Professor John R. Stilgoe wants his students to notice—to be able to process and interpret visual information by opening themselves up to the subject. What it comes down to is looking.
This is the way FM ends. Not with a bang, but with 15. It’s also not the real end, but just the end for this year. We still have our Superboard keys. Steven S. Lee, you’re not reading this—and if you are, it’s because you Googled your own name. Touché.
FM chats with the co-founder of Spy Magazine and the current host of Studio 360.
Alexandra A. Petri ’10, a comedic op-ed writer on The Washington Post, talks to FM about Hasty Pudding puns, her favorite humorists, and life metaphors.
Turns out you can buy booze. Just very very very classy booze.
The first time Nick M. Gavin ’15 tried to brew beer in Pforzheimer House, it didn’t go well.
The Arts Blog explores movies from the last year that would be enhanced by some fly 70s tunes.
He presumes I know nothing about this topic. He presumes correctly.
In the days leading up to Housing Day, the average House listserv will be bombarded with emails. There will be an interminable debate over the color of the housing day shirt. There will be emails demanding you wake up early for housing day. Later, there will be emails demanding you come to Annenberg to scream at the freshmen.
For some, spring break is just around the corner. For others, it’s already here (nothing happens in class on Thursdays anyway). Whether you’re avoiding sunburn or your mother’s questions about summer jobs, FM has the songs that will define your spring break.
The 140th Guard Arts Chairs, Petey E. Menz '15 and Austin Siegemund-Broka '14, reflect on the publication, the year, and Arts's first annual Year In Review special issue.
Both: Go there when drunk Uncomfortable seating Washing hands a necessity Smells like shit
There is nothing intrinsically shocking in Abdellatif Kechiche’s “Blue is the Warmest Colour.” Its steadfast realism is not quite revolutionary, but “Blue is the Warmest Colour” is still a deeply affecting film, bolstered by excellent performances and, somewhat improbably, its three-hour running time.
Steve McQueen's “12 Years a Slave” is a remarkably subtle film. Though it has a strong sense of morality, it rarely moralizes, letting the atrocities onscreen speak for themselves. Brutal, painful, and harrowing, it stands as one of the finest films of the year.