ARCHIVE - Melissa's blog http://www2.evergreen.edu/fashioningthebody/blog/37/atom/feed 2007-09-30T20:22:18-07:00 ARCHIVE - beauty parlor write-up http://www2.evergreen.edu/fashioningthebody/beauty-parlor-write-up-2 2007-11-26T15:39:59-08:00 2007-11-26T15:39:59-08:00 Melissa Audio+pictures
Naming rounds

Sensory Overload. Entering into the structure, one is accosted by sounds, sights and smells. One finds tightly compact spaces layered with items displayed. The structure itself provides various scenarios for the body to interact in, while the structure as Farmer’s Market places the body into three distinct categories: Vendor, Consumer Musician, as documented by a pseudo-fourth category: the observers (in other words, us).

Observing provided quite a bit of questions, some of which are on the handout. We’d like to focus on the inquiry of “How does the time mechanism set a pace/direct the flow and interaction of bodies? How does time affect power between the bodies and within the structure?”

Vendors can only sell within the set hours of ten and three and the space marked for appropriate action as a vendor is designated by a bell: one ring in the morning to signify the beginning of the day and one in the afternoon to indicate the close of the day.  If anyone wishes to deviate from the bell, they must approach the staff in the office and request special permission.  

Before the bell, bodies interact in a fast pace manner using machinery, while as time approaches the bell, the bodies settle in for a more repetitive role.  Between the bell, the interaction of bodies exercise in parabolic energy. Beginning with the arrival of the vendors the energy begins to build and then subside in anticipation of the bell. Once the bell sounds, energy rises with the arrival of the consumer. As the consumer population increases so does the tension between the three classifications of bodies. The musicians add to the pace of time by designating the peek hours with their function as entertainment. The energy reaches its peak and then disintegrates on the approach of the bell. The musicians leave, the consumers begin to dwindle, and the bell rings, releasing tension. The interaction then turns to bodies and machines once again. Thus,, time is a technique, which provides the space for these functions to exist. ]]>
Audio+pictures
Naming rounds

Sensory Overload. Entering into the structure, one is accosted by sounds, sights and smells. One finds tightly compact spaces layered with items displayed. The structure itself provides various scenarios for the body to interact in, while the structure as Farmer’s Market places the body into three distinct categories: Vendor, Consumer Musician, as documented by a pseudo-fourth category: the observers (in other words, us).

Observing provided quite a bit of questions, some of which are on the handout. We’d like to focus on the inquiry of “How does the time mechanism set a pace/direct the flow and interaction of bodies? How does time affect power between the bodies and within the structure?”

Vendors can only sell within the set hours of ten and three and the space marked for appropriate action as a vendor is designated by a bell: one ring in the morning to signify the beginning of the day and one in the afternoon to indicate the close of the day.  If anyone wishes to deviate from the bell, they must approach the staff in the office and request special permission.  

Before the bell, bodies interact in a fast pace manner using machinery, while as time approaches the bell, the bodies settle in for a more repetitive role.  Between the bell, the interaction of bodies exercise in parabolic energy. Beginning with the arrival of the vendors the energy begins to build and then subside in anticipation of the bell. Once the bell sounds, energy rises with the arrival of the consumer. As the consumer population increases so does the tension between the three classifications of bodies. The musicians add to the pace of time by designating the peek hours with their function as entertainment. The energy reaches its peak and then disintegrates on the approach of the bell. The musicians leave, the consumers begin to dwindle, and the bell rings, releasing tension. The interaction then turns to bodies and machines once again. Thus,, time is a technique, which provides the space for these functions to exist.

We analyzed the dynamics of the exchange in the farmer’s market through both a triad and a binary conception and the context in which time interacts in these theories.

As a triad, we have, as already discussed, the consumer, the vendor and the musician. The vendor causes the space to function as the farmer’s market; the musician provides the presence of the farmer’s market and lastly, the consumer uses the space. All three categories support each other and provide an interchanging flow of power.

