia Independent Entity base station, Finlandia Hall

Harmonia Existing Infrastructure base station, Finlandia Hall

LAMINATED STAINED GLASS (VANDALISM RESISTANT/WEATHER RESISTANT) DISPLAYS THE BRAND OF THE NETWORK OPERATOR 2.2 METERS 7.2 METERS WEATHER RESISTANT FACE PLATE (RATED FOR IP65) IS CUSTOMIZABLE BASED ON LOCATION 0.9 METERS 1 cm = 50 cm Base Station Design 1:50

0.39 METERS INTERNAL EQUIPMENT CABINET 0.3 METERS BY 0.3 METERS BY 1.12 METERS 1 cm = 10 cm Detail drawing 1:10

PLACEMENT OF THE EQUIPMENT HOUSING AND AUXILIAXY EQUIPMENT HOUSING ARE MODULAR TO ACCOMADATE FOR VARIOUS NETWORK ENVIRONMENTS WIRE GUARD 1 cm = 50 cm Base Station Design 1:50 0.7 METERS 9.2 METERS 9.0 METERS EQUIPMENT HOUSING 0.3 METERS BY 0.3 METERS AUXILIARY EQUIPMENT HOUSING 0.3 METERS BY 1 METER 6.0 METERS Partial cross-sectio

1 cm = 10 cm Detail Drawing 1:10 EQUIPMENT HOUSING 0.3 METERS BY 1 METER 7.213 METERS 1 cm = 100 cm 0.9 METERS on drawings 1:100

Harmonia Existing Infrastructure base station, Unioninkatu

Harmonia Independent Entity base station, Unioninkatu

We Are in the Midst of a Crisis of Higher Education in Art, and Now’s the Perfect Time to Reform It A series of events in recent years indicates that higher education in art is in the throes of a serious crisis. The Emory University Visual Arts Program was closed in 2012, a year before the Cooper Union—a former bastion of free education in New York—announced it would begin charging tuition. St. Paul’s College of Visual Arts closed in 2013, and in 2015 the entire first-year Master of Fine Arts class at the University of Southern California’s Roski School of Art and Design walked out.

Most recently, the U.K.’s Independent reported that the Royal College of Art— rated “the top university for art and design in the world” by an independent body— is presently in a “state of jeopardy” as a result of cuts in governmental support, faculty and staff departures, and student protests over reduced exhibition time and higher student-to-teacher ratios. These events surface structural, cultural, and economic questions about the sustainability and relevance of art in higher education—questions that must be faced and addressed by faculty and administrators everywhere. The crisis also presents an opportunity for bold solutions that draw on lessons from an obscure chapter in the story of American art education and the laws of supply and demand. “Students could shape the future of art education within and beyond the academy.” Ninety-eight years ago, John Pickard, then president of the College Art Association (CAA), delivered his “President’s Address” in April 1917, where in unrestrained speech he declared: “In no other form of education today is there such a woeful [sic] waste of the raw material of human life as exists in certain phases of art education.” Too many art schools admitting too many students—leading to too many graduates—perturbed Pickard. There were reportedly 32,960 registered American art students in 1917. The most recent tally of the National Center for Education Statistics, published in 2012, revealed that students of the arts numbered 868,000. And schools are frequently failing those students. In fall 2015, the Education Management Corporation (EDMC) reported layoffs of 115 faculty and staff positions at its Art Institutes, a for-profit chain of art schools some regard as educational debt factories. EDMC also announced plans to terminate 15 of its 51 Art Institute campuses nationwide, affecting 1,200 employees and more than 5,000 students.

