Journal articles: 'Radcliffe College. Graduate School of Arts and Sciences' – Grafiati (2024)

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Gaps between expectations and actual educational experience may influence motivation, learning and performance. The graduate college experience (GCE) is shrouded in myth and legend that may create unrealistic expectations, while its reality includes elements of politics, economics and organizational psychology. This study examined 1,629 present and former graduate students’ perceptions of what their graduate school experiences should and did include. The sample was analyzed as a whole and also divided and tested for subgroup differences by: degree types (masters and doctorate); at four different points along their degree paths (entrance, midpoint, exit, alumni); and by disciplinary subgroups (hard sciences, social sciences, arts, interdisciplinary). Statistically significant differences were found between subgroups on perceptions of what the GCE “should” and “does” include separately. Further, within-groups comparison of what the graduate college experience “should” and “does” include showed significant differences for the whole group and all subgroups. In addition, the differences between graduate students’ expected and actual experience (should - does) negatively predicted overall satisfaction with their graduate experience. These contrasts of students’ actual and expected graduate experiences present potential to explain some of graduate students’ dissatisfaction and non-completion, and offer information to support program improvement and retention of graduate students.

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A Review of: Clarke, R. I., & Kim, Y.-I. (2018). The more things change, the more they stay the same: educational and disciplinary backgrounds of American librarians, 1950-2015. School of Information Studies: Faculty Scholarship, 178. https://surface.syr.edu/istpub/178 Abstract Objective – To determine the educational and disciplinary backgrounds of recent library school graduates and compare them to librarians of the past and to the general population. Design – Cross-sectional. Setting – 7 library schools in North America. Subjects – 3,191 students and their 4,380 associated degrees. Methods – Data was solicited from every ALA-accredited Master of Library Science (MLS) program in the United States of America, Canada, and Puerto Rico on students enrolled between 2012-2016 about their undergraduate and graduate degrees and areas of study. Data was coded and summarized quantitatively. Undergraduate degree data were recoded and compared to the undergraduate degree areas of study for the college-educated American population for 2012-2015 using the IPEDS Classification of Instructional Programs taxonomic scheme. Data were compared to previous studies investigating librarian disciplinary backgrounds. Main Results – 12% of schools provided data. Recent North American library school graduates have undergraduate and graduate degrees with disciplinary backgrounds in humanities (41%), social sciences (22%), professions (17%), Science, Technology, Engineering and Math (STEM) (11%), arts (6%), and miscellaneous/interdisciplinary (3%). Of the humanities, English (14.68%) and history (10.43%) predominate. Comparing undergraduate degrees with the college-educated American population using the Integrated Postsecondary Education Data System (IPEDS) classification schema, recent library school graduates have a higher percentage of degrees in social sciences and history (21.37% vs. 9.24%), English language and literature/letters (20.33% vs. 2.65%), computer and information science (6.54% vs. 2.96%), and foreign languages, literatures, and linguistics (6.25% vs. 1.1%). Compared to librarians in the past, there has been a decline in recent library school graduates with English language and literature/letters, education, biological and physical sciences, and library science undergraduate degrees. There has been an increase in visual and performing arts undergraduate degrees in recent library school graduates. Conclusion – English and history disciplinary backgrounds still predominate in recent library school graduates. This could pose problems for library school students unfamiliar with social science methodologies, both in school and later when doing evidence-based practice in the work place. The disciplinary backgrounds of recent library school graduates were very different from the college-educated American population. An increase in librarians with STEM backgrounds may help serve a need for STEM support and provide more diverse perspectives. More recent library school graduates have an arts disciplinary background than was seen in previous generations. The creativity and innovation skills that an arts background provides could be an important skill in librarianship.

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AbstractThe essays assembled in this volume were initially presented at the concluding conference of the International Doctoral School “InterArt Studies” held at the Freie Universität Berlin from June 25-27, 2015. The school bore the label “international” not just because its students hailed from five different continents. Rather, it was called that because it was born out of the collaboration with the Copenhagen Doctoral School in Cultural Studies, Literature and the Arts, later joined by the Doctoral School of Goldsmiths College, London, and the Graduate School of Arts and Sciences at Columbia University, New York. During these nine years (2006-2015) of research, it was generously funded by the German Research Council.

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Northwestern University has a vibrant and interdisciplinary community of acousticians. Of the 13 ASA technical areas, 3 have strong representation at Northwestern: Speech Communication, Psychological and Physiological Acoustics, and Musical Acoustics. Sound-related work is conducted across a wide range of departments including Linguistics (in the Weinberg College of Arts and Sciences), Communication Sciences & Disorders, and Radio/Television/Film (both in the School of Communication), Electrical Engineering & Computer Science (in the McCormick School of Engineering), Music Theory & Cognition (in the Bienen School of Music), and Otolaryngology (in the Feinberg School of Medicine). In addition, The Knowles Hearing Center involves researchers and labs across the university dedicated to the prevention, diagnosis and treatment of hearing disorders. Acoustics research topics across the university include speech perception and production across the lifespan and across languages, dialects and socio-indexical properties of speech; sound art and design; social and cultural history of the sonic world; machine processing of music; musical communication; auditory perceptual learning; auditory aspects of conditions such as concussion, HIV, and autism; neurophysiology of hearing; and the cellular, molecular, and genetic bases of hearing function. We invite you to visit our poster to learn more about the “sonic boom” at Northwestern University!

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<p>This study on evaluating an English program of studies for foreign students seeking admission to the UE Graduate School attempts to examine the prevailing conditions of foreign students in the UE Graduate School with respect to their competence and competitiveness in English proficiency. It looks into the existing English programs of studies in the College of Arts and Sciences and how it addresses the need for an improved academic performance of the foreign students. This study was conducted in the University of the East, Manila campus, particularly in the Graduate School in three groups. All the three groups of respondents have passed the ELPPFS before their admission to UE Graduate School and was enrolled second semester of 2011-2012 in their respective Master and Doctorate courses. Our results show that the three groups of respondents assess that there are significant positive changes in their academic performance as a result of their training in the ELPPFS program. Moreover, there are significant positive changes in the academic performance of the three groups of respondents as a result of their ELPPFS training . The prevailing conditions of foreign students enrolled in degree programs of UE Graduate School with respect to the level of their academic performance clearly show satisfactory evaluation marks.</p>

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An examination of the distribution of women who earn doctorates in mathematics and science presents a picture of uneven advancement. Women are clustered in the life sciences with far fewer majoring in the physical sciences, mathematics, engineering, and computer sciences. Recent studies attempting to identify factors that influence a woman's choice of career in the mathematical fields have focused on either women who have completed doctorates or formal training in their chosen fields or women presently in graduate programs in mathematics. This study focuses on math majors still in college, specifically 16 females at a highly selective liberal arts women's college, and factors that influenced their choice of this major and future career plans. A qualitative research methodology was employed using questionnaires, interviews with the students and the mathematics faculty, participant observation in mathematics classrooms, and document reviews of college and departmental publications. Findings revealed that positive school experiences and certain shared personality characteristics were integral in students' decisions to continue the study of mathematics in college.

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Campus loans have become a part of the lives of Chinese college students. While such loans are convenient for students, they can also create considerable difficulties. In the context of unbalanced economic development between Western and Eastern China, this study aimed to understand the factors affecting the campus loan behaviors of college students in Western China. A sample of 568 undergraduate and graduate students from four universities in Western China was taken as the research object. Binary logistic regression and orderly logistic regression were used to study campus loan consumption factors. Students without state-subsidized loans were found to have stronger campus loan consumption intention and higher loan amounts, and recreational consumption was the main loan purpose. The factors affecting campus loan consumption included students’ family structure, parents’ education level, peer students’ consumption status, grade level, relationship status, and ability to assess loan risk. Based on the findings, suggestions are made for managing campus loan behavior from the perspectives of the individual, family, school, and government. This study can provide guidance for standardizing campus loans and adjusting college students’ consumption attitudes and behaviors.

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A decade ago, access to technology was limited and wiring schools was one of the nation's highest education priorities (NCREL, 2005). Ten years of substantial investments have vastly improved this picture. According to the Secretary's Fourth Annual Report on Teacher Quality, virtually every school with access to computers has Internet access (99%), compared to only 35 percent of schools in 1994, according to the National Center for Education Statistics (NCES) (Parsad & Jones, 2005). The Office of Technology Assessment report to Congress in 1995 stated that "Technology is not central to the teacher preparation experience in most colleges of education. most new teachers graduate from teacher preparation institutions with limited knowledge of the ways technology can be used in their professional practice" (Office of Technology Assessment, 1995). The report, in which this statement appeared, titled Teachers and Technology: Making the Connection, was a wake-up call, and over the past years, much remunerative progress has been made. Many states are attempting to address educators technology skills through the creation of teacher or administrator standards that include technology; as of 2003, 40 states and the District of Columbia have such standards (Ansell & Park, 2003). A number of states have adopted technology requirements for initial licensure. For example, 13 states require teachers and/or administrators to complete technology-related coursework, and nine require them to pass technology-related assessments. In addition, a number of states have implemented policies to improve veteran teachers technological skills (Ansell &Park, 2003). Addressing the issues of technology integration into the curriculum, the Maryland State Department of Educations (MSDE) PT3 consortium infused technology into the state's teacher education programs in three ways. First, the consortium used the Maryland Teacher Technology Standards to redesign both arts and sciences and education courses so they incorporate technology-related knowledge and skills. The Maryland Teacher Technology Standards included learning outcomes and, core learning goals and skills for success; it also specifies what students in pre-kindergarten through 12th grade need to know and be able to do in English/Language Arts, mathematics, science, and social studies. The Maryland State Department of Education (1999) provided expectations for how technology can and should be used to support student learning and instruction. Second, the group developed performance assessments in order to measure the technological competence of teacher candidates. Third, the consortium developed a system for electronic portfolios that incorporates a student teacher's technology performance assessment. These portfolios can be made available to future employers to demonstrate technology-related proficiency. The consortium is statewide and diverse, including several public universities and two communities. According to a report titled, Tech-Savvy: Educating Girls in the New Computer Age (AAUW, 2000), Washington, DC; as violent electronic games and dull programming classes turn off increasing numbers of adolescent girls, the way information technology is used, applied, and taught in the nations classrooms must change. Furthermore, commensurate with rapid changes in technology, a remarkably consistent picture emerges: more boys than girls experience an early, passionate attachment to computers, whereas for most girls attachment is subdued. Margolis and Fisher (2002) reported that computing is claimed as male territory very early in life: from early childhood through college, computing is both actively claimed as guy stuff by boys and men and passively ceded by girls and women. Society and culture have linked interest and success with computers to boys and men. In the words of Margolis and Fisher (2002), curriculum, teachers expectations, and culture reflect boys pathways into computing, accepting both assumptions of male excellence and womens deficiencies in the field (p. 4). Social expectations towards educational leadership in academic and economics terms depend on the integration of technology in every facet of society. The American family survival depends on the abilities and incomes of all adults. The type of technical skills needed to be creative and to survive in the job market escalates daily. Educational leaders must be aware that gender equity among middle school students with respect to the use of computer technology should be grounded in the development of programs that not only address the educational aspect of schools, but also allow students to develop their appreciation for, and understanding of the interrelationship among computer usage, careers, and values. With the implementation of such programs, schools could operate as equalizers for the sexes regarding computer competency and attitudes. Educational leaders have the ability to direct resources to show how computer technology may release the creative impulse in children and allow them to think and learn. Educators need to link the curriculum and technology with student interests. Both male and female students use computer applications that can be linked to the educational setting, such as word processing, Internet, completing homework, reports, and projects, as well as communication through email, self-expression, and personal interest. Educators who are developing these programs must understand how girls lose interest in technology and recognize the different learning styles of each gender. The role of training district school teachers to effectively utilize computer technology within the classroom is important if strides are to be made in supporting girls and women in choosing computer-related careers and using computers as a medium of expression. Institutions of higher education would provide opportunities and hold the responsibility of reviewing the technical construction of each teachers plan. Educational leaders will meet frequently with university representatives to review, discuss, record experiences, develop, modify, and evaluate plans and performances to ensure that teachers receive the training necessary to instruct all students utilizing appropriate computer technology. Degree attainment, certification, and re-certification should be linked to the variation of experiences, the structure, depth, detail, and impact of the program developed by the practitioner in consultation with representatives from higher education and the school district. Partnerships with local school districts and institutions of higher learner should be established to develop programs, which incorporate many of the tenets discussed above.

