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pecial l y .. . Oh, nuts! What the hell do you want. Gilmore, a :room with a view? Gilmore I WANT F REEDO M ! J want independence enough to pursue my own theories. I want the time to write my books without being chained to a stinking lectu•·e hall. And these leathe>-skinned time-travelers are just what the doctor ordered. This d ocror. Berringer No! I can' t ... l e t .. . yo u ... do this. Tt isn ' t - Berringer Gilmore You can't let me- YOU CAN'T LET ME? Are you c •·a~y?You cao\ let me do what? Make an ea.rth-shattering .conlTibution to sc.ience? Make us both famous? I can 't let you treat these bein~ like your personal ticket to stardom. This boy .. . can't you see the resemblance? He I o o .k s 1 ike ... Phi 1 i p. Gilmore Boy? Philip? 13erringer, come to your senses! These are bugs 1n amber! b7 Berringer They're human beings, Ted. You said it yourself. They' re us. let them be. Philip .. must- r mean let this boy ... rest. Please. Gilmore Let ... who? What? Herb! SNAP O U T OF THIS! RIGHT NOW! Honest lo God, Ben·inger. I've known you for twenty years and only now do f n:alizc wbat an inconigible lunatic you a•·c. Berringer Gilmore, listen to me. Ple<~Se! Ne~nderthal was the £rst being to treat death with respect. They buried their dead with care and sensitivity. They scattered floweJ·s ovet· the bodies- Gilmore I'm aware of that. He rb. Putting it blunlly. l dol'l.'t give a damn if they blew fairy dast up theit· nsscs. Culture's your field, not mine. May f remind you that every other Neanderthal ever uncovered is skeletal? Bones . my ( ,. i end , bone s . And here, through righteous living or some trick of the god~. we've stumbled onto a specimen fully pl·eserved right down to the fingernails. Not only one specimen- NO! We have proof! Solid! Indisputable! Three- dimensional PROOF in the form of a semi-chinless kid that Neanderthal interbred with CroMagnon. We h ave a family hci'e , Herb. We have answet·s to questions argued for a century and a half and you want me to let them rest? Berringer (Sadly) He'll be torn apart. Muti.lated. You know he will be. Gilmore He? Both of them. both ... of ... them. will be professionally examined and preserved. They'll be treated with respect. The public wUJ love them . My god, we've fo·und the real cave men, .not some idiotic comn1ercial joke. Berringer Bodypans ... passed around likc . .. hors d'oeuvrcs. Gilmore What the hell have you tumed into, Bernnger, &omc b leeding· heart social worker? What are you playing at? You know the routine. You know they'll be protected , Okay, all right. T may have been cru-ried away for a moment. We lead out· lives ga«ing backward and sometimes it warps the perspective. But. dammit, Berringe.1•, iFyou'te nol interested in yout· own fuhlt'e, at least con~ ider the science we've devoted our entire damn lives to. Think of the Future of Anthropology. Berringer Did l hear you correctly? Do you have the unmitigated presumption to te.llrne to think of ... Anthropology? Ts that what youjusl sa id?vVbat else dol have to think about iu my li fe besides a pointless discipline I've squandered my·wretched life on? Can you think o f somC'tll ingclse offband? Gilmore Berl'inge~! STOP lT! This is not tbe time and r.nosl certainly not [he place, to r·ehash all of that. You aSSl.ll'ed me, you assured me, that you were well enough to go on tl1i~ dig. You promised me and I believed you. Apparently we were both offlhe mark. 