Today we announced our summer 2011 RealArts@PENN paid internships. Click here for more. We created this program because we began to feel that the standard summer internship--especially in the arts--was exploitative. Orgs and companies want free smart help from college students desperate for a line on the resume and "real" "experience." An already bad trend has gotten worse because of the bad economy and because in newspapers and publishing there are the additional pressures of the changing "business plan." Our internships have been created each through a special partnership. Since we pay the stipend we are able to shape the process of selection (although finally the interns are chosen by the staff of the host entities).
Wednesday, December 22, 2010
paid summer internships
Today we announced our summer 2011 RealArts@PENN paid internships. Click here for more. We created this program because we began to feel that the standard summer internship--especially in the arts--was exploitative. Orgs and companies want free smart help from college students desperate for a line on the resume and "real" "experience." An already bad trend has gotten worse because of the bad economy and because in newspapers and publishing there are the additional pressures of the changing "business plan." Our internships have been created each through a special partnership. Since we pay the stipend we are able to shape the process of selection (although finally the interns are chosen by the staff of the host entities).
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