Similarly, in a binary manner, as Foucault tends to explore, we found dichotomous tension. For example, in the physical structure versus bodily structure, it is difficult to segment the two for they relate to each other, as the setup of the place and the interaction contained within the place. In the interior and exterior shows how the exterior of the building sets boundaries for the place, while the interior explodes nearly limitlessly (various sights, smells and sounds). If we reterm objectivity and subjectivity, objectivity implies following the rules within the structure, while subjectivity exerts as a manner in which to bend the rules while still existing within the structure.  In subjectivity, then, we enter into another dichotomy of high stakes/low stakes.  We, as observers, toyed with the idea of high stakes/low stakes, which the tension between the two is made possible in part by Judith Butler’s term of performativity, where a power structure only exerts its power by a constant reiteration of its function and it is in this repetitive notion that the power structure becomes vulnerable.  If the farmer’s market is constantly a place where bodies go to exchange, then Tim, Melissa and I, as observers, broke this primary rule of exchange in a low stakes manner.  The constant rule of the farmer’s market provided us with the space for observation in more of a low stakes manner because we were able to blend with the other bodies, while remaining apart from the bodies and interacting very little with the market as a place where bodies come to exchange.  Thus, we were left with a dichotomous high stakes/low stakes question of “What is not the farmer’s market?”

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ARCHIVE - Whoopie Cushion http://www2.evergreen.edu/fashioningthebody/whoopie-cushion 2007-11-21T10:29:13-08:00 2007-11-21T10:29:13-08:00 Melissa ARCHIVE - How I fell in love with my prosthesis http://www2.evergreen.edu/fashioningthebody/how-i-fell-in-love-with-my-prosthesis-5 2007-11-20T12:28:35-08:00 2007-11-20T12:28:35-08:00 Melissa     When I was a sophmore in high school, we had an arts assembly during which my friend, Pat a senior, read an essay he wrote about his Peugeot. He talked about his love for his car, in spite of the man things that were wrong with it. I was 16, but had delayed getting my license. Later that year, I was shocked to hear that Pat was selling his car. "I'll buy it!" I said. The Peugeot was famous in our school and it broke my heart to think of it going elsewhere. 

    So, That's how I ended up buying my first car for $650. I was pumped when I first got my license! I wanted to drive so bad! I got into my Peugeot and headed off down the street, only to get about 2 blocks away and brake down. this was the beginning of my journey with the Peugeot.

    It's funny how many flaws you can over-look when you really love something, and that car had sooooo many flaws. The back door didn't open, the cruise control was broken, when you turned it on it never turned off. The sun-roof leaked, the child window locks were stuck on, the trunk was rusting and leaky. The spare tire had to ride in the trunk because the thing that held it up was broken. The windshield wipers broke multiple times, actually, the whole car broke multiple times! But none of this mattered because I was the Peugeot driver!! Every part of the Peugeot was endearing to me. 

    One day, after getting my car back from the shop, again. I was heading off to my senior pictures and BAMMMMMM hit from behind and BAMMMMMM into the car infront. "How's my car?" I asked as I was loaded into the ambulance. "I'm affraid it didn't make it." After putting all my love into my Peugeot, it had returned the love by saving my life. Thank God old cars were made of tons of sturdy metal and big solid rubber bumpers. 

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    When I was a sophmore in high school, we had an arts assembly during which my friend, Pat a senior, read an essay he wrote about his Peugeot. He talked about his love for his car, in spite of the man things that were wrong with it. I was 16, but had delayed getting my license. Later that year, I was shocked to hear that Pat was selling his car. "I'll buy it!" I said. The Peugeot was famous in our school and it broke my heart to think of it going elsewhere. 

    So, That's how I ended up buying my first car for $650. I was pumped when I first got my license! I wanted to drive so bad! I got into my Peugeot and headed off down the street, only to get about 2 blocks away and brake down. this was the beginning of my journey with the Peugeot.

    It's funny how many flaws you can over-look when you really love something, and that car had sooooo many flaws. The back door didn't open, the cruise control was broken, when you turned it on it never turned off. The sun-roof leaked, the child window locks were stuck on, the trunk was rusting and leaky. The spare tire had to ride in the trunk because the thing that held it up was broken. The windshield wipers broke multiple times, actually, the whole car broke multiple times! But none of this mattered because I was the Peugeot driver!! Every part of the Peugeot was endearing to me. 