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James Tait Goodrich was born on April 16, 1946 in Portland, Oregon, United States, the son of Richard Goodrich and Gail (Josselyn) Goodrich. Dr. Goodrich served as a Marine officer during the Vietnam War, during which time he decided his next step would be to pursue a medical career. Not only was he an elite surgeon, but over the years he was also a generous mentor and teacher who shared his craft with many young surgeons who wanted to follow in his footsteps. During the Tet Offensive, he spotted a Vietnamese surgeon in a medical tent opening up a soldier’s head. “Cool,” he thought. “I want to do that” (1). Upon return to the USA, Jim married Judy Loudin on December 27, 1970, the love of his life who gave him the confidence and support to pursue his dreams. Dr. Goodrich completed his undergraduate work at the University of California, Irvine and his graduate studies at the School of Arts and Sciences of Columbia University (1972), receiving his Masters and Doctor of Philosophy degrees in 1978 and 1980, respectively. He received his Medical Degree from Columbia University College of Physicians and Surgeons. After an internship at Columbia- Presbyterian Medical Center (1980-1981), he completed his residency training at the Presbyterian Hospital in New York City and the New York Neurological Institute (1981-1986). He also holds the rank of Professor Contralto of Neurological Surgery at the University of Palermo in Palermo, Italy. He was Director of the Division of Pediatric Neurosurgery at the Children’s Hospital of Montefiore Health System and he served as a Professor of Clinical Neurological Surgery, Pediatrics, Plastic and Reconstructive Surgery at the Albert Einstein College of Medicine since 1998 (2). Dr. James T. Goodrich dedicated his life to saving children with complex neurological conditions. He had a particular interest in the treatment of craniofacial abnormalities. He was a pioneer in this field and developed a multi-stage approach for separating craniopagus twins who have their brain and skull conjoined. In 2016, he famously led a team of 40 doctors in a 27-hour procedure to separate the McDonald twins. Throughout his distinguished career, he became known as the world’s leading expert on this lifesaving procedure. He has been consulted on hundreds of cases, and he routinely traveled the world sharing his vast knowledge and expertise with colleagues (3,4). In Brazil, Dr. Goodrich played a very important role in leading the processes to successfully separate craniopagus sets in Ribeirao Preto (2017-2018), and in Brasilia (2019). A classical multistage surgery was performed to separate the Ribeirao Preto conjoined twins, and Dr. Goodrich participated on all the neurosurgical procedures as a great mentor. In the final operation, on October 28, 2019, some members of Montefiore Hospital medical staff (Dr. Oren Tepper, plastic surgeon, Dr. Carlene Broderick, pediatric anesthesiologist and Kamilah A. Dowling, nurse) also worked alongside Jim and the Brazilian team. An extraordinary and humble man, his words after the first surgical step, during an interview for a TV channel, were that in “this particular surgery we were able to do more than we expected because the anatomy was very good and the team had exceptional skills that made the difference”. Dr. Goodrich was a chief supporter of the Latin American Pediatric Neurosurgery Course (LACPN), having participated in all editions since 2004. In these events, he did not hesitate to share his knowledge during the hands-on sessions and, likewise, his wonderful conferences. Prof. Goodrich was officially honored by the Brazilian Society for Pediatric Neurosurgery during the “XII Brazilian Congress of Pediatric Neurosurgery”, in Florianopolis, Brazil. Dr. Goodrich was a gentle and truly caring man. He did not crave the limelight and was beloved by his colleagues and staff. He has authored numerous book chapters and articles on Pediatric Neurosurgery and is known worldwide as a prominent lecturer in this field. Outside his work, he was also known for his passion for historical artifacts, travelling, wine, and surfing. Dr. Goodrich was an incredible human being. In March 30th, 2020, he passed away after complications due to Covid-19 (5). In that day the world has become a little less bright without Jim. Our sympathy and prayers go to his wife Judy, his three sisters, and all those who were close to him

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This nonlinear, mixed-genre essay shows that we can learn much about education by looking at the nonrational aspects of classrooms. Following discursive traditions associated with the social sciences, it presents two interaction patterns found in seminar-style classes at the undergraduate and masters level whose ritual aspects work to “magically” resolve a dilemma contained in the American commitment to individualism. It also suggests a connection to the apparent lack of intellectual vitality claimed to exist on many American campuses. At the same time, drawing on discursive traditions associated with the arts, this essay also complicates the processes of education showing just how complex and contradictory a seminar can be. Damian sits slouched in his chair, hands folded in his lap, Timberlands thrust under the table, his body forming a slightly sagging diagonal line. On his head sits his more-than-dirty white hat, brim turned backwards, plastic strap pressed across his forehead. John Dewey's “The Child and the Curriculum” lies dutifully open on the table in front of him taking its place in the circle of texts that trace the perimeter of the table. Damian's face lacks emotion. In fact, it signals no information whatsoever. It is blank. Is his mind blank as well? I can assure you that it is not. His mind is actively presenting multiple words and images for his own contemplation. A film-loop projection of last night's argument with Sheila dominates the images. Endlessly he watches her rage-contorted face and hears her high shrill voice—though he has forgotten what her words were. Screw it) There's no pleasing some girls) But his argument with Sheila is not the only thing entertaining his mind. For example, he can't stop humming that Goo Goo Doll's tune that he heard on MTV this morning. Nor can he put out of his mind John Rzeznik's tattoos. Damian has been contemplating getting a tattoo for several weeks now and he isn't sure if watching the Goo Goo Doll's increases his enthusiasm or his distaste with the idea. And there isn't just contorted faces, guitar licks, and tattoos to occupy his mind. There is Tina. As always, Damian is sitting next to Tina. Tina was the very first person that Damian noticed when he had entered the classroom on the first day. Noticing Tina did not make Damian unique. Everyone noticed Tina. Tina is the kind of young woman who puts a lie to the idea that men today are obsessed with Kate Moss look-alikes. Tina's body overflows with sensuality. Damian enjoys telling his friends that Tina has a “generous” body and that she could have had a role in the movie Dirty Dancing. But it is her bleached, waterfall hair splashing out all over in irregular tempo that distracted anyone nearby. It is not just the guys who notice Tina; the women do too and not with approval. So the fact that Damian immediately noticed Tina upon entering the room on that first day does not separate him from his peers. What distinguishes him is that Damian did not hesitate to walk over and take the seat next to her. And since students nearly always return to the same seat every subsequent class, Damian sits next to Tina and her delicious distractions every class. So that besides high pitched screams, repetitive drumbeats, and tattooed arms, Damian's mind contemplates strategies for the seduction of Tina. But you might wonder whether Damian is paying any attention to his class or if he is only thinking of irrelevancies. If so, you may be surprised to know that despite all the attention to women and song, Damian is also tracking the class action. Damian is a pretty good student. Well, OK, he is only an “A–B” student. But what is wrong with that? After all, he has known plenty of smart people who have been total losers as teachers. Like Mr. Compton his high school English teacher who never caught on to the ways in which the class would ask him questions about everything under the sun and avoid the topic of the day. But while you don't have to be a rocket scientist to get through ed school classes, Damian is determined to graduate in four years. His parents have made it clear that they are only paying for four years of college. He will have to pay for every additional semester himself and he already has twelve thousand dollars in student loans to pay back. For this reason, that part of Damian's mind not occupied with other more intriguing things has been following the class conversation. Class participation is calculated into the final grade and though he doesn't know exactly how it will be counted, Damian makes sure that he contributes at least one comment in every class. At this particular moment there is a pause in the conversation. Damian decides now would be the time to “contribute.” “Professor Ulrich,” he asks, “What does Dewey mean when he talks about the progressives?”

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Theme:Transformational Learning Campuswide: Insights to Enhance Student EngagementSeptember 20, 2013 Conference Director:Kimberly Eby (Center for Teaching & Faculty Excellence) Conference Coordinator:Ashleen Gayda (Center for Teaching & Faculty Excellence) (Retroactive) Conference Proceedings:Laura Lukes (Center for Teaching & Faculty Excellence)Chyna Staten (Center for Teaching & Faculty Excellence) Logistical Coordination:Karen Tai (Office of Events Management) Logistical Support:Events productionShannon DavisRebecca JonesLisa ListerSamira LloydLindsey LowenbergDenise NazaireHermoine PickettShawn Lee’s Tourism StudentsThe Writing Center Tutors Co-Sponsors: Blackboard, Inc.; 4-VA; Cengage Learning; Center for the Arts; College of Education and Human Development; College of Health and Human Services; College of Humanities and Social Sciences; College of Science; College of Visual and Performing Arts; Division of Instructional Technology; GMU Bookstore; Graduate Student Life; Higher Education Program; Mason Inn Conference Center & Hotel; Of ce of Student Scholarship, Creative Activities, and Research; Online Education; School for Con ict Analysis and Resolution; School of Management; School of Public Policy; University Libraries; University Life; Volgenau School of Engineering; Writing Across the Curriculum; and The Writing Center.