In the face of a student-debt crisis, the self-inflicted wounds of curricular stagnation, and over-saturated markets for art education, there will no doubt be more news about university art programs being dismantled. But in these conditions, art departments are ripe for the creation of platforms for students to incubate new conceptual and economic models for artistic education, production, distribution, and income—beyond a multi-billion-dollar art market built on a delicate patronage economy. Charged with expanding the terms for how, why, and for whom visual culture is produced and amplified in the 21st century, students could shape the future of art education within and beyond the academy. Another aspect of the crisis facing American higher education in art today lies in the reality that university art departments have too often become sites for students of similar demographics, with similar perspectives, experiences, and class values. It follows, then, that they commonly produce similar work informed by Eurocentric art-historical themes forged, for instance, in Advanced Placement art history courses, which The College Board recently announced it would revise. “These events surface structural, cultural, and economic questions about the sustainability and relevance of art in higher education—questions that must be faced and addressed by faculty and administrators everywhere.” Moreover, socially conscious administrators will concede that “diversity” initiatives have yet to succeed in racially desegregating American art at a transformative scale, as research by BFAMFAPhD (a collective concerned with the restrictive cost of art degrees), the American Association of Museums, the National

Endowment for the Arts—and the views of First Lady of the United States Michelle Obama—attest to. In this regard, a troubling phenomenon of American higher education is that African-Americans proportionally make up far more of the athletic student body than those focused on other disciplines. (One study shows that in Division I men’s basketball, African-Americans accounted for 57.2 percent of student-athletes and whites accounted for 29.4 percent, while African-American student enrollment at large is 14 percent.) The extraordinary efforts to secure top football and basketball talent—many of whom are black—are sanctioned by most trustees, alumni, and administrators with enthusiasm. Imagine a similarly endorsed, organized, and funded initiative to recruit, cultivate, and educate African-American students of art. Such an initiative, informed by African-American Studies scholarship, could dynamically expand the curriculum, concepts, and content of arts education—and American art at large. While aesthetics and art history should and will remain a part of teaching and learning, those university art departments that develop curricular and campus identities through interdisciplinary and trans-departmental collaborations, engage in efforts targeting alumni support, and generate curricular platforms for socially engaged art practice, new educational models, and funding proposals directed at foundations focused on democracy and equality (such as the Ford Foundation) will remain standing among the fallen. Arguments for studying art cannot rest upon a defense of tradition or the status quo. Faculty claims to creativity, innovation, and visionary leadership are meaningless if the response to the challenges facing art in higher education are not commensurately creative, innovative, visionary, and above all, bold. - Bill Gaskins

Correction: This story has been updated to accurately reflect the school’s current plans. An earlier version stated the school would cease operations after May’s graduation and planned to lay off all faculty and staff. In an email dated Monday, March 23, San Francisco Art Institute president Gordon Knox and board of trustees chair Pam Rorke Levy announced the nearly 150-year-old art school would not enroll a new class for fall 2020, casting doubt on the future of SFAI without a strategic partnership from a larger institution. Citing financial unsustainability and the impact of the coronavirus pandemic, the email, titled simply “Update,” details plans to prepare the school’s faculty and staff for layoffs at the end of the spring semester. It also mentions steps SFAI will take to help current students continue their educations “as seamlessly as possible” at other institutions.

SFAI had been “aggressively pursuing” alternatives to closure, including formal negotiations to merge with larger Bay Area schools. Arts community members aware of these negotiations speculated that one of those schools was the University of San Francisco, the private Jesuit university just a few miles away. The letter explains that merger talks stalled in the past week due to the coronavirus pandemic, as the potential partner institutions turned their attention to their own communities’ immediate needs. “As a result, SFAI’s leadership has no clear path to admit a class of new students for the fall of 2020,” the letter reads. “Given our current financial situation, and what we expect to be a precipitous decline in enrollment due to the pandemic, we are now considering the suspension of our regular courses and degree programs starting immediately after graduation in May of this year.” While parts of the message leave open the possibility of resumed classes for ongoing students in the summer and fall of 2020, a member of the SFAI community said staff are receiving WARN (Worker Adjustment and Retraining Notification) Act notices, which are required by law 60 days before a potential mass layoff. Graduating BFA, MFA, and MA students will receive their degrees in May as scheduled, but students who were planning to continue at SFAI in the fall of 2020 are encouraged to “pursue placement at another school.” The timing of this announcement is problematic; most schools accept applications only through early January, with decisions sent out in March and April. The letter refers to this situation as “a formidable timing challenge.” SFAI closed their campus on Friday, March 13, one day in advance of the school’s scheduled spring break, to help stop the spread of the coronavirus. Graduating students’ BFA and MFA shows have been canceled and the remainder of the semester, which starts up again on March 30, will take place online, a unique challenge for studio courses. “In our long history, SFAI has survived countless calamitous events,” the letter closes. “While we remain hopeful there is a strategic partnership that will allow this commitment to continue, we are realistic that this will not happen any time soon in the face of an unprecedented global pandemic.”