    One day, after getting my car back from the shop, again. I was heading off to my senior pictures and BAMMMMMM hit from behind and BAMMMMMM into the car infront. "How's my car?" I asked as I was loaded into the ambulance. "I'm affraid it didn't make it." After putting all my love into my Peugeot, it had returned the love by saving my life. Thank God old cars were made of tons of sturdy metal and big solid rubber bumpers. 

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ARCHIVE - Shoe Basket Obituary http://www2.evergreen.edu/fashioningthebody/shoe-basket-obituary 2007-11-20T12:15:47-08:00 2007-11-20T12:15:47-08:00 Melissa ARCHIVE - Cut-up http://www2.evergreen.edu/fashioningthebody/cut-up-4 2007-11-20T12:09:06-08:00 2007-11-20T12:09:06-08:00 Melissa An by children's distorted European. Frightful, gourd her is known line. More were modeled of the mouth in multitude. May they mix with beeswax and be blood blanched. But merely a madame's mouth began biting the brilliance. Herself, our young damsel, our pretty girls, an envious old maid. Beauty of form, as far as appearance is concerned, overcame her natural disgust. The man is jaundice, wearing mustache and beard, one human being sooner or later. One Man. One Woman. Children. European One. African maiden moistening them. One mind, great minds, much meaning might matter. Frequently injured, distorted, shriveled, disgust, acid. Little of it can be seen, overheard, discussed. The possibility of being in any part a woman capable of kissing, bestowing a certain fullness upon the lips of their ideal loves. 

Redness, rose-bud, blood, Rouge.

    "Roses are her cheeks,

    and a rose her mouth"

Purplish paint to touch herself up, a cold and sour disposition. Lean mouthed, flat nose, blubber lip, shriveled mouth, shrewish, decay, spoil at the mouth. As far as always as approaches a temporary gloss, destroys any grace, disgusts a grizzy, dangers a            , disguises a, decolorizes, dissipation. 

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An by children's distorted European. Frightful, gourd her is known line. More were modeled of the mouth in multitude. May they mix with beeswax and be blood blanched. But merely a madame's mouth began biting the brilliance. Herself, our young damsel, our pretty girls, an envious old maid. Beauty of form, as far as appearance is concerned, overcame her natural disgust. The man is jaundice, wearing mustache and beard, one human being sooner or later. One Man. One Woman. Children. European One. African maiden moistening them. One mind, great minds, much meaning might matter. Frequently injured, distorted, shriveled, disgust, acid. Little of it can be seen, overheard, discussed. The possibility of being in any part a woman capable of kissing, bestowing a certain fullness upon the lips of their ideal loves. 

Redness, rose-bud, blood, Rouge.

    "Roses are her cheeks,

    and a rose her mouth"

Purplish paint to touch herself up, a cold and sour disposition. Lean mouthed, flat nose, blubber lip, shriveled mouth, shrewish, decay, spoil at the mouth. As far as always as approaches a temporary gloss, destroys any grace, disgusts a grizzy, dangers a            , disguises a, decolorizes, dissipation. 

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ARCHIVE - Scott's in class writing http://www2.evergreen.edu/fashioningthebody/scotts-in-class-writing 2007-11-20T11:57:48-08:00 2007-11-20T11:57:48-08:00 Melissa Curtain opens on a black box theater. 3 tables, one with an older couple, one with a middle aged woman, one empty. All 3 people are dressed very nice, all 3 sip some coffee(ish) drink. Man reads paper, older woman reads book.

In I walk, carrying baby and diaper bag. I sit at the empty table.

Baby fusses.

Me: Are you hungeee? Do you want some numb numbs?

Older couple glance over. Middle aged woman watches intently. 

I hold baby up, middle aged woman very non-discreetly checks for a ring.

I reach into my diaper bag and pull out a blanket that I lay over my chest and begin to feed the baby.

Older couple looks shocked! The woman leans over and whispers to the man. They both berry their faces in their reading. Man coughs, shuffle paper, woman fidgets. 