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Theme: Signature Learning ExperiencesSeptemer 19, 2014 Conference Director:Laura Lukes (Center for Teaching & Faculty Excellence) Advisory & Selection Committee:Jan ArminioKimberly EbyKat Hithco*ckMichelle LaFranceSusan LawrenceJessica MatthewsJanette MuirSteve NodineDiane SmithJoy TaylorBethany Usher Logistical Coordination:Ashleen Gayda (Center for Teaching and Faculty Excellence)Tamara Day (Office of Events Management) Logistical Support:Events ProductionSamira LloydLindsey LowenburgDenise Nazaire Conference Proceedings:Laura LukesEmily LambackChyna Staten (Retroactive) Sponsors: Blackboard, Inc.; 4-VA; University Libraries; Cengage Learning; Center for the Arts; College of Education and Human Development; College of Health and Human Services; College of Humanities and Social Sciences; College of Science; College of Visual and Performing Arts; Division of Instructional Technology; Graduate Student Life; Higher Education Program; Hylton Performing Arts Center; Mason Athletics; Mason Bookstore; O ce of Distance Education; Office of Student Scholarship, Creative Activities, and Research; School for Confiict Analysis and Resolution; School of Business; School of Policy, Government, and International Affairs; University Life; Volgenau School of Engineering; Writing Across the Curriculum; and The Writing Center. Session Hosts & Volunteers: Sarah Davis Randy Gabel Ariel Goldenthal Caitlin HolmesMichelle Hughes David KravitzMichelle LaFrance Shawn Lee Jamie LesterLindsey LowenbergJames Merrifield Janette MuirJeff OffuttJulie Owen PsycheReadyEsperanza Roman-MendozaDanielle RudesBob Sachs Lesley Smith Christine SpillsonJoy TaylorBethany UsherShannon Williams

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Theme:The Science of Learning: Using Research to Improve Teaching7th Annual ConferenceSeptember 18, 2015 Conference Director:Laura Lukes (Center for Teaching & Faculty Excellence) Advisory & Selection Committee: Boicu, MihaiBoyette, JoannaClare, KatieCressman, RobEby, KimEdwards, CodyGeorge, ChristianGliozzi, MarioGoldman, JonathanHannan, HeatherKoch, LisaKravitz, DavidLawrence, SusanLukes, LauraMallett, KarynOffutt, JeffOlesova, LarisaOwen, JuliePettigrew, KathyReid, ShelleyRogers, PaulSaleem, RajaSaunders, CathyScott Constantine, LynneUsher, BethanyWarren, JohnWest, PatriciaWillis, OdetteWolf, PaigeYigit, Erdal Logistical Coordination:Ashleen Gayda (Center for Teaching & Faculty Excellence)Tamara Day (Events Management) Logistical Support:Office of Events ManagementEvents ProductionMason CateringAndrew Cote (OSCAR)Samira Lloyd (OSCAR)Denise Nazaire (OSCAR) Conference Proceedings:John WarrenJeri WieringaLaura LukesAshleen GaydaEmily LambackChyna Staten (Retroactive) Sponsors: BlackboardGeorge Mason University LibrariesGeorge Mason Publishing GroupProQuestUPCEABarnes & Noble College: George Mason Bookstore4-VAThe New York Times in Education Supporters:College of Education and Human Development; College of Health and Human Services; College of Humanities and Social Sciences; College of Science; College of Visual and Performing Arts; Graduate Student Life; Higher Education Program; Information Technology Services; Office of Distance Education; Office of Student Scholarship, Creative Activities, and Research; School for Conflict Analysis and Resolution; School of Business; School of Policy, Government, and International A airs; University Life; Volgenau School of Engineering; Writing Across the Curriculum; and The Writing Center.Volunteers:Dorothy Amoah-Darko, Sam Ashworth, Jesse Capobianco, Cameron Carter, Andrew Cartwright, Zella Christensen, Lynne Scott Constantine, Svetlana Filiatreau, Andrew Finn, Darcy Gagnon, Liesel Hamilton, Caitlin Holmes, Tabine Kamaleddine, Mills Kelly, Joey Kuhn, Ying-Ying Kuo, Shawn Lee, Jaime Lester, Jessica Matthews, Je O utt, Larisa Olesova, Julie Owen, Nathalia Peixoto, Richena Purnell-Sayle, Esperanza Roman-Mendoza, Robert Sachs, Catherine Saunders, Linda Sheridan, Darlene Smucny, Debra Sprague, Carol Stiller, Bethany Usher, John Warren, Gerald Weatherspoon, Margaret Weiss, and the students of TOUR 440. of Engineering; Writing Across the Curriculum; and The Writing Center.

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WebCampus.Stevens, the online graduate education and corporate training unit of Stevens Institute of Technology, delivers one of the largest and most effective ALN and blended programs of any college or university in the New York metropolitan region. Under a newly awarded Sloan Foundation grant [1], the school is extending its engineering and management programs to area corporations, supporting local telecommunications, pharmaceutical/life sciences, media, finance and other key industries. Stevens provides local employees of Fortune 500 and other companies access to high-quality online advanced technical and managerial skills, preparing them for success in global competition.Established in 1870, Stevens offers baccalaureate, masters and doctoral degrees in engineering, science, computer science, management and technology management, as well as a baccalaureate in the humanities and liberal arts, and in business and technology. The university enrolls about 1,800 undergraduates and 2,600 graduate students. It is one of the oldest and most respected engineering and management schools in the nation with a long tradition of meeting the technical and managerial needs of local industry.

