Tag: Academics

  • Visual Branding for Academics with Melissa McClure and Amanda Thorne

    Visual Branding for Academics with Melissa McClure and Amanda Thorne

    When people come to me about creating their personal academic website, few say, “I have photos ready to go.” Some professors have never taken professional photos. Many find that the photos you have of yourself feel a bit out dated. And that’s okay. What about you?

    This is a special interview for The Social Academic. I’m opening up to share a bit of my personal life because I want to introduce you to these amazing professionals, Amanda Thorne, and Melissa McClure. They’re people I trusted with my professor clients because they’ve been a great support in how I show up online this year in photos.

    Melissa McClure is a photographer in San Diego, California with 20+ years of experience. She was my wedding photographer when I got married last June at the San Diego Zoo Safari Park. I was lucky to have her support with the camera, and felt especially confident because of the artistry skills of Amanda Thorne who did my hair and makeup.

    Why am I sharing my wedding photographer and hair and makeup artist with you? Because that wasn’t the end of our journey together. It was the start. Since then we’ve done a personal branding photo shoot when I updated this website (and my personal website too). Melissa and Amanda teamed up for a photo shoot for my husband, Matthew’s website. And Melissa just did a brand shoot for my art history professor father-in-law, Bob. He’s about to launch a new YouTube channel.

    Melissa McClure and Amanda Thorne join me to share their tips and expertise about how you show up visually online. We talk about makeup, hair, photos, and getting comfortable on camera.

    Jennifer van Alstyne: Hello and welcome to The Social Academic. I have a special episode for you today where we’re going to be talking a little bit about photography and makeup and what it means to show up visually online. So I have people from my wedding team here because we actually just did a branding photo shoot for my website redesign and it was so amazing. I knew I had to share these experts with you. So I want everyone to meet Amanda Thorne of Thorne Artistry and Melissa McClure.

    Amanda Thorne: Hi!

    Jennifer: We are so excited that you could both join us live today. Amanda, would you introduce yourself?

    Amanda: Thank you so much for having me, Jennifer. And I love working with you and Melissa for your wedding and your branding shoot. My name’s Amanda Thorne. I’m originally from Ohio. I moved out here about 16 years ago now and I’ve had my company Thorne Artistry for 14 years now. So it’s been a while. I do hair makeup, wardrobe styling, and set styling.

    Jennifer: Okay, so what does that mean? If I’m someone who has no idea what any of that is, what kinds of things do you actually help people with one-on-one if you’re just working with an individual?

    Amanda Thorne
    Amanda Thorne

    Amanda: So think about it like this. Your image, your branding, what you want to get across to people about yourself and also who you want to attract. That is the big key. And I talk to my clients beforehand about who their audience is in particular and how they want to convey themselves to attract just the right people. And I do that with myself and my own business too, and I’m sure Melissa does.

    Melissa McClure

    Jennifer: Melissa, you’ve been a photographer for a long time. Tell me a little bit about how you got started. Why do you enjoy this work?

    Melissa McClure: Oh yeah. So I am about to hit my 20 years in business next month. So a little celebration for that. [Clapping] Amanda and I worked together for over a decade. I don’t even know if I can count the years. But- 

    Jennifer: I didn’t realize that! That’s a long time. Wow. 

    Amanda: Definitely. We’ve known each other a while. It’s been amazing.

    Melissa: And I started my business kind of on a whim. A coworker was getting married and wedding photography kind of fell into my lap and I ran with it. It’s been a real blessing for me over the years. And I forgot your original question, Jennifer.

    Jennifer: Oh, it was just kind of introduce yourself and let us know a little bit about who you are, who you like to work with too.

    Melissa: Yeah, absolutely. So I love to focus on destination weddings. I’ve always been a traveler. That’s a big part of my identity. Pre-COVID, I was doing almost exclusively destination weddings. Things kind of changed since the pandemic, but I still do local and destination weddings. And I love to work with brides that are just, brides and grooms and all clients. I also do portraits and boudoir. But I love to work with clients that are very chill, very, they know what they want, but they trust. Trust is a big, big part of hiring a wedding vendor…

    Jennifer: Ah, trust. I think trust is probably why I hesitated for so long to actually think about taking professional photos for The Academic Designer.

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    I’ve had The Social Academic blog and my business since 2018, but I’ve always taken selfies. And that’s always worked for me in the sense that I even told people, like, “If you don’t have time to get a professional photographer, take a selfie. It’ll work.” It’s better than nothing for now.

    I didn’t have trust in myself, but I also wasn’t sure how to start trusting potential vendors when it came to taking photos for my business. And when it came to my wedding, it felt like something that I deserved. It felt like something that was kind of part of a typical process. And so it was an easy yes for me to work with you.