'FOCUS, dam mit .. T his is not sacred ground. This is not some hallowed chut·cl,yard. Th ese are fossils! Berringer This isn't the time or p l~ ce Jor wluu. Ted? Do I inconvenience you. you fa natical bastard? Have you forgotten that I am notJ1ingwithout those mush- brained college btats you have such unbridled contt> mpt for? Explain something. Ted. V\'hy djd you •·efer to these ... dead tJ1ings in an ice-age plot, .. as a family? Why use that particular ~ocio logic<~l term? Could your admirable lexicon vomit up nothing more than the word "family"" Why not "grouping." "species,'' "pair"" "Why not duet?'' Maybe they sang togeLher. Gilmoi•e . Who knows? V\'hy "family"? Gilmore A ca•·eless exp•·ession, nothing more. l need another pen. l'm going back to the tent. Berringer Don't go just yet, Ted. Look at the second fossil. Look closely. I believe the clinical term you employed was ''popside.'' Look clo..sely at the popsicle you pl.an to ch.op up to make us r ich . Why don't we call himjuniol' for the sake of expediency? Does junior look familiar? Gilmore I'm putting up with thi~ no more, Berringer. Wl10 the hell do you think you are? Everyone dies . Understand? You. me, those popsicles down lhet'e. EVERYONE! DlES! All right, Herb. Let's walk back to camp and I'll make an out-cnll. The crew can he here in ten minutes. They'lltake you down- Berringer Does the popsicle's offspri n.g look like someone you might have known? Note, Cilmor.e, the slender limbs. Gilmore Berringe•-. for God's sake! These arcARTlFACTS. Sp:u·e parts! Both of them! Tbey ... are ... NO ... RE.LAT£0N ... TO ... YOU. These objects are fifty thousand years old. You'1·e laking it too damn personally. This is our job. Berringer Nothing more. Noth i1~g more! Since my job is all 1 have left, Ted, l take il very pet·sonally indeed. Note the distortion of the smaller popsicle's slender arm. See how il bends at an odd angle above the body. Note. Gilmore. the uneven level of the ribcage. Profound trauma, do you tl1ink? Crushed diaphragm. perhaps? Gilmore lt was the weight of the icc on tl1e body. Okay, that's it. I've been indulgent en·o1.1gh. ft's late and I'm on my way back to the tent. You can come with me 01· stay here. J don' t give a damn. Berringer NOT YET! Observe, Gilmore, observe the beckoning position of the other arm as the ice balds it suspended. Who could he be 1·eaching for, GiLnore? His father? We did agree that they were fa ther and son, did we not? 7!/ Gilmore The arm froze in that p osition. The arm ... frote .. . in that position. It isn't reaching fo•· anyone. It's merely the way the a••m froze , Herb. Beninger Merely the way the arm froze. Gilmore Yes! I'm sayitlg- Berringer The way the arm froze. I'm not deaf. Is Marian down th e r c •) Gilmore Make sense, Herb . You know Marian isn't there. Berringer I know thut. I know! Did 1 ~ay she was dust? Did I call my own wife dust? ls thm wha1 I said to you? Gilmore You weren't talking about ~iarian. Herb? 1'd like you to step back. just take one step back from the pit, please. r m going to walk over to )'OU and then we'r·e both going back to camp. Do you understand? h 'li time to go now. Keep your eyes on me, Herb , Berring~r I wasn·t t.here, Ted. Did you know th, :» s.... (> "' C . 3rd Place eramzcs ~!ir~~~geas C . 0 nd Place eramzcs 4 Hollow Tree Joaquin Alfonso N. Cuiang n . l §l Place ._.~eramz cs Incense Burner viartine Cloud Me d i a :Cer a mics -. . - . ' ' . . "' ~ ~ Painting Deep Speaks to Deep NancyGunn ~----~--~--~~~----~~ Painting Wildfire Regina Mofih Painting ~~!~~- of the Giant Squid Painting Ephemeral Me d .i a :Watercolor :S:: ~ 0. Janet Cin.i _...,......,'llllrSii,..,...- ......... .._,-...Cift"""""'._ ._ .. :. ,... I'D '1 (') 0- 0 '1 Painting Honorable Mention Zombie Portrait of jacob Louise Elsass Me d i a :Acrylic > . t. 3,.d Place am zng Welcome Home, Son hirlcy Loui.o;e Elsass '"tj I.l.l . ,.::..s. . ::s ~ 1~ rna m. t m' g 2nd Place Orchids Ulllr~ " Liz'' Rosen ,... It '1 t'> -0 0 '1 §1: Place .DFa in.tidng 1' d · II r1 as Bou orr 'amela .Bleakney Drawing Untilled Stephanie Bejar Drawing Familia Madrigal .3.: : 0.. .. Drawing , L .. ., Med i a: C h arcoal M e d i a : Pen and Ink Mike Chhay L ________ _ Drawing I lonornblc Mcnuon Urban leon Adrianna Long ---='-;-;;;;;!,_;1111~~ ..,.. ..,. ~ ~----- l) a.. -· c Drawing Honorable Mcntaon Through the Looking Glass Ada-ianna Long D . 