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The American Broadcasting Company (ABC) Family Network show Switched at Birth tells two stories—one which follows the unique plot of the show, and one about the new openness of television executives toward integrating more people with a variety of visible and invisible physical embodiments, such as hearing loss, into television content. It first aired in 2011 and in 2017 aired its fifth and final season.The show focuses on two teen girls in Kansas City who find out they were switched due to a hospital error on the day of their birth and who grew up with parents who were not biologically related to them. One, Bay Kennish (Vanessa Marano), lives with her wealthy parents—a stay-at-home mom Kathryn (Lea Thompson) and a former professional baseball player, now businessman, father John (D.W. Moffett). She has an older brother Toby (Lucas Grabeel) who is into music. In her high school science class, Bay learns about blood types and discovers her parents’ blood types could not have produced her. The family has professional genetic tests done and discovers the switch (ABC Family, “This Is Not a Pipe”).In the pilot episode, Bay’s parents find out that deaf teen, Daphne Vasquez (Katie Leclerc), is actually their daughter. She lives in a working class Hispanic neighbourhood with her hairdresser single mother Regina (Constance Marie) and grandmother Adrianna (Ivonne Coll), both of whom are of Puerto Rican ancestry. Daphne is deaf due to a case of meningitis when she was three, which the rich Kennishes feel happened because of inadequate healthcare provided by working class Regina. Daphne attends an all-deaf school, Carlton.The man who was thought to be her biological father, Angelo Sorrento (Gilles Marini), doesn’t appear in the show until episode 10 but becomes a series regular in season 2. It becomes apparent that Daphne believes her father left because of her deafness; however, as the first season progresses, the real reasons begin to emerge. From the pilot onwards, the show dives into clashes of language, culture, ethnicity, class, and even physical appearance—in one scene in the pilot, the waspy Kennishes ask Regina if she is “Mexican.” As later episodes reveal, many of these physical appearance issues are revealed to have fractured the Vasquez family early on—Daphne is a freckled, strawberry blonde, and her father (who is French and Italian) suspected infidelity.The two families merge when the Kennishes ask Daphne and her mother to move into their guest house in order get to know their daughter better. That forces the Kennishes into the world of deafness, and throughout the show this hearing family therefore becomes a surrogate for a hearing audience’s immersion into Deaf culture.Cultural Inclusivity: The Way ForwardShow creator Lizzy Weiss explained that it was actually the ABC Family network that “suggested making one of the kids disabled” (Academy of Television Arts & Sciences). Weiss was familiar with American Sign Language (ASL) because she had a “classical theatre of the Deaf” course in college. She said, “I had in the back of my head a little bit of background at least about how beautiful the language was. So I said, ‘What if one of the girls is deaf?’” The network thought it was wonderful idea, so she began researching the Deaf community, including spending time at a deaf high school in Los Angeles called Marlton, on which she modelled the Switched at Birth school, Carlton. Weiss (Academy of Television Arts & Sciences) says of the school visit experience:I learned so much that day and spoke to dozens of deaf teenagers about their lives and their experiences. And so, this is, of course, in the middle of writing the pilot, and I said to the network, you know, deaf kids wouldn’t voice orally. We would have to have those scenes only in ASL, and no sound and they said, ‘Great. Let’s do it.’ And frankly, we just kind of grew and grew from there.To accommodate the narrative structure of a television drama, Weiss said it became clear from the beginning that the show would need to use SimCom (simultaneous communication or sign supported speech) for the hearing or deaf characters who were signing so they could speak and sign at the same time. She knew this wasn’t the norm for two actual people communicating in ASL, but the production team worried about having a show that was heavily captioned as this might distance its key—overwhelmingly hearing—teen audience who would have to pay attention to the screen during captioned scenes. However, this did not appear to be the case—instead, viewers were drawn to the show because of its unique sign language-influenced television narrative structure. The show became popular very quickly and, with 3.3 million viewers, became the highest-rated premiere ever on the ABC Family network (Barney).Switched at Birth also received much praise from the media for allowing its deaf actors to communicate using sign language. The Huffington Post television critic Maureen Ryan said, “Allowing deaf characters to talk to each other directly—without a hearing person or a translator present—is a savvy strategy that allows the show to dig deeper into deaf culture and also to treat deaf characters as it would anyone else”. Importantly, it allowed the show to be unique in a way that was found nowhere else on television. “It’s practically avant-garde for television, despite the conventional teen-soap look of the show,” said Ryan.Usually a show’s success is garnered by audience numbers and media critique—by this measure Switched at Birth was a hit. However, programs that portray a disability—in any form—are often the target of criticism, particularly from the communities they attempting to represent. It should be noted that, while actress Katie Leclerc, who plays Daphne, has a condition, Meniere’s disease, which causes hearing loss and vertigo on an intermittent basis, she does not identify as a deaf actress and must use a deaf accent to portray Daphne. However, she is ASL fluent, learning it in high school (Orangejack). This meant her qualifications met the original casting call which said “actress must be deaf or hard of hearing and must speak English well, American Sign Language preferred” (Paz, 2010) Leclerc likens her role to that of any actor to who has to affect body and vocal changes for a role—she gives the example of Hugh Laurie in House, who is British with no limp, but was an American who uses a cane in that show (Bibel).As such, initially, some in the Deaf community complained about her casting though an online petition with 140 signatures (Nielson). Yet many in the Deaf community softened any criticism of the show when they saw the production’s ongoing attention to Deaf cultural details (Grushkin). Finally, any lingering criticisms from the Deaf community were quieted by the many deaf actors hired for the show who perform using ASL. This includes Sean Berdy, who plays Daphne’s best friend Emmett, his onscreen mother, played by actress Marlee Matlin, and Anthony Natale who plays his father; their characters both sign and vocalize in the show. The Emmett character only communicates in ASL and does not vocalise until he falls in love with the hearing character Bay—even then he rarely uses his voice.This seemingly all-round “acceptance” of the show gave the production team more freedom to be innovative—by season 3 the audience was deemed to be so comfortable with captions that the shows began to feature less SimCom and more all-captioned scenes. This lead to the full episode in ASL, a first on American mainstream television.For an Hour, Welcome to Our WorldSwitched at Birth writer Chad Fiveash explained that when the production team came up with the idea for a captioned all-ASL episode, they “didn’t want to do the ASL episode as a gimmick. It needed to be thematically resonant”. As a result, they decided to link the episode to the most significant event in American Deaf history, an event that solidified its status as a cultural community—the 1988 Deaf President Now (DPN) protest at Gallaudet University in Washington. This protest inspired the March 2013 episode for Switched at Birth and aired 25 years to the week that the actual DPN protest happened. This episode makes it clear the show is trying to completely embrace Deaf culture and wants its audience to better understand Deaf identity.DPN was a pivotal moment for Deaf people—it truly solidified members of a global Deaf community who felt more empowered to fight for their rights. Students demanded that Gallaudet—as the premier university for deaf and hard-of-hearing students—no longer have a hearing person as its president. The Gallaudet board of trustees, the majority of whom were hearing, tried to force students and faculty to accept a hearing president; their attitude was that they knew what was best for the deaf persons there. For eight days, deaf people across America and the world rallied around the student protestors, refusing to give in until a deaf president was appointed. Their success came in the form of I. King Jordan, a deaf man who had served as dean of the College of Arts & Sciences at the time of the protest.The event was covered by media around the world, giving the American Deaf community international attention. Indeed, Gallaudet University says the DPN protest symbolized more than just the hiring of a Deaf president; it brought Deaf issues before the public and “raised the nation’s consciousness of the rights and abilities of deaf and hard of hearing people” (Gallaudet University).The activities of the students and their supporters showed dramatically that in the 1980s deaf people could be galvanized to unite around a common issue, particularly one of great symbolic meaning, such as the Gallaudet presidency. Gallaudet University represents the pinnacle of education for deaf people, not only in the United States but throughout the world. The assumption of its presidency by a person himself deaf announced to the world that deaf Americans were now a mature minority (Van Cleve and Crouch, 172).Deaf people were throwing off the oppression of the hearing world by demanding that their university have someone from their community at its helm. Jankowski (Deaf Empowerment; A Metaphorical Analysis of Conflict) studied the Gallaudet protest within the framework of a metaphor. She found a recurring theme during the DPN protest to be Gallaudet as “plantation”—which metaphorically refers to deaf persons as slaves trying to break free from the grip of the dominant mastery of the hearing world—and she parallels the civil rights movement of African Americans in the 1960s. As an example, Gallaudet was referred to as the “Selma of the Deaf” during the protest, and protest signs used the language of Martin Luther King such as “we still have a dream.” For deaf Americans, the presidency of Gallaudet became a symbol of hope for the future. As Jankowski attests:deaf people perceived themselves as possessing the ability to manage their own kind, pointing to black-managed organization, women-managed organizations, etc., struggling for that same right. They argued that it was a fight for their basic human rights, a struggle to free themselves, to release the hold their ‘masters’ held on them. (“A Metaphorical Analysis”)The creators of the Switched at Birth episode wanted to ensure of these emotions, as well as historical and cultural references, were prevalent in the modern-day, all-ASL episode, titled Uprising. That show therefore wanted to represent both the 1988 DPN protest as well as a current issue in the US—the closing of deaf schools (Anderson). The storyline focuses on the deaf students at the fictitious Carlton School for the Deaf seizing one of the school buildings to stage a protest because the school board has decided to shut down the school and mainstream the deaf students into hearing schools. When the deaf students try to come up with a list of demands, conflicts arise about what the demands should be and whether a pilot program—allowing hearing kids who sign to attend the deaf school—should remain.This show accomplished multiple things with its reach into Deaf history and identity, but it also did something technologically unique for the modern world—it made people