    But at the same time, it wasn’t until I had that experience and found that the trust was so easy with us. Like, it came so naturally and I felt so comfortable working with both of you that I felt like I could trust myself in the process of actually doing the branding photo shoot. Yeah, it just was so meaningful to me.

    I wanted to share you both with everyone here on The Social Academic. A lot of this audience is professors, graduate students, experts, some people who are starting their own businesses now, and people who really want to show up authentically like themselves, the way that people will see them in real life and to feel comfortable in the process of getting there. Because I don’t know, maybe you’re different from me. But like, I don’t know that I’ve ever really felt comfortable in front of the camera, even though people tell me that I look comfortable.

    Amanda: You look really comfortable in front of the camera, by the way. I would never know if you hadn’t said that, that you got nervous, you look just like . . . and Melissa is really good about bringing that out of people too, which is amazing.

    Melissa: Thank you, Amanda. That’s really sweet. And I want to shout out you too, because I think there’s something about getting glammed up. It’s something we don’t do for ourselves all the time. And having a professional come in and be like, this is how I see your eyes looking the best or I see your skin looking the best. Really gives you that boost of confidence. So that when you get to me as the photographer, you’re already feeling like riding high like, “Hey, I look good. So I think the combination of the two is the sweet spot.

    Jennifer: Mmm.

    Amanda: It’s really magical, honestly, like the collaboration involved. I think the first part is just establishing what feels like you. And you really struck a note with when you said being authentic to yourself. I’ve always been a huge believer in that. And I try to talk to my clients about that. I’m like, “There are no rules. You don’t have to like pretend to be this or that or whatever the expectation is in your head. You just have to be true to yourself and what you want to convey is your authentic self. You want to pull in those same authentic people. So why would you try to be someone else?” And I do my very best to like, get people to realize, like what it is that is truly them.

    Melissa: I think people see themselves in you, too. They want to say like, “Oh, she can do this. I can do this too.” They want to feel seen and heard and you showing up and saying, “Hey, I’m going to do this for myself. You should do this for yourself.” It’s so much easier for people to see that. 

    Jennifer: Well, one of the reasons that I’m going to be recommending each of you to professor clients that I work with on strategic website plans in the future. It’s because of that personalized touch that I think that, I don’t know. I don’t know that it’s like all photographers and all makeup artists have probably different processes for starting to work with clients.

    I felt like each of you really took time to get to know me, get to know the vision that I had and even asking questions to me that like I never would have thought of. I never would have come up with on my own. And I know that that’s something that professors who are listening to this appreciate because questions really help us get to the next step in our thinking, to the next step in what we want for ourselves.

    And if you hadn’t asked me those questions, like I wouldn’t have gotten to the photo shoot part and we had like such a great plan.

    Jennifer: So wait, what was that like? We set up a time in advance. So we all, we all had like the same day and Amanda, you actually came to my house.

    I was able to get my makeup and hair done in the comfort of my own home where we were also doing the photo shoot, which Melissa came. And then we were all together. Is that right?

    Melissa: Yeah, I think that was so cool because, I was photographing you in your office, which you are right now. And one of my favorite things was Amanda saw you were wearing this beautiful orange, I think it was a sweater.

    And Amanda saw this little pop of orange in the back. She’s like, we have to have this in the back. So it was almost like she acted like a stylist while she was there, which I loved. And it’s just something I didn’t see that she saw. And, you know, having those two people that do artistic frames, working together and seeing things and helping and she was able to be there while I got to do my job photographing you and looking for the light.

    Jennifer: Now, I know we all met via like wedding, right? I got married at the San Diego Zoo Safari Park last June. And it was amazing. It’s so beautiful!

    Jennifer: So we met through weddings, but you also you both work with businesses, you work with individuals. Is that right?

    Amanda: Definitely. I work with other small businesses. I work with people up and coming, just like getting their business started and also seasoned professionals that have been doing it a long time, but just feel like they want to refresh or, you know, some new life in their brand. So I think it’s very, very fun and very interesting just to get to know what each brand does. And as a fellow business owner, I feel like I can also relate in that way where I know what I would want for my own business and how I want to come across. So I think just having that camaraderie there is also very beneficial.

    Melissa: Absolutely. I specifically work with creatives that are looking to up their presence on social media specifically. And I kind of handhold them through the process of showing up on social media authentically, like we were been talking about, but also really getting to spend more time doing what you love, which is usually creating. Creating your product, creating your art, and not having to spend all of your free time with marketing specifically.