Baby begins farting. Loudly. I think it's sort of cute and funny. Middle aged woman thinks it's funny. Older couple do not!

Older couple looks totally offended and they get up to leave.

I finish feeding and pull the baby up.

Baby laughs and smiles at the woman, she smiles and talks to the baby.

Woman: Hi Sweetie. Aren't you a happy girl!

I turn

Me: Are you being friendly?

Woman: How old is she?

Me: 5 months

Woman: Out for a day with mommy? or will your husband be joining you soon?

Me: Oh, it's just us. I'm single.

Woman: Oh

Long silence

Woman: Is this your first?

Me: Yep, Thank God. I can't imagine having two already.

Woman: Do you mind me asking how old you are?

Me: (laughing) How old do you think I am?

Woman: Oh I can't tell those sorts of things. I'd guess 17?

Me: I'm 21

Woman: (sounds totally relieved) Oh (lets out a breath)  What a cute sweater, she has on. Where did you get it?

Me: It was a hand-me-down.

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Curtain opens on a black box theater. 3 tables, one with an older couple, one with a middle aged woman, one empty. All 3 people are dressed very nice, all 3 sip some coffee(ish) drink. Man reads paper, older woman reads book.

In I walk, carrying baby and diaper bag. I sit at the empty table.

Baby fusses.

Me: Are you hungeee? Do you want some numb numbs?

Older couple glance over. Middle aged woman watches intently. 

I hold baby up, middle aged woman very non-discreetly checks for a ring.

I reach into my diaper bag and pull out a blanket that I lay over my chest and begin to feed the baby.

Older couple looks shocked! The woman leans over and whispers to the man. They both berry their faces in their reading. Man coughs, shuffle paper, woman fidgets. 

Baby begins farting. Loudly. I think it's sort of cute and funny. Middle aged woman thinks it's funny. Older couple do not!

Older couple looks totally offended and they get up to leave.

I finish feeding and pull the baby up.

Baby laughs and smiles at the woman, she smiles and talks to the baby.

Woman: Hi Sweetie. Aren't you a happy girl!

I turn

Me: Are you being friendly?

Woman: How old is she?

Me: 5 months

Woman: Out for a day with mommy? or will your husband be joining you soon?

Me: Oh, it's just us. I'm single.

Woman: Oh

Long silence

Woman: Is this your first?

Me: Yep, Thank God. I can't imagine having two already.

Woman: Do you mind me asking how old you are?

Me: (laughing) How old do you think I am?

Woman: Oh I can't tell those sorts of things. I'd guess 17?

Me: I'm 21

Woman: (sounds totally relieved) Oh (lets out a breath)  What a cute sweater, she has on. Where did you get it?

Me: It was a hand-me-down.

Woman: Well she looks adorable, what a pretty girl in purple.

Me: Thanks.

Woman: What's her name?

Me: Theo

Woman: excuse me?

Me: Theo

Woman: I've never heard that for a girl. Is it short for something?

Me: Well he's a boy.

Woman: (shocked) Oh!! Sorry!! (she obviously feels bad) I just thought.. because of the purple sweater.

Me: Oh it's ok, I let him wear all colors.

Woman: oh...

Long silent pause

I pull a text book out of the diaper bag

Woman: Oh (again looks totally relieved) are you in school?

Me: yes

Woman: What are you studying?

Me: Well right now we're talking about sex.

Woman looks majorly uncomfortable

Me: I go to Evergreen

Woman: Oooooh... 

 

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ARCHIVE - In class writing http://www2.evergreen.edu/fashioningthebody/in-class-writing 2007-11-20T11:38:51-08:00 2007-11-20T11:38:51-08:00 Melissa ARCHIVE - Personal Ad http://www2.evergreen.edu/fashioningthebody/personal-ad-5 2007-10-26T19:49:21-07:00 2007-10-26T19:49:21-07:00 Melissa Me: Friendly, enthusiastic, but somewhat flaky. Interested in perhaps writing a play. Looking at the individual vs society, finding oneself, identity, not really sure. Very helpful, and would give you hand where ever needed.