pay attention. Because captioning translated the sign language for viewers, Lizzy Weiss, the creator of the series, said, “Every single viewer—deaf or hearing—was forced to put away their phones and iPads and anything else distracting … and focus … you had to read … you couldn’t do anything else. And that made you get into it more. It drew you in” (Stelter). The point, Weiss said, “was about revealing something new to the viewer—what does it feel like to be an outsider? What does it feel like to have to read and focus for an entire episode, like deaf viewers do all the time?” (Stelter). As one deaf reviewer of the Uprising episode said, “For an hour, welcome to our world! A world that’s inconvenient, but one most of us wouldn’t leave if offered a magic pill” (DR_Staff).This episode, more than any other, afforded hearing television viewers an experience perhaps similar to deaf viewers. The New York Times reported that “Deaf and hard-of-hearing viewers commented by the thousands after the show, with many saying in effect, “Yes! That’s what it feels like” (Stelter).Continued ResonancesWhat is also unique about the episode is that in teaching the hearing viewers more about the Deaf community, it also reinforced Deaf community pride and even taught young deaf people a bit of their own history. The Deaf community and Gallaudet were very pleased with their history showing up on a television show—the university produced a 30-second commercial which aired within the episode, and held viewing parties. Gallaudet also forwarded the 35 pages of Facebook comments they’d received about the episode to ABC Family and Gallaudet President T. Alan Hurwitz said of the episode (Yahr), “Over the past 25 years, [DPN] has symbolised self-determination and empowerment for deaf and hard of hearing people around the world”. The National Association of the Deaf (NAD) also lauded the episode, describing it as “phenomenal and groundbreaking, saying the situation is very real to us” (Stelter)—NAD had been vocally against budget cuts and closings of US deaf schools.Deaf individuals all over the Internet and social media also spoke out about the episode, with overwhelmingly favourable opinions. Deaf blogger Amy Cohen Efron, who participated in 1988′s DPN movement, said that DPN was “a turning point of my life, forcing me to re-examine my own personal identity, and develop self-determinism as a Deaf person” and led to her becoming an activist.When she watched the Uprising episode, she said the symbolic and historical representations in the show resonated with her. In the episode, a huge sign is unfurled on the side of the Carlton School for the Deaf with a girl with a fist in the air under the slogan “Take Back Carlton.” During the DPN protest, the deaf student protesters unfurled a sign that said “Deaf President Now” with the US Capitol in the background; this image has become an iconic symbol of modern Deaf culture. Efron says the image in the television episode was much more militant than the actual DPN sign. However, it could be argued that society now sees the Deaf community as much more militant because of the DPN protest, and that the imagery in the Uprising episode played into that connection. Efron also acknowledged the episode’s strong nod to the Gallaudet student protestors who defied the hearing community’s expectations by practising civil disobedience. As Efron explained, “Society expected that the Deaf people are submissive and accept to whatever decision done by the majority without any of our input and/or participation in the process.”She also argues that the episode educated more than just the hearing community. In addition to DPN, Uprising was filled with other references to Deaf history. For example a glass door to the room at Carlton was covered with posters about people like Helen Keller and Jean-Ferdinand Berthier, a deaf educator in 19th century France who promoted the concept of deaf identity and culture—Efron says most people in the Deaf community have never heard of him. She also claims that the younger Deaf community may also not be aware of the 1988 DPN protest—“It was not in high school textbooks available for students. Many deaf and hard of hearing students are mainstreamed and they have not the slightest idea about the DPN movement, even about the Deaf Community’s ongoing fight against discrimination, prejudice and oppression, along with our victories”.Long before the Uprising episode aired, the Deaf community had been watching Switched at Birth carefully to make sure Deaf culture was accurately represented. Throughout season 3 David Martin created weekly videos in sign language that were an ASL/Deaf cultural analysis of Switched at Birth. He highlighted content he liked and signs that were incorrect, a kind of a Deaf culture/ASL fact checker. From the Uprising episode, he said he thought this quote from Marlee Matlin’s character said it all, “Until hearing people walk a day in our shoes they will never understand” (Martin). That succinctly states what the all-ASL episode was trying to capture—creating an awareness of Deaf people’s cultural experience and their oppression in hearing society.Even a deaf person who was an early critic of Switched at Birth because of the hiring of Katie Leclerc and the use of SimCom admitted he was impressed with the all-ASL episode (Grushkin):all too often, we see media accounts of Deaf people which play into our society’s perceptions of Deaf people: as helpless, handicapped individuals who are in need of fixes such as cochlear implants in order to “restore” us to society. Almost never do we see accounts of Deaf people as healthy, capable individuals who live ordinary, successful lives without necessarily conforming to the Hearing ‘script’ for how we should be. And important issues such as language rights or school closings are too often virtually ignored by the general media.In addition to the episode being widely discussed within the Deaf community, the mainstream news media also covered Uprising intensely, seeing it as a meaningful cultural moment, not just for the Deaf community but for popular culture in general. Lacob wrote that he realises that hearing viewers probably won’t understand what it means to be a deaf person in modern America, but he believes that the episodeposits that there are moments of understanding, commonalities, and potential bridge-building between these two communities. And the desire for understanding is the first step toward a more inclusive and broad-minded future.He continues:the significance of this moment can’t be undervalued, nor can the show’s rich embrace of deaf history, manifested here in the form of Gallaudet and the historical figures whose photographs and stories are papered on the windows of Carlton during the student protest. What we’re seeing on screen—within the confines of a teen drama, no less—is an engaged exploration of a culture and a civil rights movement brought to life with all of the color and passion it deserves. It may be 25 years since Gallaudet, but the dreams of those protesters haven’t faded. And they—and the ideals of identity and equality that they express—are most definitely being heard.Lacob’s analysis was praised by several Deaf people—by a Deaf graduate student who teaches a Disability in Popular Culture course and by a Gallaudet student who said, “From someone who is deaf, and not ashamed of it either, let me say right here and now: that was the most eloquent piece of writing by someone hearing I have ever seen” (Emma72). The power of the Uprising episode illustrated a political space where “groups actively fuse and blend their culture with the mainstream culture” (Foley 119, as cited in Chang 3). Switched at Birth—specifically the Uprising episode—has indeed fused Deaf culture and ASL into a place in mainstream television culture.ReferencesABC Family. “Switched at Birth Deaf Actor Search.” Facebook (2010). <https://www.facebook.com/SwitchedSearch>.———. “This Is Not a Pipe.” Switched at Birth. Pilot episode. 6 June 2011. <http://freeform.go.com/shows/switched-at-birth>.———. “Not Hearing Loss, Deaf Gain.” Switched at Birth. YouTube video, 11 Feb. 2013. <https://www.youtube.com/watch?v=F5W604uSkrk>.Academy of Television Arts & Sciences. “Talking Diversity: ABC Family’s Switched at Birth.” Emmys.com (Feb. 2012). <http://www.emmys.com/content/webcast-talking-diversity-abc-familys-switched-birth>.Anderson, G. “‘Switched at Birth’ Celebrates 25th Anniversary of ‘Deaf President Now’.” Pop-topia (5 Mar. 2013). <http://www.pop-topia.com/switched-at-birth-celebrates-25th-anniversary-of-deaf-president-now/>.Barney, C. “’Switched at Birth’ Another Winner for ABC Family.” Contra Costa News (29 June 2011). <http://www.mercurynews.com/tv/ci_18369762>.Bibel, S. “‘Switched at Birth’s Katie LeClerc Is Proud to Represent the Deaf Community.” Xfinity TV blog (20 June 2011). <http://xfinity.comcast.net/blogs/tv/2011/06/20/switched-at-births-katie-leclerc-is-proud-to-represent-the-deaf-community/>.Chang, H. “Re-Examining the Rhetoric of the ‘Cultural Border’.” Essay presented at the American Anthropological Association Annual Meeting, Philadelphia, Dec. 1988.DR_Staff. “Switched at Birth: How #TakeBackCarlton Made History.” deafReview (6 Mar. 2013). <http://deafreview.com/deafreview-news/switched-at-birth-how-takebackcarlton-made-history/>.Efron, Amy Cohen. “Switched At Birth: Uprising – Deaf Adult’s Commentary.” Deaf World as I See It (Mar. 2013). <http://www.deafeyeseeit.com/2013/03/05/sabcommentary/>.Emma72. “ABC Family’s ‘Switched at Birth’ ASL Episode Recalls Gallaudet Protest.” Comment. The Daily Beast (28 Feb. 2013). <http://www.thedailybeast.com/articles/2013/02/28/abc-family-s-switched-at-birth-asl-episode-recalls-gallaudet-protest.html>.Fiveash, Chad. Personal interview. 17 Jan. 2014.Gallaudet University. “The Issues.” Deaf President Now (2013). <http://www.gallaudet.edu/dpn_home/issues.html>.Grushkin, D. “A Cultural Review. ASL Challenged.” Switched at Birth Facebook page. Facebook (2013). <https://www.facebook.com/SwitchedatBirth/posts/508748905835658>.Jankowski, K.A. Deaf Empowerment: Emergence, Struggle, and Rhetoric. Washington: Gallaudet UP, 1997.———. “A Metaphorical Analysis of Conflict at the Gallaudet Protest.” Unpublished seminar paper presented at the University of Maryland, 1990.Lacob, J. “ABC Family’s ‘Switched at Birth’ ASL Episode Recalls Gallaudet Protest.” The Daily Beast 28 Feb. 2013. <http://www.thedailybeast.com/articles/2013/02/28/abc-family-s-switched-at-birth-asl-episode-recalls-gallaudet-protest.html>.Martin, D. “Switched at Birth Season 2 Episode 9 ‘Uprising’ ASL/Deaf Cultural Analysis.” David Martin YouTube channel (6 Mar. 2013). <http://www.youtube.com/watch?v=JA0vqCysoVU>.Nielson, R. “Petitioned ABC Family and the ‘Switched at Birth’ Series, Create Responsible, Accurate, and Family-Oriented TV Programming.” Change.org (2011). <http://www.change.org/p/abc-family-and-the-switched-at-birth-series-create-responsible-accurate-and-family-oriented-tv-programming>.Orangejack. “Details about Katie Leclerc’s Hearing Loss.” My ASL Journey Blog (29 June 2011). <http://asl.orangejack.com/details-about-katie-leclercs-hearing-loss>.Paz, G. “Casting Call: Open Auditions for Switched at Birth by ABC Family.” Series & TV (3 Oct. 2010). <http://seriesandtv.com/casting-call-open-auditions-for-switched-at-birth-by-abc-family/4034>.Ryan, Maureen. “‘Switched at Birth’ Season 1.5 Has More Drama and Subversive Soapiness.” The Huffington Post (31 Aug. 2012). <http://www.huffingtonpost.com/maureen-ryan/switched-at-birth-season-1_b_1844957.html>.Stelter, B. “Teaching Viewers to Hear with Their Eyes Only.” The New York Times 8 Mar. 2013. <http://www.nytimes.com/2013/03/09/arts/television/teaching-viewers-to-hear-the-tv-with-eyes-only.html>.Van Cleve, J.V., and B.A. Crouch. A Place of Their Own: Creating the Deaf Community in America. DC: Gallaudet University Press, 1989.Yahr, E. “Gallaudet University Uses All-Sign Language Episode of ‘Switched at Birth’ to Air New Commercial.” The Washington Post 3 Mar. 2013 <http://www.washingtonpost.com/blogs/tv-column/post/gallaudet-university-uses-all-sign-language-episode-of-switched-at-birth-to-air-new-commercial/2013/03/04/0017a45a-8508-11e2-9d71-f0feafdd1394_blog.html>.