    Jennifer: Yeah, not having to spend all of your time. That’s interesting. You know, professors are so busy, right? Like they’re teaching classes and doing research and having all these administrative duties. And the thought of the booking process for working with professionals like yourselves, even that feels like, ooh, that’s a big commitment, right? But at the same time, it’s almost like once you take that step, then the rest of the process is facilitated with such ease. You both make it so easy and so intuitive. The next step is always ready.

    I’m curious, what is the onboarding process like for you? Let’s say someone who’s listening to this is like, “Wait, I need some new photos for my academic website. I’m curious about booking.” Amanda, do you travel, like, are you open to traveling? I know Melissa is.

    Amanda: Definitely. I always travel. I also have my own studio in La Jolla and I don’t share it with anyone else. So if anyone feels like they don’t even have a spot where they feel comfortable or like a nice open space, I’m always happy to offer my space too in La Jolla. It’s really pretty. You can go outside, you can be by the beach, you can have different options for shooting, but I definitely travel. So that’s part of what I do.

    I like to make people feel comfortable in their own surroundings too. And I did love working in your office and like, you know, just seeing you in your element with your cats and it just, it added a whole other like, like you said, authenticity to the experience. So I thought that was really-

    Jennifer: Yeah. I mean, this is what it’s like to work with me, you know. Like this is what you see. And so I really wanted that to be reflected. And you both did amazing at that. Melissa, you travel all over, like really all over, right? Like I know Amanda travels in California. Are you open to traveling? Are you both international traveling or just US? 

    Amanda: Everywhere, everywhere.

    Melissa: I definitely am. I mostly travel for weddings, but I’m totally open for any sort of photography. Let’s put that out there. But yeah, I love to travel. I love to take my camera and meet new people all over the world. And it’s just so much fun. 

    Jennifer: Perfect. Okay. So this one, I think everyone should work with you, but obviously that’s not realistic. Not everyone is going to need or want a professional photographer and professional makeup for, and hair for when that photo shoot takes place. So I’m curious, like who are some people or what are some things that would clue people in if like you’re not the right fit? Like maybe you don’t need to work with me or you need to work with someone else.

    Amanda: That’s an interesting one because I always feel like not just as a sales pitch, but like genuinely I feel it always helps to have another set of eyes. So if you don’t want to hire someone, maybe just like a trusted confidant. If you really don’t feel comfortable working with someone else, I would have like a very close friend that maybe has some style or could offer some really good tips for you. Just someone on your team that can be like what Melissa was saying earlier about during your shoot. Like I picked up on little things. That’s my job. Like details are a big thing for me. So I’ll notice every little thing in the room. And if I can offer up something with, you know, my background with wardrobe or set styling, I love doing that as just sort of like an extra perk of working with me.

    But yeah, I mean, I think it’s always beneficial honestly to have someone else that really understands like how it’s going to photograph, what it looks like, not just you personally, but like the background.

    If you really are maybe a control freak or like someone that just doesn’t like to work with others or you have a way you really like doing things your way, definitely get another set of eyes in the room at least and have people like pick up like, is your hair sticking out or is there like some crazy thing sitting on your shoulder that’s going to make you look like you have a growth coming out or something? Like those are really big things that can ruin your shoot.

    Melissa: I’m going to take a little bit different spin on your question and let’s say somebody’s listening and they’re like, I would love to hire Melissa and Amanda. I just don’t know if I can afford to fly them both out. That sort of thing.

    So maybe if you are looking for someone in your area for photography or makeup and hair, then obviously referrals are going to be your best bet, asking your network if you have any referrals. But I would also have a phone conversation at minimum, FaceTime, in person if you can just to make sure you feel comfortable because I think that feeling comfortable, if you don’t feel comfortable with the person, you’re not going to look comfortable in front of the camera.

    So having an initial conversation, getting to know them at least over phone conversation, I know these days were all so busy. It’s hard to meet up in person, but I think that that’s important to get to know them and have that level of trust, going back to the word trust. Having that level of trust with them is really going to put you at ease when it comes to your photo shoot day.

    Jennifer: Is that the typical process for each of you? It starts with a phone call or FaceTime or some kind of connection?

    Melissa: Typically an email, an intro email like, “Hi, I’m interested in this,” and then I’ll share pricing and then we’ll set up a time. And then I like to ask for examples of what they’re looking for because for me, it can be more lifestyle, which is what we did more with you, Jennifer.

    Or it can be more studio, very business, plain background. So I like to get an idea of what they’re looking for. I can do both. But starting a Pinterest board with shots that you like, or if you have a friend photo that you like, sending it that way. I think Amanda’s probably very similar with makeup styles as well. Yeah.

    Amanda: I think we have the same-

    Melissa: Little bit of the same process. 

    Amanda: Process, definitely.

    Melissa: Yea!