Drawing for Black Mountain College building in North Carolina, created by Walter Gropius and Marcel Breuer. Louis Adamic visited BMC for three months in 1935 and in the fall of 1937. He was impressed by certain facets of its educational and communal character and life, especially as pointed out and underscored in the ideas and vision of its founder, John Andrew Rice. What follows are bits and pieces of what Adamic rendered from his 1935 conversations with Rice. Although only a glimpse of Rice's educational vision can be presented here, it is remarkable how much of his fundamental ideas come through, ideas that remained viable and affective throughout the life of the College.

The job of a college is to bring young people to intellectual and emotional maturity; to intelligence, by which I mean a subtle balance between the intellect and the emotions; not merely to an arbitrarily selected amount of cramming. . . . A college should take account of the whole being and be a sort of second womb from which young people are born to all-round human maturity. . . . The common expression 'to get' an education is significant. It lights up the entire fallacy of the prevailing system, for education can only be experienced; one 'gets' only information or 'facts'—and the 'facts' acquired in the average college have to do with the past and are mainly worthless to one destined to live in the future. To put the emphasis upon the teaching of 'facts’, the giving of mere information is to train people in and for the past. . . . There are some stubborn facts in the early stages of the physical sciences, in mathematics and biology, that must be learned. But once these stages are passed, you are in the realm of imagination, and often get lost because of the meager training the imagination has had. It is a commonplace that many scientists are, through long years of training in the factual world, unfitted for this leap into the world of the imagination. . . . But surely, you will say, truth, education, not mere head- stuffing, is the goal of the humanities. I should like to think so, but, I am sorry to say that, if it is, it is a long way off, such a long way that the undergraduate in the average college seldom even gets a glimpse of it. . . . Take the queen of learning: professors of philosophy do not profess philosophy; they profess to be able to tell what philosophers have said and, sometimes, what they meant. If you are looking for a philosopher, stay away from departments of philosophy; you will get only reporters there. . . . Well, there is literature; but if you make an inspection of our colleges, you will find, for the most part, that the study of literature is concerned mainly with biography and antiquities; and where ideas are alleged to be the interest, the probability is that you will be served with stale classicism. There is no life in it; it is like turning over empty cans and poking about in the rubbish. . . . In a last desperate effort to find a trace of education that has some concern with living truth or ideas, with the oncoming future, you go to the departments of fine arts, music, dramatics; and all you discover there is the teachers weighed down with foolish hope and painful duty which incapacitate them for any sort of effective teaching. They hope some day to turn out a professional dauber, designer, fiddler, or actor who will become 'famous,' and they will be able to bask in his glory; meanwhile they are obliged to teach students 'to appreciate.' Every June the country is swamped with appreciators. Later you will find some of them in women's clubs, listening flatly, unimaginatively, uncritically to lectures and