You: Preferably not up tight or overly analytical. A bit of a dreamer. Someone who wants to have fun but still get the work done. Encouraging and supportive, likes to share ideas, and wants help. Wants to get out there and explore new things and meet new people.

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Me: Friendly, enthusiastic, but somewhat flaky. Interested in perhaps writing a play. Looking at the individual vs society, finding oneself, identity, not really sure. Very helpful, and would give you hand where ever needed.

You: Preferably not up tight or overly analytical. A bit of a dreamer. Someone who wants to have fun but still get the work done. Encouraging and supportive, likes to share ideas, and wants help. Wants to get out there and explore new things and meet new people.

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ARCHIVE - Paper #1 http://www2.evergreen.edu/fashioningthebody/paper-1-0 2007-10-16T19:52:54-07:00 2007-10-16T19:52:54-07:00 Melissa Melissa

Fashioning the Body

October 8, 2007

Concept Rhyming Essay #1

  

Foucault on Power

   

            Power has many different meanings, but is mainly understood to be an intangible force that influences and controls. It makes one think of authority, strength, and dominance. Foucault takes a unique view on power as the invisible pressure behind society and the way all individuals act. He explores the depth of the influential powers in all of life. Who or what has the power?  What makes power? How can we play with power? Foucault uses the word “power” and morphs it into many different meanings and contexts. He uses it to explain innermost thoughts and actions and the way every part of society plays against each other to manipulate and form our existence and influence all that we do.

               While we think of power almost as an imaginary entity, Foucault talks about power as if it were alive and had personality. He says on page 44 of The History of Sexuality:

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Melissa

Fashioning the Body

October 8, 2007

Concept Rhyming Essay #1

  

Foucault on Power

   

            Power has many different meanings, but is mainly understood to be an intangible force that influences and controls. It makes one think of authority, strength, and dominance. Foucault takes a unique view on power as the invisible pressure behind society and the way all individuals act. He explores the depth of the influential powers in all of life. Who or what has the power?  What makes power? How can we play with power? Foucault uses the word “power” and morphs it into many different meanings and contexts. He uses it to explain innermost thoughts and actions and the way every part of society plays against each other to manipulate and form our existence and influence all that we do.

               While we think of power almost as an imaginary entity, Foucault talks about power as if it were alive and had personality. He says on page 44 of The History of Sexuality:

“The power which thus took charge of sexuality, set about contacting bodies, caressing them with its eyes, intensifying areas, electrifying surfaces, dramatizing troubled moments.” 

Foucault uses visual language to show power as an ever-present force in life. He sees power not only as a mental force, but as a physical one, often following it with a physical verb. He tries to explain to the reader how power affects every part of life. He says that power is so influential that it acts as a material force, and not only persuades us, but pushes us into action.

            Another way Foucault explores power is through what he calls “power relations”. He sees the person who has power over another as being a great pressure in their lives. They can impact and change that person’s mind, resulting in a change of their entire body. He also explains how powers can have relations with other powers.  There is never a time when Foucault sees an ultimate power. Instead he acknowledges power shifts and changes to form newly realized power and Foucault’s favorite, power struggles. For instance, Foucault writes about the power a parent or educator has over a child’s sexuality because they influence the child’s thoughts and actions. But, he also realizes that the child possesses his own power because his sexuality causes the parent to worry. This cause and effect is a play of power, a power relation.

            Though Foucault does not see power as being ultimate, he does view power as having other concrete characteristics. Often he refers to the “nature of power”. One of the traits he finds in power is that of repression.  Power enjoys suppressing pleasure. It feeds on the need to have complete control, usually of the cruel kind, over anything it can.

“…it is the nature of power too be repressive, and to be especially careful in repressing useless energies, the intensity of pleasures, and irregular modes of behavior.” Pg 9 

            Foucault uses this callous view of power to explain why sexuality and anything that is viewed as abnormal, is a cause of guilt within our society. To put it frankly, power wants us all to feel depressed and ashamed.