    Amanda: We’re both very visual people. So I’ll always ask for photos of what you’re specifically attracted to. But I won’t just ask for the photos. I’ll say, “What do you like about these photos?” And then my recommendation is usually find someone that kind of resembles you. It can be someone famous or not famous. Try not to get something that’s overly photoshopped, just like more of a natural picture and something that really kind of represents, if you like the colors or whatever it is. That’s so helpful for creative people.

    Jennifer: I really like that. Our processes are quite similar. I always start with a Zoom call because I actually want to be able to talk with people and see their facial expressions. And really get to answer questions, but also look at screens sometimes at the same time because I’m visual too. I want to see what kind of website you actually like because oftentimes the way people describe things isn’t actually their preference. So being able to see things visually is really helpful for me as well. That’s really interesting.

    Jennifer: Now, both of you work with all genders. Is that correct? 

    Amanda and Melissa: Correct. 

    Jennifer: My husband Matthew was really unsure if he should do the professional makeup. I think he was set on professional hair when it came to the wedding, but one thing that we ended up doing was a test. Like a test to see how he felt about the makeup, how it felt on his skin. He never wore makeup for anything before. And so it was really fascinating for my PhD husband to go and sit in this chair and experience really how comfortable it was and how personable it was.

    The questions that you asked him while you were doing the makeup, while you were doing the hair helped get the look that he was hoping for. And maybe a look he hadn’t really thought of in advance specifically. You obviously had your conversations about those visual preferences, but even what happens in the moment can really impact us. And so I just loved watching that experience because I was also there for a test right before him and it was just so fun.

    I wanted to mention that because if you are a professor who identifies as a man or a woman or are transgender, these are people who are excited to help you get the look that you want for yourself and get a look that’s lasting.

    These photographs are so usable in different areas of my life. They’ve been used when I’ve been a podcast guest on another podcast. They’ve been used for articles and publications. They’re on my own website. They’re on my social media. And so I really like how intentional it helps to be with other people about ourselves when it comes to things that will end up in a lot of places. Thank you. Thank you! Thank you for making that experience so good for me.

    Amanda: And thank you for trusting us. Honestly, I mean, that does mean a lot because a lot of people. I always tell my husband, I’m like, I’m actually kind of a therapist in the session sometimes too. 

    Jennifer: Yeah. 

    Amanda: And things can come up. Everyone has something with their appearance or something that someone may have said to them in their lifetime, and it still is there. You don’t know what’s going to bubble up. 

    Jennifer: Yeah. 

    Amanda: It’s great though because we can sort of like work through it together. And I like to be sort of like a safe space for people. And what you said earlier about Matthew coming in, I thought that was really great that you guys came together for the experience and that men understand that. There used to be a stigma, but I really don’t think that’s the case anymore with men getting hair and makeup. It’s so natural and so normal and anyone can come in and it’s great. Who doesn’t want to see yourself from a different perspective or enhancing what you already are is more like what it is.

    Melissa: Yeah. Matthew looked very natural. You can’t pick out that he’s wearing makeup in the wedding photos or the branding photos. 

    Amanda: I never think it’s fair that women in photos have perfect flawless skin and makeup. And the guys, if they get a sunburn or if they have a pimple, it’s like- 

    Melissa: Too bad, too bad.

    Amanda: They just don’t do anything, but it’s nice to have everyone looking flawless in your pictures.

    Melissa: Regardless of gender, everybody wants to look really- It looks 

    Amanda: Yes,exactly. You hit the nail on the head. 

    Jennifer: His family was so cute. They were like, “You’re all coiffed.” It’s perfect.

    Melissa: Coiffed, I love that. I love that. Oh my gosh.

    Jennifer: Now, when I think back on that process and I think about the day before the, not the wedding photo shoot, but the branding photo shoot that we did. I am someone… Okay, so I like makeup. I like taking selfies. I like taking photographs. I think I’m pretty good at taking photographs too. And so I actually had thousands of photographs that I had to upload from my phone onto my computer and it was because I was going on a trip. So I did this the day before our photo shoot. I uploaded probably 200 photos of myself into this one folder.

    And I was like, “Wow, there’s so many photos of myself. Let me look through them and see if any are usable for my website because I’m going to be doing this redesign, but maybe I could fill things in when it comes to the photo shoot that we’re doing together.”

    There was nothing. I mean, not that they were bad photos, but there was nothing that I was proud of and excited to share.

    The feeling that I had when I got the photos back and I saw myself. I actually got the photos when I was traveling with some friends. And so we all looked at them together at the same time. It’s the only time I’ve ever done that. Like, looked at photos of myself with other people and they were excited for me, but they were excited because they could feel my personality and who I am through the photos and the makeup and the hair that we did together. It was such a collaborative project.