performances by all species of fools and charlatans; the rest, in a state of beneficent oblivion. . . . Everywhere the chief distinction of man, imagination, is neglected. . . . “. . .The question then, is: how are you to train the imagination?—or, more important still: is it possible to train the imagination? An enormous question, but I think it can be answered. I believe that we here in Black Mountain—not I, as you know, but all of us, students and faculty—have reached the threshold of the answer. We're trying, with increasing (though, off and on, faltering) success to teach method as against content. Our emphasis is on process as against results. To us, the way of handling facts is more important than facts themselves. Facts change, while the method of handling them—provided the method is life's own free, dynamic method which evidently works on the principle that nothing is permanent save change—remains the same; and so, if stability or order is what is wanted in this world (and I take it that it is), it can only be got by putting facts, results, the alleged content of life in the past in second place, and placing stress on the way of handling facts now and in the future, on the method, the process of life. . . . What I am trying to articulate here is, as I say, new to us; but this idea of method, of process, of imagination as against 'facts,' static concepts, and concrete results is really not new. It is, indeed, very old. It has been for a long time a fierce little flame leaping out of the minds and feelings of a small section of humanity, the artists: by which, of course, I don't mean only painters, but artists of all kinds, including (in fact, especially) those who are not painters, sculptors, writers, musicians, or anything else of the sort, but who have the artistic approach or attitude to life as a whole and to everything in life; whose values are qualitative as opposed to quantitative; who are eternally modern and so distinguished from the non-moderns, not by what they know, but what they do with what they know; and to whom men, in their vague desperation in the face of the deep confusion of contemporary life, are at last, I think, slowly shamefacedly beginning to turn. . . . \"The method, the way of education that I think—that I know— is needed, is the method, is the way of the poet, the philosopher-scientist-artist; and the reason we have not adopted it before is that we have foolishly, ignorantly believed life was essentially competitive: and we have pushed the poet aside because he knows competition for the senseless, wasteful thing it is. As long as we cling to this old idea, we shall continue to look toward one another and spend most of our energy

scheming how to harm one another, instead of looking toward a goal, toward something that we want to become. The measure of your success, as long as you compete with men, is the distance between you and them. You are forever looking forward to the leaders and backward to the followers, and they are always men, usually not better than yourself. The measure of your success, if you are a poet, a philosopher-artist, a creator, is the distance between you and the thing you want to do, between you and the thing you want to create, between you and the person you want to become. You learn to follow ideas and ideals, which are alive and headed for the future, instead of men, most of whom (nowadays, partly because of education) are largely dead creatures of the past; and you don't look back, except to find how other poets before you have created their goals, how they in their time have followed ideas, handled life, and looked into the future. . . . There is a technique to be learned, a grammar to the art of living. Logic as severe as it can be, must be learned, if for no other reasons, to know its limitations. Dialectic must be learned; and no feelings spared, for you can't afford to be nice when truth is at stake. The hard intractable facts of science must be learned, for truth has a habit of hiding in queer places. Man's responses to ideas in the past must be learned. These things are the pencil, the brush, the chisel. But these are not all. There are subtle means of communication that have been lost by mankind, as our nerve ends have been cauterized by schooling. These nerves must be re-sensitized. We must learn to move without fear, to be aware of everything around us, to feel as well as to see mentally our way into the future-—the poet is also the prophet. And we must become tough, awfully tough— tough poets, as I say—for this is a big arduous job we have got to do, this job of making a decent humanity that is fit to live on the decent earth. . . . We teachers—we artists—must begin to get tough with the politicians, the militarists; with the cheap ignorant schemers who blindly juggle with humanity and mar the face of the world. We must start to treat 'em rough. We must commence to bore into the pretense and sham of the world-savers—the world, as it is, isn't worth saving: it must be changed. . . . The job before us, that of remaking ourselves, is not only a big, an arduous one but a long one. Centuries. But we must begin. . . . \"In general, the effort of Black Mountain College is to produce individuals rather than individualists, in the belief that the individualist is bound to be a misfit in modern life, while, at

the other extreme, the subordination of men and women to a uniform and consistent pattern of action will inevitably prevent the creation of a better society than we now have. The first step in the process is to make the student aware of himself and his capacities; in other words 'to know himself.' \"A beginning is often best made by persuading the student to submit himself to the discipline of one or more of the arts. . . . It is not expected that many students will become artists; in fact, the college regards it as a sacred duty to discourage mere talent from thinking itself genius; but there is something of the artist in everyone, and the development of this talent, however small, carrying with it a severe discipline of its own, results in the student’s becoming more and more sensitive to order in the world and within himself than he can ever possibly become through intellectual efforts alone. But the individual, to be complete, must be aware of his relation to others. Here the whole community becomes his teacher. Wood-chopping, road-mending, rolling the tennis courts, serving tea in the afternoon, and other tasks around the place done by groups composed of students and members of the faculty, help to rub off individualistic corners and give people training in assuming responsibility. They tend to involve the person into participation in the life and issues of the community as a whole. Last year the students of their own accord took over the running of the College farm, and during the summer some of them, by taking turns in staying on the place, got the crops ready for harvesting by the whole College this autumn; which was done, of course, without conflict with the academic schedule, and is a help to the College economically. \"There is—naturally—an element of fun in all these tasks for which the students and the faculty assume responsibility, but along with other things they help to give the experiences that these students have while they are in college the quality of their experiences in later life. Attending to these tasks (which, incidentally, in a measure take the place of purely artificial sport activities one finds in most other schools), they have to overcome all sorts of very real difficulties within and outside themselves; which—again, in conjunction with their other experiences here—helps them toward maturity. . . .