3rd Place rawzng Saraloni's Portrru1 Janet Cini () ::r .",' (') 0 ",..'. .. D . 0 nd Place rawzng 4 C~ of Bridges l.a,-y Valencia D . 1tt Place rawmg Race-ism Miguel Monz6n THf ._. CAWON 9'nln - .. - V III/ - .. . - PhotograpJ:y Untilled Laura Fraedrich PhotograpJ:y All for the Love ofHerArt La u•·a Fraedrich ~ 1i ,. 0... .~,· .. (") ~ 0- 0 l"f '"0 :r 0 0 M e d i a : Photo Photograp/:Y The Clothesline Laura Fraedrich Photograp/:Y Peeled Paint Laura Fraedrich 0 0- 0 ... '"C ::r ~ 0 Me d i a : C olor Photo Photograp':J Honorable Mention Untilled Triptych #3 Cody !farris ,tJ'f':t P"l" _. ... -~. \. . t ·~··'''-"l, ,, E 0 ~ p,. .. 0 0 (.) ~ PhotograpJ:y 3'd place ~ Two People Somewhere Doing Something #3 Miles Nitz M e d i a :Van D yke Blue ,. Photograp~ 2 nd Place Mike Lean Ulises Lar-a ..". .... -co v 0 "v' -..>. (/) .. Q ~ Photograp/:y 1 fl Place l MudMan Kru1lyn McGill Media: S i lver Gelatin Art Ceramics 1ST PLACE "Incense Burner" by Martine Cloud . . . • • • • , 23 2ND PLACE "Hollow Tree" by Joaquin Alfonso N. Guiang . . 24 3AD PLACE "Hydrangeas" by Nannette White . . . . . . 25 HONOli.ABLE MENTION "Echoing Heart1 ' by April Watt. • 26 HONORABLE MENTION "Untitled Mosaic 2 ~ by Laura Fraed,rich . . 27 HONOJtA..Bi.E MENtiON ''Untitled" by Ale:nndra Silvas . . 28 ''Pear'' by Martine Cloud • . . . . . . . • , . , , . . . 28 Sculpture 1sT PLACE "Untitled" by William Solan . 29 2ND PI.ACE "Cinco de Mayo" by Billie Spencer . 30 3R.D PLACE "Princeta with Throne" by Laura Fraedrich . 31 HONOi.ULE MENTION "Our Lady: P.ray for Protection of the lnnocen~ from Politics" by Sandra Marie Whyman. . , , , . . . 32 HONO.IlABLE MENTION "The Project Formerly Known as Clyde~ by William Solan . . . . .. . . . . ·. . . . . • . 33 HONORABLE MENTION "Moby" by Kelly Eubank. . 34- Computer Art 1sT PucE "Untitled Bird Photo lit" by Cody Harris •• , , Zm> PLACE "Gauze" by Laura Fraedrich .. • ... . • ' 35 . 36 Fin~ Table of Contents Photograp~ 1sT PLACE ~Mud Man" by Kaitlyn McGill 2ND PLACE "Mike Lean'' by Ulites Lara . .6 . 7 3R.D PlACE ~Two People Somewhere Doing Something '3" by Milea Nitz 8 HoNOilABll MENTlON "Untitled lliptych "3" by Cody Harria . . . 9 "The Clothe1line" by Laura Fraeclrich. . . , . "Peeled Paint" by uura Fraedrich. . . . . . . "All for the Love of Her Art" by Miranda Deel. uUntitled" by Jessica P~re:t. Drawing 1ST PLACE "R.ace-iJm" by Miguel Monzon . 2ND PuCE "City ofBridgea" by Larry Valencia 3JlD PLACE ~Sar.loni's Portrait" by Janet Cini . . 10 . 10 II 12 13 14 HONOilAliLE MENTION "Urban Icon" by Adrianna Long. 15 HONORABLE MllNTlON "Through the Loolring Gla11" by Nichole Hoag 15 "Untitled" by Stephanie Bejar . . . . 16 "Familia Madrigal" by Larry Valencia "L" by Mike Chhay . • . . . . . . • Painting 16 16 1ST PLACE "Frida's Boudoir ll" by Pamela Bleakney . _17 2ND PLACE "Orchide" by Laura "Liz" Rosen . . . . 18 3RD PLACE "Welcome Home, Son" by Shirley Loulae Elsau . 19 HONO:RABLE MENTION "Zombie Portrait ofjacob" by Janet Cini. • 20 ·~uaclt of the Giant Squid" by Adriano Gardner . 21 "Ephemeral" by Janet Cini . , . . . . . . 22 "Deep Speab to Deep" by Nancy Gunn . . 22 "Wildfire" by Regina Moritz . . . . . . . . 22 Credits* Student Graphic Design Staff Enriqu~ H~rnand~z Mik~ Lean AlayPa Martinez Ryan McDowell Samantha Wicker Faculg Advisors Michelle Blomberg, Graphic Design and Production Dean Teruaki, Sharon Forlnlo, Visual Art& John Ventola, English Faculg LJ1erary judges Renee Barstock Jayme Cook Cindy Dobbins Tammy Gee Julie Gray RuhmiMenon Steve Pi~st Phillip Roderick David Seitz Student Lt1erary Staff Philip Boddy Jr. Penni Brown Jared Duran Joey Grimes uann Higbee Linda Mackin David Martinez Dan:ielle Salas Special Thanks Mary Jane Onnen, English Department Chair Dawn Meyer, Traveler procedural advisor Marla DeSoto, English Department Webmaster Bobby Sample, GCc'Web Applications GCC Creative Wr~ting Faculty