    Jennifer: We talked about people who maybe can’t afford to have you both out there, maybe can’t let go of some of their control preferences to let someone else in. And that’s okay. What are your suggestions for people who are going to do it themselves? Who are maybe, “I’ve never done makeup before. I’ve never even taken photographs before.” Do you have anywhere to start that you might recommend?

    Melissa: Yeah, I’ll go first. With photography, it all comes down to lighting. Lighting is the most important thing. People think it’s backdrop or anything like that. It’s truly lighting. So if you are going to do a self-photoshoot, set up a selfie station, something like that, I would maybe invest in a little remote that can trigger your phone or use the timer feature. They just added a five second timer. So it’s no longer three and 10 seconds on the iPhone. You can also do five seconds, which is great. And find some good light, find a decently plain backdrop or whatever look you’re going for. Dress in a nice solid color and just experiment with how you look.

    The lighting is really going to level up the professional look of the photo. Portrait mode is great on the iPhone. Unfortunately, I don’t know Android’s, I’m talking specifically iPhones, but they have something similar. Just to give you a little more of that depth of field blurred background feel, which also makes it a little more professional. So that would be my two tips. Find some really pretty lighting. Get right in front of a nice big window and practice your smiles and your posing.

    Amanda: I also think another thing, I think those are great tips and also the lighting, like Melissa said, is key. But also I feel like really being prepared. So what we would have you do too, like we talked about the Pinterest boards. I’m big on that too. Like come up with a styling board of some sort where you’re kind of putting together a palette.

    Start with colors that you like, that you gravitate toward. If you want it monochromatic, do that. If you want to do something colorful, what colors are we doing? Start really like looking at photos that resonate with you and put together a styling board, but condense it and make it. Yeah, you don’t want to be overwhelmed with a million things like, “Oh, I should try this or this.” Don’t do that. You’re just going to drive yourself crazy. Just condense it to a few of your favorites and sort of focus on that. Say, “Okay, I can go buy that sweater. I like that color. These are some colors for my makeup that would look really nice and compliment the background or what I’m wearing.” That sort of thing.

    So kind of have an idea of what you’re doing and then be organized about it. If you want several looks, have that ready to go. And then if you’re doing hair and makeup switches, what are those going to be? Have little prompts about what you need to change into or what changes for hair and makeup you might make too. And think about your surroundings too. What does the set look like, “the set”? Your home, or what do you want in the photo? I love crystals, so for me, I would add some of my favorite crystals in the background, something like that. Something that’s personal.

    Melissa: Also, when you are going into a photo shoot, whether you’re hiring us, whether you’re hiring someone else, doing it yourself, is knowing where the photos are going to go. So are they going to go on social media? Then most likely, you’ll want to take most of the image in vertical, straight up and down, because that is what social media likes. If it’s for your website, you may need more horizontal images. You may need a hero image for your website where you need to be a little more pulled back because it needs to be longer. Having an idea of exactly what you want so you can frame it in the way is going to make your job so much easier afterwards.

    And one more tip. I truly feel that when we get photographed, a lot of times we’re very hard on ourselves, especially when we photograph ourselves. Sometimes you’re like, “Oh, I don’t know if I liked any of those.” Walk away from it for a little bit. Give it an hour, give it 24 hours, and then go back because we have very heightened emotion when we’re taking the photos and like, “Oh, I want this to be perfect. I look good. I don’t look good.” That sort of thing.

    We kind of fight with ourselves. Sometimes just removing yourself from the photos for a little bit and then going back to them can be super helpful and just seeing them in a different way.

    Jennifer: That’s so helpful. Now, one thing to know if you’re a professor who’s wanting to do your photo shoot on campus, and I just know this from working university in the university events office when I was in school, is that oftentimes you may need permission to bring a professional photographer or stylist on campus if the photos are going to be used “commercially.” That is often not the case when you are a student of the school or a faculty of the school or you work there. Or maybe even if you’re an alumni, they may have a special form or process for you to fill out. It is good to check in because part of my job when I was doing that was to make sure that photographers who were on campus that didn’t have that slip did go and file things with the office.

    This is mostly for the campus, like to protect things. It’s like a liability concern. They do occasionally need insurance for some situations, often not photography, but I just wanted to make that clear.

    If you’re planning to do photos on campus, it’s good to ask or clear it with your supervisor or with whatever office is in charge of photography on campus, just to be sure.

    Campus photographers are typically not available for outside photo shoots. If you’re looking for someone local, maybe you can’t bring Amanda and Melissa in, especially if they’re flying maybe across the country or to another country. Just know university photographers often are so busy, they just don’t typically have time to work on your project.