            Beside suppression, Foucault sees power as having a nature of knowledge. Often he groups the two together to become one unit of “knowledge-power.” When someone possesses knowledge they have an influence over someone who does not. We often look to someone with more knowledge for guidance, which in turn, gives them power over us. They have the power to share their knowledge or to keep it from us. The same relationship applies if the person has the knowledge of something we want to keep secret. They now hold the power because they can choose whether or not to divulge their knowledge of us. In this sense, power embodies knowledge and the two become reliant on each other and inseparable. Foucault uses this unit of knowledge-power to explain the ways we interact, and the power relations of everyday society.

            Foucault says that learning is a way of gaining more knowledge. Because knowledge is power, when you gain new knowledge you gain more power. The knowledge one already has helps them to learn, so knowledge is powerful in gaining more power.

The views of power that Foucault holds create a complex web that would not be the normal interpretation of the word.  To most, power is simply power, nothing in-depth and to be explored. We are all aware of power within our lives, but most people do not stop to think much about it. The way Foucault sees power as mainly negative, he seems to focus more on the victimization of power rather then the benefits that could come with power.

In our society it is normal to seek power. But Foucault would probably see the seeking of power as an influence of power itself. Society views power as positive so people seek it. Instead of gaining power, Foucault encourages us to escape power. The only form of power he seems to think acceptable is the power of knowledge.

Reading Foucault completely changes the meaning of power. The way he uses the word and his multiple interpretations makes us view power in a whole new way. He effectively uses the word to explain in depth the way our society functions through a play of knowledge, pleasure, and discourse that is controlled by and that controls power. Foucault sees everything as hypocrisy, so there is no real way to explain the views in or own words without sounding hypocritical ourself, especially since everything we do is affected by society’s power.

“Briefly, my aim is to examine the case of a society which has been loudly castigating itself for its hypocrisy for more than a century, which speaks verbosely of its own silence, takes great pains to relate in detail all the things it does not say, denounces the powers it excises, and promises to liberate itself from the very laws that have made it function.” Pg 8

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ARCHIVE - The Form of "The Form" http://www2.evergreen.edu/fashioningthebody/the-form-of-theo-form 2007-10-11T13:47:03-07:00 2007-10-11T13:47:41-07:00 Melissa The word "form" takes on many different meanings in the English language. There's the paper you fill out, a "form", the shape of something, its "form", and the way something was made or "formed." When combining the three you get a very unusual document:

A Form about how the Form is Formed.

Directions

1. Figure out a name for your form and write it on top of the page with larger font and perhaps some bold letters or underlining.

2. Write some directions in case people are idiotic and cannot fill out questions about themselves without specific instructions. Title your directions, again bold or underlining is encouraged. Also choose a way to bullet your directions, either with numbers, arrows or the most popular "bullet point."

3. Write the form itself. You must use boxes or lines and make sure that it is completely obvious where to write answers to form questions. Number the questions. Most of the time it is ideal to add letters from the alphabet to your numbers (42a, 42b, 42c) Include examples.

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--->Name

1a)_____________ 1b)___________________ 1c)___________________ (if you have more than 1 middle initial, fill out a

last first middle separate form for your other initial)

 

TURN PAGE --->

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The word "form" takes on many different meanings in the English language. There's the paper you fill out, a "form", the shape of something, its "form", and the way something was made or "formed." When combining the three you get a very unusual document:

A Form about how the Form is Formed.

Directions

1. Figure out a name for your form and write it on top of the page with larger font and perhaps some bold letters or underlining.

2. Write some directions in case people are idiotic and cannot fill out questions about themselves without specific instructions. Title your directions, again bold or underlining is encouraged. Also choose a way to bullet your directions, either with numbers, arrows or the most popular "bullet point."

3. Write the form itself. You must use boxes or lines and make sure that it is completely obvious where to write answers to form questions. Number the questions. Most of the time it is ideal to add letters from the alphabet to your numbers (42a, 42b, 42c) Include examples.