“This then is the kind of man we should like to produce, one in whom there is a nice balance of forethought, action and reflection. What is the best medium? The discipline[s] of the humanities have been tried, and have been a failure; so has science, although the scientists don't yet know it (if science were made a free elective in this country, the registration in courses in science would drop fifty percent at once). Now we are in the hands of social scientists, who make brave promises. In history, sociology, psychology, economics, and the rest, there is plenty of action to be reflected upon; but it is not the action of the student himself. This is why they will prove as useless in the end as the others have already proved. As a beginning point they will not do, because they do not and cannot begin with the individual student as the actor, as the one who is doing the doing. This is why we at Black Mountain begin with art. The artist thinks about what he himself is going to do, does it himself, and then reflects upon the thing that he himself has done. Here is the concatenation that we want to use at the beginning, one in which each step involves the student inevitably, and one in which no step can be omitted without obvious injury to the rest. Observe, however, that I have said, 'in the beginning’.” The Gropius-Breuer design for Black Mountain College reflected the self-sustaining and interdisciplinary ethos that defined the campus.

Adamic refers to the following articles in his chapter that bear on John Rice's ideas. Arthur O. Lovejoy and Austin S. Edwards. \"Academic Freedom and Tenure: Rollins College Report.\" Bulletin of the American Association of University Professors 19 (November 1933): 416—39 [pro-Rice in the Rollins rebellion]. \"Rollins College versus the American Association of University Professors.\" Rollins College Bulletin 29 (December 1933): 3-28 [response to the above]. John A. Rice. \"Fundamentalism and the Higher Learning.\" Harper's 174 (May 1937): 587-96. Louis Adamic. \"Education on a Mountain: The Story of Black Mountain College.\" Harper's 172 (April 1936) [article on BMC's \"group influence\"]. Bernard de Voto. [criticism of the above article.] Harper's 172 (April 1936). Images Marcel Breuer and Walter Gropius. “The FERTILE GROUND 1937-1952.” Gropius: an Illustrated Biography of the Creator of the Bauhaus, by Reginald R. Isaacs, Little, Brown, 1991, pp. 243. Sparkman, Charles Lee. “Black Mountain Bauhaus: The Gropius-Breuer Design for Black Mountain College .” The University of Tampa Journal of Art History vol. 4 (2009): 8 [Accessed on 11/24/2012 at http://journail.utarts.com/articles.php?id=15&type=paper]