    Your campus photographer or media office may have local recommendations though, so it’s worth asking. Just maybe don’t expect them to be able to drop things. Unfortunately, they’re typically really booked up with many different offices on campus needing their support. And, universities don’t usually have makeup and hair artists / stylists. So definitely reach out to Amanda no matter what. And, it’s good to ask for recommendations.

    Jennifer: I’m curious. Both of you mentioned that kind of introductory call. Are there questions you should be sure to ask a professional if you’re thinking about working with you?

    Melissa: Yeah, for me, it’s what the packages look like.

    Do you get the digital images?

    Am I allowed to use these for commercial, for my website, and for potentially making money off of them?

    Because there are some tricky copyrights with photography. So just be very clear on, “Hey, I want to use these for my business. This is a branding photo shoot,” and then see where they lie.

    Make sure you’re not just paying for the shoot, you’re paying for the images as well all in one.

    Also, what the timing looks like. Photographers will know the best time for lighting, and if you go to them and be like, “I have to shoot at noon,” a photographer might be like, “Let’s rework this a little bit.” So deferring to them for lighting and even location. If you want on campus, that’s one thing. But if you want an off-campus location, asking referrals for your photographer is totally, totally . . . we love it.

    Amanda: I think some of the big things to maybe consider if you are hiring a stylist are, if the stylist will stay on set with you for the duration of the shoot. Because, like you said, if you’re doing it yourself, you get hyperaware maybe, and you’re focused too much on every little thing. But to have the stylist like I did with you Jennifer, where I can be there as your person in the background, like, “Oh, hang on. We got to move your hair over a little bit,” or, “Nope, nope, nope. We got to move something here or change this.” I can be that person, so you don’t have to be the one worrying about it. Just find out if that service is available, and if they will stay for the duration of the shoot.

    Also, keep in mind maybe what kind of products they’re using. Sometimes it’s important for people to have clean products. I try to use cleaner brands. I think that’s important. I wouldn’t want to use anything on someone’s skin that I wouldn’t use on my own, so I would ask about that and what they use, especially if you have allergies that you’re concerned about or anything like that.

    Then just basically some ideas about what they can offer in terms of helping you come up with your look.

    Melissa: Knowing what you’re going to wear when you’re going into the shoot, because that’ll help us also with location and colors. Amanda, I know that’ll help with makeup tones and everything like that. I love when clients send me ideas for what to wear, and I could be like, “This one is going to photograph really well.”

    For some reason, neon colors are popular and neon colors do not photograph well.” I will tell people that. Stay away from the hot thing.

    Jennifer wore this gorgeous orange sweater. I brought it up again, but it just popped with her skin tone and everything. It was the perfect, perfect color. If you’re on the fence about what to wear, ask the professionals.

    Jennifer: Amanda, when you mentioned – as a stylist, that was something that I actually kind of wish I had chosen for my wedding. When it came to the branding photo shoot, I remember at the time really feeling like it was a splurge. This is something that I’m gifting to myself because I actually think that this team is so great that I can see our synergy working together even better day of.

    Now, when it came to the day of, I really was so glad that I had invested in that because I felt more comfortable. It was almost like having an extra—not that Melissa and I have obviously done photographs together and it’s fine, but having another person there helped me feel more comfortable. It actually helped me feel like, “Oh, I can’t let someone else think about these things that maybe I would want to think about. I would probably be looking around the room. Should I move anything? Should I spot anything?” My brain got to relax. My brain got to kind of let go and let Melissa take these amazing photos. She knew where she was going in the office, so it let my brain focus on just being myself.

    It was interesting that having more people in the room was better for me because I’m really introverted. I’m a super introverted person who mostly connects with people virtually. It was fascinating that that made it more comfortable for me. I’m so glad that you were both there.

    Melissa: We have that rapport. We have that chemistry already because we have worked together a few times now. I think it’s great. Just having a team to support you is going to maybe have the best results.

    Amanda: If it’s someone that is an introvert, they could always do a preview. With weddings, we do what’s called a bridal preview where you come in, you try out your look, you see how it feels, you see if you want to tweak anything. If it’s translating from, say, the photo to your own features, that’s a big deal. That’s totally an option too, just to try it out first and see. Then also that makes you have the chance to build rapport with the artist, with the stylist, especially if I’m going to be on set with you. That’s the time we can get to know each other. Then that day, it’s more cas [casual].

    Jennifer: Just for everyone who’s listening, trial is typically a paid experience. I just want to mention, even though it’s called a trial, it doesn’t mean that you’re trying out the service. It means that you’re trying things out to see how it feels on your face, to see how your hair is reacting to it. You’re trying it together.