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Abstract:

Introduction This article explores the phenomenon of the Creative City in the context of Aberdeen, Scotland’s third-largest city. The common perception of Aberdeen is likely to revolve around its status, for the last 50 years, as Europe’s Oil & Gas Capital. However, for more than a decade Aberdeen’s city planners have sought to incorporate creativity and culture in their placemaking. The most visible expression of this was the unsuccessful 2013 bid to become the UK City of Culture 2017 (CoC), which was referred to as a “reality check” by Marie Boulton (BBC), the councillor charged with the culture portfolio. This article reviews and appraises subsequent policies and actions. It looks at Aberdeen’s history and its current Cultural Strategy and how events have supported or inhibited the reimagining of Aberdeen as a Creative and Cultural City. Landry’s “Lineages of the Creative City” tracks the rise in interest around culture and creative sectors and highlights that there is more to the creative city than economic growth, positing that a creative city is a holistic environment in which “ordinary people can make the extra-ordinary happen” (2). Comunian develops Landry’s concept of hard (infrastructural) assets and soft (people and activity) assets by introducing Complexity Theory to examine the interactions between the two. Comunian argues that a city should be understood as a complex adaptive system (CAS) and that the interconnectivity of consumption and production, micro and macro, and networks of actors must be incorporated into policy thinking. Creating physical assets without regard to what happens in and around them does not build a creative city. Aberdeen: Context and History Important when considering Aberdeen is its remoteness: 66 miles north of its closest city neighbour Dundee, 90 miles north of Edinburgh and 125 miles north-east of Glasgow. For Aberdonians travel is a necessity to connect with other cultural centres whether in Scotland, the UK, Europe, or further afield, making Aberdeen’s nearly 900-year-old port a key asset. Sitting at the mouth of the River Dee, which marks Aberdeen’s southern boundary, this key transport hub has long been central to Aberdeen’s culture giving rise to two of the oldest established businesses in the UK: the Port of Aberdeen (1136) and the Shore Porter’s Society (1498). Fishing and trade with Europe thrived and connections with the continent led to the establishment of Aberdeen’s first university: King’s College (Scotland’s third and the UK’s fifth) in 1495. A second, Marischal College, was established in 1593, joining forces with King’s in 1860 to become the University of Aberdeen. The building created in 1837 to house Marischal College is the second-largest granite building in the world (VisitAberdeenshire, Marischal) and now home to Aberdeen City Council (ACC). Robert Gordon University (RGU), awarded university status in 1992, grew out of an institution established in 1729 (RGU, Our History); this period marked the dawning of the Scottish Enlightenment when Aberdeen’s Wise Club were key to an intellectual discourse that changed western thinking (RSA). Gray’s School of Art, now part of RGU, was established in 1885, at the same time as Aberdeen Art Gallery which holds a collection of national significance (ACC, Art Gallery). Aberdeen’s northern boundary is marked by its second river, the River Don, which has also contributed to the city’s history, economics, and culture. For centuries, paper and woollen mills, including the world-famous Crombie, thrived on its banks and textile production was the city’s largest employer, with one mill employing 3,000 staff (P&J, Broadford). While the city and surrounds have been home to notable creatives, including writers Lewis Grassic Gibbon and Lord Byron; musicians Annie Lennox, Dame Evelyn Glennie, and Emeli Sandé; fashion designer Bill Gibb and dancer Michael Clark, it has struggled to attract and retain creative talent, and there is a familiar exodus of art school graduates to the larger and more accepted creative cities of Glasgow, Edinburgh, and London. In 2013, at the time of the CoC bid, ACC recognised that creative industries graduates leaving the city was “a serious issue” (ACC, Cultural Mapping 1). The City of Culture Bid This recognition came at a time when ACC acknowledged that Aberdeen, with already low unemployment, required an influx of workforce. An ACC document (Cultural Mapping) cites Richard Florida’s proposal that a strong cultural offer attracts skilled workers to a city, adding that they “look for a lively cultural life in their choice of location” (7) and quoting an oil executive: “our poor city centre is often cited as a major obstacle in attracting people” (7). Changing the image of the city to attract new residents appears to have been a key motivation for the CoC bid. The CoC assessor noted this in their review of the bid, citing a report that 120,000 recruits were required in the city and agreeing that Aberdeen needed to “change perceptions of the city to retain and attract talent” (Regeneris 1). Aberdeen’s CoC bid was rejected at the first shortlisting stage, with feedback that the artistic vision “lacked depth” and “that cultural activity in the city was weaker than in several other bidding areas” (Regeneris 3). In an exploration of the bidding process, McGillivray and Turner highlight two factors which link to other concerns and feedback about the bid. Firstly, they compare Aberdeen’s choice of a Bid Manager from the business community with Paisley’s choice of one from their local arts sector in their bid for CoC 2021, which was successful in being shortlisted, highlighting different motivators behind the bids. Secondly, Aberdeen secured a bid team member from “Pafos’s bid to be 2017 European Capital of Culture (ECC), who subsequently played an important role” for Kalamata’s 2021 ECC bid (41), showing Aberdeen’s reluctance to develop local talent. A Decade of Investment ACC responded to the “reality check” with a series of investments in the hard assets of the city. Major refurbishment of two key buildings, the Music Hall and the Art Gallery, caused them both to be closed for several years, significantly diminishing the cultural offer in the city. The Music Hall re-opened in 2018 (Creative Scotland) and the Art Gallery in 2019 (McLean). In 2021, the extended and updated Art Gallery was named “Scotland’s building of the year” by the Royal Incorporation of Architects in Scotland (RIAS) (Museums Association). Concurrent with this was the development of “Europe’s largest new events complex, TECA [now P&J live] part financed through a £370 million stock market bond issue” (InvestAberdeen). Another cultural asset of the city which has been undergoing a facelift since 2019 is Union Terrace Gardens (UTG), the green heart of the city centre, gifted to the public in 1877. The development of this asset has had a chequered history. In 2008 it had been awarded “funding from Aberdeen Council (£3 million), the Scottish Arts Council (£4.3M) and Scottish Enterprise (£2 million)” (Aberdeenvoice) to realise a new multi-disciplinary contemporary art centre to be called ‘Northern Light’ and housed in a purpose-designed building (Brizac Gonzalez). The project, led by Peaco*ck Visual arts, a printmaking centre of excellence and gallery founded in 1974, had secured planning permission. It would host Peaco*ck Visual Arts, City Moves dance company, and the ACC arts development team. It echoed similar cultural partnership approaches, such as Dundee Contemporary Arts, although notably without involvement from the universities. Three months later, a counterbid to radically re-think UTG as a vast new city square was proposed by oil tycoon Sir Ian Wood, who backed the proposal with £50 million of his own funds, requiring matching finance by the city and ownership of the Gardens passing to private hands. Resistance to these plans came from ‘Friends of UTG’, and a public consultation was held. ACC voted to adopt Wood’s plans and drop those of Peaco*ck, but a change of administration in the local authority overturned Wood’s plans in August 2012. A significant portion of the funding granted to the Northern Lights project was consumed in the heated public debate and the remainder was lost to the city, as was the Wood money, providing a highly charged backdrop to the CoC bid and an unfortunate divide created between the business and culture sectors that is arguably still discernible in the city today. According to the Aberdeen & Grampian Chamber of Commerce (AGCC) 2022 Investment Tracker, the nearly complete UTG transformation has cost £28.3m. The AGCC trackers since 2016 provide a useful reference for a wider view of investment in the region over this period. During this period, ACC commissioned two festivals: Spectra (ACC, Culture Programme 5), a festival of light curated by a Manchester-based organisation, and NuArt (VisitAberdeenshire, Nuart), a street-art festival curated by a Stavanger-based team. Both festivals deliver large-scale public spectacles but have little impact on the development of the cultural sector in the city. The drivers of footfall, income generation, and tourism are key motivators for these festivals, supporting a prevailing narrative of cultural consumption over cultural production in the city, despite Regeneris’s concerns about “importing of cultural activity, which might not leave behind a cultural sector” (1) and ACC’s own published concerns (ACC, Cultural Mapping). It is important to note that in 2014 the oil and gas industry that brought prosperity to Aberdeen was severely impacted upon by a drop in price and revenue. Many jobs were lost, people left the city, and housing prices, previously inflated, fell dramatically. The attention of the authorities turned to economic regeneration of the city and in 2015, the Aberdeen City Region Deal (UK Gov), bringing £250m to the region, (REF) was signed between the UK Government, Scottish Government, ACC, Aberdeenshire Council, and Opportunity North East (ONE). ONE “is the private sector leader and catalyst for economic diversification in northeast Scotland” with board members from industry, enterprise, AGCC, the councils, the universities, the harbour, and NHS. ONE focuses on five ‘pillars’: Digital Technology, Energy, Life Sciences, Tourism and Food, and Drink & Agriculture. A Decade of Creativity and Cultural Development Aberdeen’s ambitious cultural capital infrastructure spending of the last decade has seen the creation or refurbishment of significant hard assets in the city. The development of people (Cohendet et al.), the soft assets that Landry and Comunian agree are essential to the complex system that is a Creative City, has also seen development over this time. In 2014, RGU commissioned a review of Creative Industries in the North East of Scotland. The report notes that: the cultural sector in the region is strong at the grass roots end, but less so the higher up the scale it goes. There is no producing theatre, and no signature events or assets, although the revitalised art gallery might provide an opportunity to address this. (Ekos 2) This was followed by an international conference at which other energy cities (Calgary, Houston, Perth, and Oslo) presented their culture strategies, providing useful comparators for Aberdeen and a second RGU report (RGU, Regenerating). A third report, (RGU, New North), set out a vision for the region’s cultural future. The reports recommend strategy, leadership, and vision in the development of the cultural and creative soft assets of the region and the need to create conditions for graduate and practitioner retention. Also in 2014, RGU initiated the Look Again Festival of Art and Design, an annual festival to address a gap in the city festival roster and meet a need arising from the closure of both Art Gallery and Music Hall for refurbishment. The first festival took place in 2015 with a weekend-long public event showcasing a series of thought-provoking installations and events which demonstrated a clear appetite amongst the public and partner organisations for more activity of this type. Between 2015 and 2019, the festivals grew from strength to strength and increased in size and ambition, “carving out a new creative community in Aberdeen” (Williams). The 2019 festival involved 119 creatives, the majority from the region, and created 62 paid opportunities. Look Again expanded and became a constant presence and vehicle for sectoral and skills development, supporting students, graduates, volunteers, and new collectives, focussing on social capital and the intangible creative community assets in the city. Creative practitioners were supported with a series of programmes such as ‘Cultivate’ (2018), funded by Creative Scotland, that provided mentoring to strengthen business sustainability and networking events to improve connectivity in the sector. Cultivate also provided an opportunity to undertake further research, and a survey of over 100 small and micro creative businesses presented a view of a tenacious sector, committed to staying in the region but lacking structured and tailored support. The project report noted consistent messages about the need for “a louder voice for the sector” and concluded that further work was needed to better profile, support, and connect the sector (Cultivate 15). Comunian’s work supports this call to