School of Humanities and Sciences
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Lecturer, Art & Art History
BioLukas Felzmann was born and educated in Zürich Switzerland, and holds a MFA from the San Francisco Art Institute. He has taught photography at the California College of the Arts, the San Francisco Art Institute and at Stanford University since 1993. His photographs have been shown in Europe, Egypt, Columbia and the United States.
Lukas Felzmann’s early works were Installations with Sculptures and Photographs. More recently the work has focused on photography with a special interest in bookmaking and publishing. Lukas Felzmann’s first Monograph “Landfall” was published in 2004 by Lars Muller Publishers and was accompanied by a retrospective at the Fotostiftung Schweiz in Winterthur. Among recent work has been a photographic exploration of the Sacramento Valley as place and as metaphor by documenting a marsh altered through agriculture. In the work images and ideas about landscape, as well as natural and cultural conditions intersect. This work resulted in two large monographs both published by Lars Muller Publishers in 2009 and 2011. The two books form a conceptual pair with the first one “Waters in Between” with texts by John Berger looking down at the conditions on the ground. The second one “Swarm” with texts by Deborah Gorden and Wallace Stevens among others, looks up at the movements of flocks of birds. A fourth book “Helix” with a text by Edgar Allen Poe was published by Cavallo Point in 2009.
Lukas Felzmann is interested in all forms of cultural expressions, particularly music, the visual arts, architecture, bookmaking and how they intersect with the natural world. His teaching embraces both digital and analogue tools and is strongly influenced by his practice as an artist.
The William H. Bonsall Professor in Music
BioStudies with Ton de Leeuw, Amsterdam Conservatory, and Klaus Huber, Basel Conservatory.
Awards: Mendelssohn Scholarship, 1968; Lady Holland Composition Award, Royal Academy of Music, 1967; Grand Prix du Disque, 1978 and 1982; Gaudeamus Music Week Prizes 1969 and 1970; Composition Stipend, City of Basle, 1969-71; Koussevitsky Prize 1978; Composition Stipend of Southwest German Radio, 1974-5; Chevalier dans l’Ordre des Artes et des Lettres, Paris 1984; Associate Royal Academy of Music, 1990; Royal Philharmonic Award for Chamber Music Composition, 1996; Fellow, Birmingham Conservatoire, 1995; Elected Member of the Akademie der Künste, Berlin, 1996; Fellow, Royal Academy of Music, 1998; Elected Corresponding Member of the Bayrische Akademie der Schönen Künste 2005.
Activities: member of International Jury ISCM, 1980 (Finland) and 1988 (Hong Kong); member jury Gaudeamus Composition Competition 1983; member of International Reading Panel, IRCAM, 1993 & 1999; member of Kranichsteiner Preis Jury, Darmstadt, 1978-96; member of board, Perspectives of New Music 1995-present.
Compositions featured throughout the world and at all the major European festivals of contemporary music. Compositions include: Fourth String Quartet, Bone Alphabet, Terrain, Allgebrah, Incipits, Unsichtbare Farben, String Trio. His opera Shadowtime was premiered as part of the Munich Biennale 2004, and has been taken to Paris, New York, Bochum and London 2004-5. In 2006, it was staged in Stockholm, Sweden. In October 2006, his orchestral piece Plötzlichkeit was premiered at the Donaueschingen Festival, Germany. His Fifth String Quartet was premiered in Witten and later played in the Aldeburgh and Salzburg Festivals.
Publications: Collected Writings, Harwood Academic Publishers, 1998; POETIK, and various articles and interviews.
Professor of English
BioKenneth Fields' collections of poetry are The Other Walker, Sunbelly, Smoke, The Odysseus Manuscripts, and Anemographia: A Treatise on the Wind. He has completed the manuscripts of two other collections: Classic Rough News and Music from Another Room. His current projects are a novel, Father of Mercies, and a collection of essays on Mina Loy, H.D., Yvor Winters, Janet Lewis, J.V. Cunningham, Anne Bradstreet, Emily Dickinson, Ben Jonson, Wallace Stevens, Jorge Luis Borges, Henri Coulette, and others. Fields teaches the Advanced Poetry Writing Workshop for the Stanford Writing Fellows. He is developing a two-part course in American film, Men in the Movies: Film Noir and the Western. He delivered the Russel B. Nye Lecture at Michigan State University's American Studies Program: "There Stands the Glass: Voices of Alcohol in Country Music."
Ubaldo Pierotti Professor of History and Professor, by courtesy, of French and Italian
BioI have taught the early history of science and medicine for many years on the premise that one of the most important ways to understand how science, medicine and technology have become so central to contemporary society comes from examining the process by which scientific knowledge emerged. I also take enormous pleasure in examining a kind of scientific knowledge that did not have an autonomous existence from other kinds of creative endeavors, but emerged in the context of humanistic approaches to the world (in defiance of C.P. Snow's claim that the modern world is one of "two cultures" that share very little in common). More generally, I am profoundly attracted to individuals in the past who aspired to know everything. It still seems like a worthy goal.
My other principal interest lies in understanding the world of the Renaissance, with a particular focus on Italy. I continue to be fascinated by a society that made politics, economics and culture so important to its self-definition, and that obviously succeeded in all these endeavors for some time, as the legacy of such figures as Machiavelli and Leonardo suggests. Renaissance Italy, in short, is a historical laboratory for understanding the possibilities and the problems of an innovative society. As such, it provides an interesting point of comparison to Gilded Age America, where magnates such as J.P. Morgan often described themselves as the "new Medici," and to other historical moments when politics, art and society combined fruitfully.
Finally, I have a certain interest in the relations between gender, culture and knowledge. Virginia Woolf rightfully observed at the beginning of the twentieth century that one could go to a library and find a great deal about women but very little that celebrated or supported their accomplishments. This is no longer true a century later, in large part thanks to the efforts of many scholars, male and female, who have made the work of historical women available to modern readers and who have begun to look at relations between the sexes in more sophisticated ways. Our own debates and disagreements on such issues make this subject all the more important to understand.