    Oh, this is such a good conversation. Is there anything else you want to chat about or add before you wrap up?

    Melissa: I think that people, I think you mentioned this earlier, Jennifer, but I think people struggle with the, “Is this worth it? Am I worth it? Investing in yourself?” I really think it is. Pictures really convey a message to your audience. Your branding is very, very important and you want to show up as your authentic self. Spending that little bit of extra money is really going to help you level up your website, your social media, that sort of thing. Selfies are great. Self-photos are good too. A mixture of both I think is where the sweet spot is.

    Amanda: I completely agree with you and I also wanted to point out, I’ve seen a lot of branding right now with AI and it just strikes me as too slick. I guess it is the word slick and just not authentic, which I guess if you don’t care about that portion of it, you just want a really polished, flawless picture. That’s fine. But if you really do want to connect, I don’t think AI is where it’s at for authentically connecting.

    Jennifer: Yeah, and I don’t think that AI is even there yet.

    Amanda: Just my thought, it seems like something’s off almost. If I see it, I can’t connect with it. If I see someone and it’s just . . . I don’t get a sense of who they are. 

    Jennifer: You can tell, you can tell when it’s an AI photo

    Amanda: Definitely.

    Melissa: I think it’s an easy out and I think easy outs are always not going to be ultimately the long-term option.

    Jennifer: Yeah, and I feel like this audience, academics, they are not easy way out people. They have stayed in school doing their research, doing their teaching for so long in order to create oftentimes quite slow changes that make big impact. That is something that you can do for yourself too. That is something that you can do with this gift to yourself.

    The way that I think about it is you don’t even need to be on social media or have a website for this kind of service to really benefit you as an academic. There are news articles that your university or your college might want to write about you. There are local appearances in the news or maybe in an academic society organization where they might not need to share your photo, where they might want to have options for what to share. Maybe that kind of stoic traditional headshot that you took for your campus photographer isn’t going to cut it for that use because it doesn’t feel like you. It doesn’t feel like this purpose. You have options and these two amazing people are my favorite options for you. They’re who I’m going to be recommending to my professor clients from now on.

    Amanda: Thank you. And don’t forget guys, this is a tax write-off too. [Laughing]

    Jennifer: That is so true. 

    Melissa: That’s the best advice. That’s the best advice I’ve heard. 

    Amanda: I do my pictures too and I’m like, “I can just write it off. It’s fine.”

    Jennifer: Yes, this is helping your career.

    Amanda: And I also wanted to point out, so during the shoot, I was the person that was doing behind the scenes content too. So that’s another element that you’re, it’s kind of like a bonus. It’s like if you have a stylist that loves social media like I do, I’m always video, videotaping everything. I like doing reels. So I love sharing that with my clients too. Like, “Oh, I got these behind the scenes footage” or for the photographers too. I’m like,” I got you in action. Here you go.” 

    Jennifer: So fun. 

    Amanda: It’s social content for everybody, which everybody needs.

    Jennifer: There are so many ways that we can create more authenticity for ourselves, whether it’s through behind the scenes content or even people who have never worn makeup, never had their hair professionally done can still feel more like themselves by working through this together. And so I really appreciate you both coming on the show and sharing your expertise because you are humans that I care about. And I know can help so many people.

    Melissa: Thank you Jennifer.

    Amanda: Thank you Jennifer, and I just wanted to point out you don’t have to wear a ton of makeup or do something crazy with your hair. It’s just a little bit of an elevation. So if you are a natural person, we can keep it natural. It doesn’t have to be like another level. But it’s just, I kind of feel like I have an eye for how much you need for it to show up properly in photos and what Melissa needs to capture your features, your best features. That’s what I’m there for, to pick up the best parts about you and kind of show the world.

    Jennifer: Thank you so much for coming on The Social Academic and for everyone listening. I’m going to have their contact information in the description below so you can get in touch if you’re interested in working with these amazing people.

    Melissa: Thank you! 

    Amanda: Thank you! Thanks for having us. 

    Melissa: Appreciate you.

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    Amanda Thorne is the owner of Thorne Artistry, an award-winning, inclusive, creative styling company based in San Diego, California, but available worldwide! Thorne Artistry not only offers hair & makeup for weddings, but all special events including family, branding sessions, and editorial shoots.

    Thorne Artistry specializes in, and is known for, soft or natural glam that elevates your beauty, while making sure it still looks & feels like you. Thorne Artistry is also known for a focus on clean beauty, and the best products available.

    Amanda Thorne
    Thorne Artistry Logo

    Thorne Artistry’s work has been published nationally & internationally in Rolling Stone, Vogue India, Martha Stewart Weddings, US Weekly, and People magazine. Locally,  you can see Amanda’s work grace the covers of Exquisite Weddings, Pacific, and San Diego Style magazine.  You may also see her work appear on The Bachelor, Summer House, or other Bravo favorites.