give greater consideration to the interplay of the agents in the creation of a strong creative city. In 2019, Look Again’s evolving role in creative sector skills development was recognised when they became part of Gray’s School of Art. A partnership quickly formed with the newly created Entrepreneurship & Innovation Group (EIG), a team formed within RGU to drive entrepreneurial thinking across all schools of the university. Together, Look Again and EIG ran a Creative Accelerator which became a prototype for a validated Creative Entrepreneurship post-graduate short-course that has supported around 120 creative graduates and practitioners with tailored business skills, contextual thinking, and extended peer networks. Meanwhile, another Look Again collaboration with the newly re-opened Art Gallery provided pop-up design events that many of these small businesses took part in, connecting them with public-facing retail opportunities and, for some, acquisitions for the Gallery’s collection. Culture Aberdeen During this time and after a period of public consultation, a new collaborative group, ‘Culture Aberdeen’, emerged. Membership of the group includes many regional cultural and arts organisations including ACC, both universities, and Aberdeen Civic Forum, which seeks “to bring the voice and views of all communities to every possible level of decision making”. The group subsequently published Culture Aberdeen: A Culture Strategy for the City of Aberdeen 2018-2028, which was endorsed by ACC in their first Cultural Investment Impact Report. The strategy sets out a series of cultural ambitions including a bid to become a UNESCO Creative City, establishing an Aberdeen Biennale, and becoming a national centre of excellence for an (unspecified) artform. This collaboration brings a uniting vision to Aberdeen’s creative activity and places of culture and presents a more compelling identity as a creative city. It also begins to map to Comunian’s concept of CAS and establish a framework for realising the potential of hard assets by strategically envisioning and leading the agents, activities, and development of the city’s creative sector. Challenges for Delivery of the Strategy In delivering a strategy based on collaborative efforts, it is essential to have shared goals and strong governance “based on characteristics such as trust, shared values, implicit standards, collaboration, and consultation” (Butcher et al. 77). Situations like Aberdeen’s tentative bid for UNESO Creative City status, which began in late 2018 but was halted in early 2019, suggest that shared goals and clear governance may not be in place. Wishing to join other UNESCO cities across Scotland – Edinburgh (Literature), Glasgow (Music), and Dundee (Design) –, Aberdeen had set its sights on ‘City of Craft and Folk Art’; that title subsequently went to the city of Perth in 2022, limiting Aberdeen’s future hopes of securing UNESCO Creative City status. In 2022, Aberdeen is nearly halfway through its strategy timeline; to achieve its vision by 2028, the leadership recommended in 2014 needs to be established and given proper authority and backing. Covid-19 has been particularly disruptive for the strategy, arriving early in its implementation and lasting for two years during which collaborators have, understandably, had to attend to core business and crisis management. Picking up the threads of collaborative activity at the same time as ‘returning to normal’ will be challenging. The financial impacts of Covid-19 have also hit arts organisations and local councils particularly hard, creating survival challenges that displace future investment plans. The devastation caused to city centres across the UK as shops close and retail moves online is keenly felt in Aberdeen. Yet the pandemic has also seen the growth of pockets of new activity. With falling demand for business space resulting in more ‘meanwhile spaces’ and lower rents, practitioners have been able to access or secure spaces that were previously prohibitive. Deemouth Artists’ Studios, an artist-run initiative, has provided a vital locus of support and connectivity for creatives in the city, doubling in size over the past two years. ‘We Are Here Scotland’ arrived in response to the resurgent Black Lives Matter movement in 2020, as a Community Interest Company initiated in Aberdeen to support black creatives and creatives of colour across Scotland. Initiatives such as EP Spaces that re-purpose empty offices as studios have created a resource, albeit precarious, for scores of recent creative graduates, supporting an emerging creative community. The consequences of the pandemic for the decade of cultural investment and creative development are yet to be understood, but disrupted strategies are hard to rekindle. Culture Aberdeen’s ability to resolve or influence these factors is unclear. As a voluntary network without a cohesive role or formal status in the provision of culture in the city, and little funding and few staff to advocate on its behalf, it probably lacks the strength of leadership required. Nevertheless, work is underway to refresh the strategy in response to the post-pandemic needs of the city and culture, and the Creative Industries more broadly, are, once again, beginning to be seen as part of the solution to recovery as new narratives emerge. There is a strong desire in the city’s and region’s creative communities to nurture, realise, and retain emerging talent to authentically enrich the city’s culture. Since the 2013 failed CoC bid, much has been done to rekindle confidence and shine a light on the rich creative culture that exists in Aberdeen, and creative communities are gaining a new voice for their work. Considerable investment has been made in hard cultural assets; however, continued investment in and commitment to the region’s soft assets is needed. This is the only way to ensure the sustainable local network of activity and practice that can provide the vibrant creative city atmosphere for which Aberdeen has the potential. References Aberdeen Civic Forum. 4 June 2022 <https://civicforumaberdeen.com/about/>. Aberdeen City Region Deal. 5 June 2022 <https://www.gov.uk/government/publications/city-deal-aberdeen-city-region>. Aberdeen Timelines. 24 Feb. 2022 <https://localhistories.org/a-timeline-of-aberdeen/> and <http://www.visitoruk.com/Aberdeen/13th-century-T339.html>. ACC. "Aberdeen Art Gallery." 19 Mar. 2022 <https://www.aberdeencity.gov.uk/AAGM/plan-your-visit/aberdeen-art-gallery>. ———. “Aberdeen City Council Investment in Culture; 2018/19 Impacts.” 19 Mar. 2022 <https://www.aberdeencity.gov.uk/sites/default/files/2019-12/Aberdeen%20City%20Culture%20Report%202019%20.pdf>. ———. “Aberdeen City Council Cultural Mapping of Aberdeen; Final Report, July 2013.” 3 June 2022 <https://www.aberdeencity.gov.uk/sites/default/files/2020-10/FOI-19-1479%20-%20Cultural%20Strategy.pdf>. ———. “Culture Programme 2014 – 2019.” 2014. 6 June 2022 <ABERDEEN CITY COUNCIL>. AGCC. 2022 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/images/Investment-Tracker-2022-Online-final.pdf>. ———. 2019 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/investment-tracker-2019.pdf>. ———. 2018 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/Investment-Tracker-Sep-2018.pdf>. ———. 2017 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/Investment-Tracker-Sep-2017.pdf>. ———. 2016 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/Investment-Tracker-Nov-2016.pdf>. BBC. “Aberdeen City of Culture Bid ‘Lacked Vision’.” 2013. 10 May 2022 <https://www.bbc.co.uk/news/uk-scotland-north-east-orkney-shetland-23371660>. Brisac Gonzalez. 6 June 2022 <http://www.brisacgonzalez.com/aberdeen1>. Butcher, John R., David J. Gilchrist, John Phillimore, and John Wanna. “Attributes of Effective Collaboration: Insights from Five Case Studies in Australia and New Zealand.” Policy Design and Practice 2.1 (2019). 19 Mar. 2022 <https://doi.org/10.1080/25741292.2018.1561815>. Cohendet, Patrick, David Grandadam, and Laurent Simon. “The Anatomy of the Creative City.” Industry and Innovation 17.1 (2010). 19 Mar. 2022 <https://doi.org/10.1080/13662710903573869>. Comunian, Roberta. “Rethinking the Creative City: The Role of Complexity, Networks and Interactions in the Urban Creative Economy.” Urban Studies 48.6 (2011) 1157-1179. Creative Scotland. “Cultivate: Look Again’s Creative Industries Development Programme in North East Scotland.” 24 Feb. 2022 <https://www.creativescotland.com/explore/read/stories/features/2019/cultivate-look-agains-creative-industries-development-programme-in-north-east-scotland>. ———. “Restored and Re-Imagined Aberdeen Music Hall to Open to the Public in December.” 2018. 19 Mar. 2022 <https://www.creativescotland.com/what-we-do/latest-news/archive/2018/10/restored-and-re-imagined-aberdeen-music-hall-to-open-to-the-public-in-december>. Cultivate. “Cultivate: Creative Industries in the North East.” 10 May 2022 <https://static1.squarespace.com/static/5bd1cecc8155121e0614281b/t/5ef49de0036c70345dabc378/1593089519746/ CULTIVATE_project+report+2018.pdf>. Culture Aberdeen. “A Cultural Strategy for the City of Aberdeen 2018-2028.” 24 Feb. 2022 <https://www.cultureaberdeen.org/>. Deemouth Artist Studios. 5 June 2022 <https://www.deemouthartiststudios.co.uk/>. Ekos. “Creative Industries in North East Scotland.”. 2014. 10 May 2022 <https://www3.rgu.ac.uk/download.cfm?downloadfile=6117EE60-FB84-11E3-80660050568D00BF&typename=dmFile&fieldname=filename>. EP Spaces. 5 June 2022 <https://www.craftscotland.org/community/opportunity/low-cost-studio-spaces-ep-spaces--978>. First Group. The First Group Timeline. 24 Feb. 2022 <https://www.firstgroupplc.com/about-firstgroup/our-history.aspx>. Florida, Richard. The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life. New York: Basic Books 2002. Investaberdeen. “The UK’s Most Sustainable Venue.” 24 Feb. 2022 <https://investaberdeen.co.uk/flagship-projects/the-event-complex-aberdeen-(teca)>. Landry, Charles. “Lineages of the Creative City.” 24 Feb. 2022 <http://charleslandry.com/panel/wp-content/uploads/downloads/2013/03/Lineages-of-the-Creative-City.pdf>. McGillivray, David, and Turner, Daniel. Event Bidding: Politics, Persuasion and Resistance. Abingdon: Routledge 2018. McLean, Pauline. “Aberdeen Art Gallery Reopens after £34.6m Revamp.” BBC News, 2019. 24 Feb. 2022 <https://www.bbc.co.uk/news/uk-scotland-north-east-orkney-shetland-50263849>. Museums Association. “Aberdeen Art Gallery Wins Architecture Award.” 24 Feb. 2022 <https://www.museumsassociation.org/museums-journal/news/2021/11/aberdeen-art-gallery-wins-architecture-award/#>. Opportunity North East (ONE). 5 June 2022 <Who We Are | ONE (opportunitynortheast.com)>. P&J. “12 Pictures Show the ‘Golden Age’ of Broadford Works.” 2015. 24 Feb. 2022 <https://www.pressandjournal.co.uk/fp/news/591034/12-memorable-pictures-rolling-back-through-the-years-of-the-broadford-works/>. ———. History. 10 May 2022 <https://www.britishnewspaperarchive.co.uk/titles/aberdeen-press-and-journal>. Peaco*ck Visual Arts. 6 June 2022 <https://peaco*ck.studio/>. Port of Aberdeen. 24 Feb. 2022 <http://aberdeen-harbour.co.uk/about-us/history/#:~:text=Aberdeen%20Harbour%20was%20established%20in,has%20spanned%20almost%20900%20years>. Regeneris Consulting. “Aberdeen: Initial Bid for UK City of Culture – Feedback Points: UK City of Culture 2017.” 3 June 2022 <https://www.whatdotheyknow.com/request/297184/response/736087/attach/3/2017%20pt%201.pdf>. RGU. “Creative Accelerator Programme.” 2019. 10 May 2022 <https://www.rgu.ac.uk/news/news-2019/1902-rgu-launches-accelerator-to-support-next-generation-of-creatives>. ———. "Our History." 24 Feb. 2022 <https://www.rgu.ac.uk/about/our-history>. ———. “Creating a New North.” 2014. 10 May 2022 <https://www3.rgu.ac.uk/file/creating-a-new-north-pdf-1-7-mb>. ———. “Regenerating Aberdeen: A Vision for a Thriving and Vibrant City Centre.” 2014. 10 May 2022 <https://rgu-repository.worktribe.com/output/248420/regenerating-aberdeen-a-vision-for-a-thriving-and-vibrant-city-centre>. RSA. “The Scottish Enlightenment and the Aberdeen Wise Club.” 2020. 24 Feb. 2022 <The Scottish Enlightenment and the Aberdeen Wise Club - RSA (thersa.org)>. Scottish Government. Creative Industries Policy Statement. 2019. 10 May 2022 <https://www.gov.scot/publications/policy-statement-creative-industries/>. Shore Porters Society. 24 Feb. 2022 <https://www.scotland.org/about-scotland/facts/worlds-oldest-transport-business>. UK Government. “City Deal: Aberdeen City Region.” 6 June 2022 <https://view.officeapps.live.com/op/view.aspx?src=https%3A%2F%2Fassets.publishing.service.gov.uk%2F government%2Fuploads%2Fsystem%2Fuploads%2Fattachment_data%2F file%2F576627%2FAberdeen_City_Region_Deal_.docx&wdOrigin=BROWSELINK>. University of Aberdeen. 3 June 2022 <https://www.abdn.ac.uk/about/history/our-history.php>. Visit Aberdeenshire. "Marischal College." 5 June 2022 <https://www.visitabdn.com/listing/marischal-college#:~:text=Marischal%20College%20is%20said%20to,more%20austere%20architecture%20(1837)>. Visit Aberdeenshire. "NuArt Aberdeen." 5 June 2022 <https://www.visitabdn.com/listing/nuart-aberdeen#:~:text=Originating%20in%20Norway%20in%202001,public%20art%20event%20to%20Aberdeen>. Williams, Eliza. “How the Look Again Festival Is Carving Out a New Creative Community in Aberdeen.” Creative Review (2019). 3 June 2022 <https://www.creativereview.co.uk/how-the-look-again-festival-is-carving-out-a-new-creative-community-in-aberdeen/>.