Thomas Mark Powers 760-805-8457 ([email protected]) EDUCATION: LAGUNA COLLEGE OF ART & DESIGN, Laguna Beach, CA Master of Fine Arts, Painting, 2010 UNIVERSITY OF CALIFORNIA, Davis, CA Graduate Studies, 1982-83 (LCAD transfer credits) Figure Painting - Wayne Thiebaud, 4 credits MARYLAND INSTITUTE, College of Art, Baltimore, MD Bachelor of Fine Arts, Painting, 1978 NORTH CAROLINA SCHOOL OF THE ARTS, Winston Salem, NC High School Diploma, Area of Specialization: Visual Arts, 1974 HISTORY OF PROFESSIONAL EMPLOYMENT: CURRENT: President, BLACK MOUNTAIN PRODUCTIONS (BMP): For the past 27 years, I have been the President of Black Mountain Productions, a multiple intelligence/arts education based 501(c)(3) consortium created by Dr. Bruce Torff at Harvard Project Zero. In 1996, BMP was granted $100,000 through the Z. Smith Reynolds Foundation. The following year I was offered an opportunity by North Carolina Governor Jim Hunt, BellSouth and Apple Inc. to take my OPEN EYES curricular approach to the State's under-funded schools via the North Carolina Information Highway. As BMP President, I serve as an intermediary between all artistic, educational, corporate and governmental entities and handle all administrative duties. I write all the grant proposals, budgets and meet with chief officers of foundations about requested funding. Upon request, I can provide you with a $13 million operating budget I created for the Coronado School of the Arts, which I co-founded in 1997, as well as BMP's \"Master\" of the South Carolina Visual & Performing Arts Framework (1993) in which BMP made a significant contribution to the Framework through its collaboration with Harvard Project Zero. Also in 1997, I created the first G3 interactive coast-to-coast video teleconference in “real time”. For this, I was nominated for a MacArthur “Genius Grant” by Governor Hunt. CURRENT: Creator, AMERICAN CIVICS. In 2015, I created a partnership with the estate of the late photographer Jim Marshall and Obey artist Shepard Fairey to create a limited-addition box sets of prints which would inculcate K-12 students in American Civics (https://americancivics.com/). In 2018, AMERICAN CIVICS created a 15-story mural of Johnny Cash (Mass Incarceration) across from Capitol Park in Sacramento.

2006-2008 Adjunct Professor, PALOMAR COLLEGE ART DEPARTMENT. In August 2008 my Art 100 (art appreciation) course was named by the students, \"The Most Popular Course at Palomar College\". The course covered the history of Asian, Mesoamerican and Bauhaus art and there influences on California art. 2004 Participant, PROJECT ZERO CLASSROOM, HARVARD GRADUATE SCHOOL OF EDUCATION (HGSE). Collaborated with the HGSE faculty to develop strategies for implementing distance learning technologies with a focus on teaching for understanding, creative thinking, authentic assessment, and the integration of new technologies. Provided professional guidance to educators and administrators on my OPEN EYES pre-service and in-service teacher training program. 2003 Director of Education, SOUTHERN CALIFORNIA TRIBAL CHAIRMEN ASSOCIATION (SCTCA). Managed the federally subsidized PARENT INVOLVEMENT RESOURCE CENTERS (PIRC) for all 19 Southern California tribal reservations. Created the Tule Reed Basket Project which taught the three-stranded braiding technique of the Pomo Indians. 1994 Co-Founder, BLACK MOUNTAIN COLLEGE MUSEUM + ART CENTER, (BMCM+AC) Asheville, NC. Secured funding through the Mary Duke Biddle Foundation to create BMCM+AC. 1993 Project Specialist, CAPITOL AREA DEVELOPMENT AUTHORITY (CADA). Conceived and designed architectural concept to cost effectively replicate a Prairie School style apartment building in Sacramento, CA. The design was approved by the CADA Board of Directors. Successfully negotiated $1.2 million from the City of Sacramento to fund the project. (Governor's Award recipient, 1995) 1993 Facilitator, SAN FRANCISCO OPERA. Successfully obtained the Southeastern Merola Auditions for North Carolina School of the Arts. 1979 Publicist, RALEIGH LITTLE THEATRE, Raleigh, NC. Successfully acquired Ava Gardner as 1980-81 Honorary Membership Chairman. Highest attendance in the 45-year history of the theatre and largest member subscription rate. Secured interview with Ava Gardner for Raleigh News & Observer newspaper. .