----------------------------------------------------------------------------------------------------------------------------

--->Name

1a)_____________ 1b)___________________ 1c)___________________ (if you have more than 1 middle initial, fill out a

last first middle separate form for your other initial)

 

TURN PAGE --->

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--->Date (if it is around midnight, write the date of the previous day. If the sun is rising then you may write the date of the current date, unless it is daylight savings time, then right the date of the previous day. This does not apply to people in Hawaii. Example: May 05 2007)

2a)____________ 2b)____________ 2c)______________

month day year

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--->Sex (This is your BIOLOGICAL sex, not your gender, not your sexual preference, not the last time you got some. If you are unsure of your sex, look between your legs. Example: If you have a vagina check FEMALE)

3a) Male____ Female____

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---> Birthday (If you were born on a day effected by leap year, please fill out the "leap year" form)

4a)______________ 4b)______________ 4c)____________

month day year

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---> Social Security Number (You MUST fill out this part of the form. It is absolutely necessary for us to invade all of your privacy in order to process this form. If you are confused about the length of your SSN, we have included the right number of spots.)

5a) _ _ _- _ _- _ _ _ _

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STOP HERE

Congratulation, you have reached the end of your form. Now, send this form into the correct address located on our website. We will process your form within 12 business days and send you the next form which must be returned to us by the end of the month.

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ARCHIVE - Beauty Parlor Observation http://www2.evergreen.edu/fashioningthebody/beauty-parlor-observation 2007-09-30T20:22:18-07:00 2007-09-30T20:22:18-07:00 Melissa My group observed A dorm.

From the outside A dorm is not much to look at. Like many buildings on campus it has a 70's style, tall, boxie, cement, with roof that's a lovely shade of rust. Every floor has a balcony. There was not much activity around the dorms. We saw two guys walking by, both appeared drowsy and bored. There are many bikes locked up outside the front doors. When first entering the building, our attention was drawn toward the stair way towards the basement. The walls are covered in a mural and there is a public posting board. There were people wondering around at the bottom of the stairs with green T-shirts that said "RAD service" on the back. Many of them carried keys and rubber gloves. We took note of the fire escape sign by the elevator. It indicated that a person should not use an elevator during a fire and should take the stairs instead. We wondered what someone in a wheel chair should do. Inside the elevator we noticed that the lights had "Evergreen" carved into them. We could not go above the second floor. The second floor's hallway went around in a loop with offices off to the side. The building appears very old, because the varies tubes are exposed on the ceiling. The walls have bulletin boards and announcements. We noticed some graffiti on the wall next to the elevator, a 4 and a backwards N. Why would someone make graffiti like that?

One thing that we took special note of was the evacuation procedure, which seemed to be written for people with apsolutely no common sense: 1. Alert all occupants in your room, or vicinity. 2. Close doors when leaving room. 3. Check Exits to make sure that they are available. 4. If possible Do not use elevators for evacuation. 5. Make check of occupants when outside fire area.

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My group observed A dorm.

From the outside A dorm is not much to look at. Like many buildings on campus it has a 70's style, tall, boxie, cement, with roof that's a lovely shade of rust. Every floor has a balcony. There was not much activity around the dorms. We saw two guys walking by, both appeared drowsy and bored. There are many bikes locked up outside the front doors. When first entering the building, our attention was drawn toward the stair way towards the basement. The walls are covered in a mural and there is a public posting board. There were people wondering around at the bottom of the stairs with green T-shirts that said "RAD service" on the back. Many of them carried keys and rubber gloves. We took note of the fire escape sign by the elevator. It indicated that a person should not use an elevator during a fire and should take the stairs instead. We wondered what someone in a wheel chair should do. Inside the elevator we noticed that the lights had "Evergreen" carved into them. We could not go above the second floor. The second floor's hallway went around in a loop with offices off to the side. The building appears very old, because the varies tubes are exposed on the ceiling. The walls have bulletin boards and announcements. We noticed some graffiti on the wall next to the elevator, a 4 and a backwards N. Why would someone make graffiti like that?

One thing that we took special note of was the evacuation procedure, which seemed to be written for people with apsolutely no common sense: 1. Alert all occupants in your room, or vicinity. 2. Close doors when leaving room. 3. Check Exits to make sure that they are available. 4. If possible Do not use elevators for evacuation. 5. Make check of occupants when outside fire area.

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