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“I’m fat–and it’s okay! It doesn’t mean I’m stupid, or ugly, or lazy, or selfish. I’m fat!” so proclaims Joy Nash in her YouTube video, A Fat Rant. “Fat! It’s three little letters–what are you afraid of?!” This is the question I pose to my class on day one of Fat Studies. Sadly, many college students do fear fat, and negative attitudes toward fat people are quite prevalent in this population (Ambwani et al. 366). As I teach it, Fat Studies is cross-listed between Psychology and Gender Studies. However, most students who enrol have majors in Psychology or other behavioural health science fields in which weight bias is particularly pronounced (Watkins and Concepcion 159). Upon finding stronger bias among third- versus first-year Physical Education students, O’Brien, Hunter, and Banks (308) speculated that the weight-centric curriculum that typifies this field actively engenders anti-fat attitudes. Based on their exploration of textbook content, McHugh and Kasardo (621) contend that Psychology too is complicit in propagating weight bias by espousing weight-centric messages throughout the curriculum. Such messages include the concepts that higher body weight invariably leads to poor health, weight control is simply a matter of individual choice, and dieting is an effective means of losing weight and improving health (Tylka et al.). These weight-centric tenets are, however, highly contested. For instance, there exists a body of research so vast that it has its own name, the “obesity paradox” literature. This literature (McAuley and Blair 773) entails studies that show that “obese” persons with chronic disease have relatively better survival rates and that a substantial portion of “overweight” and “obese” individuals have levels of metabolic health similar to or better than “normal” weight individuals (e.g., Flegal et al. 71). Finally, the “obesity paradox” literature includes studies showing that cardiovascular fitness is a far better predictor of mortality than weight. In other words, individuals may be both fit and fat, or conversely, unfit and thin (Barry et al. 382). In addition, Tylka et al. review literature attesting to the complex causes of weight status that extend beyond individual behaviour, ranging from genetic predispositions to sociocultural factors beyond personal control. Lastly, reviews of research on dieting interventions show that these are overwhelmingly ineffective in producing lasting weight loss or actual improvements in health and may in fact lead to disordered eating and other unanticipated adverse consequences (e.g., Bacon and Aphramor; Mann et al. 220; Salas e79; Tylka et al.).The newfound, interdisciplinary field of scholarship known as Fat Studies aims to debunk weight-centric misconceptions by elucidating findings that counter these mainstream suppositions. Health At Every Size® (HAES), a weight-neutral approach to holistic well-being, is an important facet of Fat Studies. The HAES paradigm advocates intuitive eating and pleasurable physical activity for health rather than restrictive dieting and regimented exercise for weight loss. HAES further encourages body acceptance of self and others regardless of size. Empirical evidence shows that HAES-based interventions improve physical and psychological health without harmful side-effects or high dropout rates associated with weight loss interventions (Bacon and Aphramor; Clifford et al. “Impact of Non-Diet Approaches” 143). HAES, like the broader field of Fat Studies, seeks to eradicate weight-based discrimination, positioning weight bias as a social justice issue that intersects with oppression based on other areas of difference such as gender, race, and social class. Much like Queer Studies, Fat Studies seeks to reclaim the word, fat, thus stripping it of its pejorative connotations. As Nash asserts in her video, “Fat is a descriptive physical characteristic. It’s not an insult, or an obscenity, or a death sentence!” As an academic discipline, Fat Studies is expanding its visibility and reach. The Fat Studies Reader, the primary source of reading for my course, provides a comprehensive overview of the field (Rothblum and Solovay 1). This interdisciplinary anthology addresses fat history and activism, fat as social inequality, fat in healthcare, and fat in popular culture. Ward (937) reviews this and other recently-released fat-friendly texts. The field features its own journal, Fat Studies: An Interdisciplinary Journal of Body Weight and Society, which publishes original research, overview articles, and reviews of assorted media. Both the Popular Culture Association and National Women’s Studies Association have special interest groups devoted to Fat Studies, and the American Psychological Association’s Division on the Psychology of Women has recently formed a task force on sizism (Bergen and Carrizales 22). Furthermore, Fat Studies conferences have been held in Australia and New Zealand, and the third annual Weight Stigma Conference will occur in Iceland, September 2015. Although the latter conference is not necessarily limited to those who align themselves with Fat Studies, keynote speakers include Ragen Chastain, a well-known member of the fat acceptance movement largely via her blog, Dances with Fat. The theme of this year’s conference, “Institutionalised Weightism: How to Challenge Oppressive Systems,” is consistent with Fat Studies precepts:This year’s theme focuses on the larger social hierarchies that favour thinness and reject fatness within western culture and how these systems have dictated the framing of fatness within the media, medicine, academia and our own identities. What can be done to oppose systemised oppression? What can be learned from the fight for social justice and equality within other arenas? Can research and activism be united to challenge prevailing ideas about fat bodies?Concomitantly, Fat Studies courses have begun to appear on college campuses. Watkins, Farrell, and Doyle-Hugmeyer (180) identified and described four Fat Studies and two HAES courses that were being taught in the U.S. and abroad as of 2012. Since then, a Fat Studies course has been taught online at West Virginia University and another will soon be offered at Washington State University. Additionally, a new HAES class has been taught at Saint Mary’s College of California during the last two academic years. Cameron (“Toward a Fat Pedagogy” 28) describes ways in which nearly 30 instructors from five different countries have incorporated fat studies pedagogy into university courses across an array of academic areas. This growing trend is manifested in The Fat Pedagogy Reader (Russell and Cameron) due out later this year. In this article, I describe content and pedagogical strategies that I use in my Fat Studies course. I then share students’ qualitative reactions, drawing upon excerpts from written assignments. During the term reported here, the class was comprised of 17 undergraduate and 5 graduate students. Undergraduate majors included 47% in Psychology, 24% in Women Studies, 24% in various other College of Liberal Arts fields, and 6% in the College of Public Health. Graduate majors included 40% in the College of Public Health and 60% in the College of Education. Following submission of final grades, students provided consent via email allowing written responses on assignments to be anonymously incorporated into research reports. Assignments drawn upon for this report include weekly reading reactions to specific journal articles in which students were to summarise the main points, identify and discuss a specific quote or passage that stood out to them, and consider and discuss applicability of the information in the article. This report also utilises responses to a final assignment in which students were to articulate take-home lessons from the course.Despite the catalogue description, many students enter Fat Studies with a misunderstanding of what the course entails. Some admitted that they thought the course was about reducing obesity and the presumed health risks associated with this alleged pathological condition (Watkins). Others understood, but were somewhat dubious, at least at the outset, “Before I began this class, I admit that I was skeptical of what Fat Studies meant.” Another student experienced “a severe cognitive dissonance” between the Fat Studies curriculum and that of a previous behavioural health class:My professor spent the entire quarter spouting off statistics, such as the next generation of children will be the first generation to have a lower life expectancy than their parents and the ever increasing obesity rates that are putting such a tax on our health care system, and I took her words to heart. I was scared for myself and for the populations I would soon be working with. I was worried that I was destined to a chronic disease and bothered that my BMI was two points above ‘normal.’ I believed everything my professor alluded to on the danger of obesity because it was things I had heard in the media and was led to believe all my life.Yet another related, “At first, I will be honest, it was hard for me to accept a lot of this information, but throughout the term every class changed my mind about my view of fat people.” A few students have voiced even greater initial resistance. During a past term, one student lamented that the material represented an attack on her intended behavioural health profession. Cameron (“Learning to Teach Everybody”) describes comparable reactions among students in her Critical Obesity course taught within a behavioural health science unit. Ward (937) attests that, even in Gender Studies, fat is the topic that creates the most controversy. Similarly, she describes students’ immense discomfort when asked to entertain perspectives that challenge deeply engrained ideas inculcated by our culture’s “obesity epidemic.” Discomfort, however, is not necessarily antithetical to learning. In prompting students to unlearn “the biomedically-informed truth of obesity, namely that fat people are unfit, unhealthy, and in need of ‘saving’ through expert interventions,” Moola at al. recommend equipping them with an “ethics of discomfort” (217). No easy task, “It requires courage to ask our students to forgo the security of prescriptive health messaging in favour of confusion and uncertainty” (221). I encourage students to entertain conflicting perspectives by assigning empirically-based articles emanating from peer-reviewed journals in their own disciplines that challenge mainstream discourses on obesity (e.g., Aphramor; Bombak e60; Tomiyama, Ahlstrom, and Mann 861). Students whose training is steeped in the scientific method seem to appreciate having quantitative data at their disposal to convince themselves–and their peers and professors–that widely held weight-centric beliefs and practices may not be valid. One student remarked, “Since I have taken this course, I feel like I am prepared to discuss the fallacy of the weight-health relationship,” citing specific articles that would aid in the effort. Likewise, Cameron’s (“Learning to Teach Everybody”) students reported a need to read research reports in order to begin questioning long-held beliefs.In addition, I assign readings that provide students with the opportunity to hear the voices of fat people themselves, a cornerstone of Fat Studies. Besides chapters in The Fat Studies Reader authored by scholars and activists who identify as fat, I assign qualitative articles (e.g., Lewis et al.) and narrative reports (e.g., Pause 42) in which fat people describe their experiences with weight and weight bias. Additionally, I provide positive images of fat people via films and websites (Clifford et al. HAES®; Watkins; Watkins and Doyle-Hugmeyer 177) in order to counteract the preponderance of negative, dehumanising portrayals in popular media (e.g., Ata and Thompson 41). In response, a student stated:One of the biggest things I took away from this term was the confidence I found in fat women through films and stories. They had more confidence than I have seen in any tiny girl and owned the body they were given.I introduce “normal” weight allies as well, most especially Linda Bacon whose treatise on thin privilege tends to set the stage for viewing weight bias as a form of oppression (Bacon). One student observed, “It was a relief to be able to read and talk about weight oppression in a classroom setting for once.” Another appreciated that “The class did a great job at analysing fat as oppression and not like a secondhand oppression as I have seen in my past classes.” Typically, fat students were already aware of weight-based privilege and oppression, often painfully so. Thinner students, however, were often astonished by this concept, several describing Bacon’s article as “eye-opening.” In reaction, many vowed to act as allies:This class has really opened my eyes and prepared me to be an ally to fat people. It will be difficult for some time while I try to get others to understand my point of view on fat people but I believe once there are enough allies, people’s minds will really start changing and it will benefit everyone for the better.Pedagogically, I choose to share my own experiences as they relate to course content and encourage students, at least in their written assignments, to do the same. Other instructors refrain from this practice for fear of reinforcing traditional discourses or eliciting detrimental reactions from students (Watkins, Farrell, and Doyle-Hugmeyer 191). Nevertheless, this tack seems to work well in my course, with many students opting to disclose their relevant circ*mstances during classroom discussions: Throughout the term I very much valued and appreciated when classmates would share their experiences. I love listening and hearing to others experiences and I think that is a great way to understand the material and learn from one another.It really helped to read different articles and hear classmates discuss and share stories that I was able to relate to. The idea of hearing people talk about issues that I thought I was the only one who dealt with was so refreshing and enlightening.The structure of this class allowed me to learn how this information is applicable to my life and made it deeper than just memorising information.Thus far, across three terms, no student has described iatrogenic effects from this process. In fact, most attribute positive transformations to the class. These include enhanced body acceptance of self and others: This class decreased my fat phobia towards others and gave me a better understanding about the intersectionality of one’s weight. For example, I now feel that I no longer view my family in a fat phobic way and I also feel responsible for educating my brother and helping him develop a strong self-esteem regardless of his size.I never thought this class would change my life, almost save my life. Through studies shown in class and real life people following their dreams, it made my mind completely change about how I view my body and myself.I can only hope that in the future, I will be more forgiving, tolerant, and above all accepting of myself, much less others. Regardless of a person’s shape and size, we are all beautiful, and while I’m just beginning to understand this, it can only get better from here.Students also reported becoming more savvy consumers of weight-centric media messages as well as realigning their eating and exercise behaviour in accordance with HAES: I find myself disgusted at the television now, especially with the amount of diet ads, fitness club ads, and exercise equipment ads all aimed at making a ‘better you.’ I now know that I would never be better off with a SlimFast shake, P90X, or a Total Gym. I would be better off eating when I’m hungry, working out because it is fun, and still eating Thin Mints when I want to. Prior to this class, I would work out rigorously, running seven miles a day. Now I realise why at times I dreaded to work out, it was simply a mathematical system to burn the energy that I had acquired earlier in the day. Instead what I realise I should do is something I enjoy, that way I will never get tired of whatever I am doing. While I do enjoy running, other activities would bring more joy while engaging in a healthy lifestyle like hiking or mountain biking.I will never go on another diet. I will stop choosing exercises I don’t love to do. I will not weigh myself every single day hoping for the number on the scale to change.A reduction in self-weighing was perhaps the most frequent behaviour change that students expressed. This is particularly valuable in that frequent self-weighing is associated with disordered eating and unhealthy weight control behaviours (Neumark-Sztainer et al. 811):I have realised that the number on the scale is simply a number on the scale. That number does not define who you are. I have stopped weighing myself every morning. I put the scale in the storage closet so I don’t have to look at it. I even encouraged my roommate to stop weighing herself too. What has been most beneficial for me to take away from this class is the notion that the number on the scale has so much less to do with fitness levels than most people understand. Coming from a numbers obsessed person like myself, this class has actually gotten me to leave the scales behind. I used to weigh myself every single day and my self-confidence reflected whether I was up or down in weight from the day before. It seems so silly to me now. From this class, I take away a new outlook on body diversity. I will evaluate who I am for what I do and not represent myself with a number. I’m going to have my cake this time, and actually eat it too!Finally, students described ways in which they might carry the concepts from Fat Studies into their future professions: I want to go to law school. This model is something I will work toward in the fight for social justice.As a teacher and teacher of teachers, I plan to incorporate discussions on size diversity and how this should be addressed within the field of adapted physical education.I do not know how I would have gone forward if I had never taken this class. I probably would have continued to use weight loss as an effective measure of success for both nutrition and physical activity interventions. I will never be able to think about the obesity prevention movement in the same way.Since I am working toward being a clinical psychologist, I don’t want to have a client who is pursuing weight loss and then blindly believe that they need to lose weight. I’d rather be of the mindset that every person is unique, and that there are other markers of health at every size.Jones and Hughes-Decatur (59) call for increased scholarship illustrating and evaluating critical body pedagogies so that teachers might provide students with tools to critique dominant discourses, helping them forge healthy relationships with their own bodies in the process. As such, this paper describes elements of a Fat Studies class that other instructors may choose to adopt. It additionally presents qualitative data suggesting that students came to think about fat and fat people in new and divergent ways. Qualitative responses also suggest that students developed better body image and more adaptive eating and exercise behaviours throughout the term. Although no students have yet described lasting adverse effects from the class, one stated that she would have preferred less of a focus on health and more of a focus on issues such as fat fashion. Indeed, some Fat Studies scholars (e.g., Lee) advocate separating discussions of weight bias from discussions of health status to avoid stigmatising fat people who do experience health problems. While concerns about fostering healthism within the fat acceptance movement are valid, as a behavioural health professional with an audience of students training in these fields, I have chosen to devote three weeks of our ten week term to this subject matter. Depending on their academic background, others who teach Fat Studies may choose to emphasise different aspects such as media representations or historical connotations of fat.Nevertheless, the preponderance of positive comments evidenced throughout students’ assignments may certainly be a function of social desirability. Although I explicitly invite critique, and in fact assign readings (e.g., Welsh 33) and present media that question HAES and Fat Studies concepts, students may still feel obliged to articulate acceptance of and transformations consistent with the principles of these movements. As a more objective assessment of student outcomes, I am currently conducting a quantitative evaluation, in which I remain blind to students’ identities, of this year’s Fat Studies course compared to other upper division/graduate Psychology courses, examining potential changes in weight bias, body image and dieting behaviour, adherence to appearance-related media messages, and obligatory exercise behaviour. I postulate results akin to those of Humphrey, Clifford, and Neyman Morris (143) who found reductions in weight bias, improved body image, and improved eating behaviour among college students as a function of their HAES course. 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