Thomas Mark Powers – Statement of Contributions to Diversity In 1994, I collaborated with Harvard Project Zero to create the OPEN EYES Project. It is a Harvard-based Multiple Intelligence/Arts curriculum and is inspired by the pedagogical philosophy of Josef Albers that he developed at the Bauhaus and Black Mountain College. The OPEN EYES Project is a consortium of educators and artists dedicated to creating a “level playing field” for all our children. I have dedicated my life to helping “gifted” disadvantaged children realize their full potential. This can only be accomplished through education. For too many decades, children in rural areas or those who are socially or economically disadvantaged have been deprived of this right and opportunity. My OPEN EYES Project is an innovative program which reveals and removes the hidden barriers to fairness in the classroom and will provide all children with this opportunity, regardless of economics, geographic or social strata. OPEN EYES offered an excellent multicultural approach for tearing down prejudicial barriers and creating an interactive dialogue between ethnic factions throughout California and the Nation. We accomplished this through the Internet, video conferencing and multi-media presentations. Many of our OPEN EYES consortium member schools were predominately Asian, African American, Hispanic, and Native American. In 1996, I had the privilege to teach in one of the first global classrooms. My class in Los Angeles was simultaneously linked, via fiber-optics, with students in London, Jerusalem and Pittsburg. The interaction between the students was incredible. For many students, it was an eye-opening experience. Based in the Arts, OPEN EYES appreciates and values cultural diversity above all else and does not discriminate because of gender, race, national origin, color, disability or age. Respectfully, Thomas Mark Powers When power leads man towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truths which must serve as the touchstones of our judgment. The artist becomes the last champion of the individual mind and sensibility against an intrusive society and officious state. John F. Kennedy’s Address to Amherst College, October 1963.





















The MICA Brown Media Center

Thomas Mark Powers LIST OF REFERENCES Douglas C. Zinn David Judson Executive Director President W.R. Kenan, Jr. Charitable Trust The Judson Studios and Kenan Center Stained Glass Association of America P.O. Box 3858 Chapel Hill, NC 27515 – 3858 200 South Avenue 66 919-391-7222 Los Angeles, CA 90042 [email protected] 323-255-0131 [email protected] Fred Lazarus, IV Dr. Seymour Simmons, III Founding Chair of Americans for the Arts and Professor, Art Education The National Coalition of Education in the Arts Department of Art and Design President Winthrop University Maryland Institute College of Art Rock Hill, SC 29733 1300 West Mount Royal Avenue 803-323-2670 Baltimore, MD 21217 [email protected] 410-225-2325 [email protected] Peter Frank Writer, Curator and Critic P.O. Box 24589 Los Angeles, CA 90024-0589 310-909-6145 [email protected]

References Biographies Douglas Zinn is the Executive Director of the W.R. Kenan, Jr. Charitable Trust, which is based out of the University of North Carolina, Chapel Hill. I met Doug through my North Carolina School of the Arts mentor/muse Mary Duke Biddle Trent Semans who was the President of the Duke Endowment. Doug worked for Mary as executive director for both her foundations (The Mary Duke Biddle Foundation and The Mary D.B.T. Semans Foundation). He also has familial ties to Duke University and the Duke Endowment. Mary funded several of my projects through Doug (Black Mountain College Museum + Arts Center, UNCSA School of Filmmaking, Eugene O’Neill Theater Center). He has been my mentor and friend for over 40 years (Doug has known me the longest). David Judson is the President of Judson Studios, the finest stained-glass studio in the World. His grandfather founded the first art school in Southern California, which later became the USC Roski School of Fine Art. He designed the interior for the Cathedral of Our Lady of the Angels. Judson Studios created the stained-glass windows for the Hollyhock House. I worked with David’s father Walter on a stained-glass window for my church and thus began a collaboration/friendship which continues today. Currently, my Powershaus consortium is working with Judson Studios on a series of 5G stained-glass towers (antennas) which will be placed on nine college campuses to create a nationwide 5G education network. CSULB will serve as the central hub for the network (Powershaus Media Center). Seymour Simmons is a professor of art education at Winthrop University. I met Seymour through my MAT mentor Dr. Margaret Johnson. He was the coauthor of Arts PROPEL with Dr. Howard Gardner (Theory of Multiple Intelligences). Together, we formed Black Mountain Productions (501c3) in 1994 to create curricular content and teacher training programs for the North Carolina Information Highway, a fiber-optic network that was connected to every school in the State. Peter Frank was my mentor and Critique professor at LCAD. He has been called the “Clement Greenberg of the Los Angeles art scene”. He is also my “Mensch”. Fred Lazarus was President of MICA when I was working on the UNCSA School of Filmmaking project. Through my connections to Apple Inc., BellSouth, and Siemens Communications, I was successful in securing the G3 technology for the Brown Media Center, which I would like to recreate at CSULB (Powershaus Media Center).



David Judson

Fred Lazurus