    Thorne Artistry has worked with multiple celebrity clients, and appears regularly in well-known wedding publications like Martha Stewart Weddings, Style Me Pretty, The Knot, Magnolia Rouge and many more. Thorne Artistry has consistently won WeddingWire and The Knot Couples’ Choice Awards, was voted Best Hair and Makeup by the San Diego A-List Awards and voted by her peers for Best Hair & Makeup by California Wedding Day magazine.

    Born in Ohio, Amanda has always had the travel bug, has visited over 23 countries, and has lived in Australia, Seattle, San Francisco, & currently resides in the La Jolla neighborhood of San Diego. Her styling career started while studying at the University of Dayton where she produced TV commercials. Amanda is also a former radio DJ, and was the host of Alt949’s Big Sonic Chill.

    When Amanda’s not creating beauty, she can be found outdoors with her husband and two kiddos going on lots of road trips, hiking, listening to good music, finding new coffee spots, fun thrift markets, or reading biographies, or a good psychological thriller! Reach out to chat more & reserve your upcoming date.

    Melissa McClure is a wedding and personal branding photographer with 20+ years of experience. She lives in San Diego, California. Melissa is a also a ‘social media goddess’ and coach who helps women entrepreneurs step out of their comfort zone and own their power online.

    Melissa McClure is redesigning her photography website. I’ll update this page when her new website is live for you! In the meantime, get in touch through her coaching website.

    Melissa McClure with her camera

    Want to work with Melissa or Amanda? Yay! I accept no monies or gift when you move forward with them. I share them each with you because they’ve helped me with their expertise and artistry. I trust them to help you too. Thank you!

    —Jennifer

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  • Supporting early-career academics – in all their roles

    Supporting early-career academics – in all their roles

    The conventional view of a successful career in academia is a linear pathway from academic study to post-doctoral work to, finally, academic employment. However, this traditional perspective fails to acknowledge the complexity and conditional nature of entering academia.

    Higher education has transformed rapidly into a multi-faceted environment, underpinned by teaching, research, industry experience, scholarly activity, and wider responsibilities – and early-career academics (ECAs) are critical to that academic ecosystem.

    The challenges ECAs face can be extensive: foremost among them the planning and delivering of teaching content, added to the pressure of research, publications and preparing funding applications, as well as engaging in broader activities in pursuit of career development. When coupled with the potential uncertainty surrounding contract renewal, these factors can create an environment where stress and anxiety are pervasive.

    Accessing the necessary resources, activities and support is crucial to developing a thriving career. Helping to achieve a balance between focusing on teaching, research outputs, personal wellbeing and building a strong professional network is fundamental.

    Balancing the multiplicity of roles may make this initial transition difficult for ECAs. While research output and funding success of ECAs are often closely scrutinised, there is a critical aspect of their role that tends to be overlooked and under-appreciated – their teaching responsibilities.

    Priority mismatch

    For many ECAs, the challenge lies in being assigned increasing teaching hours, often including subjects or modules that are far removed from their research or industry expertise. This can be frustrating, diverting time from research, which is typically their primary focus.

    The demands of teaching should not be underestimated. Developing module and session content, grading and providing student support all take up significant time. Combined with the need to prepare, it’s easy to see how there can be little room for research or personal development. The problem is compounded by the increased administrative burden associated with teaching, which in many universities has been on the rise in recent years.

    Moreover, teaching quality is often seen as “secondary” to research output when it comes to academic progression. This can lead to a mismatch in priorities, where ECAs are forced to choose between excelling at teaching or focusing on research to meet the expectations of the next stage of their careers.

    ECAs can be provided with research supervisors, but there can be limited opportunity to access support to discuss pedagogical methods of teaching and learning and preparation of sessions. Even when opportunities exist for ECAs to engage in collaborative networks, peer support and mentoring, engagement can be restricted by work environment such as lack of time, high workloads and isolation

    Bridging the gap

    Many ECAs receive research support, yet less focus is placed on teaching fundamentals and long-term professional development. Often, ECAs may achieve their postgraduate teaching certificate after having started teaching – and the operational guidance and pedagogical skills can often get overlooked.

    Although ECA mentorship programmes do now exist within institutions, and more accessible support is available in professional networks, few universities offer formal mentoring schemes, which would pair ECAs with more senior academics to provide guidance in navigating the complexities of academic careers, specifically on teaching and learning.

    Despite the best possible local institutional support, ECAs will often stress the hidden struggles to develop independently, stating that it is difficult to determine what is supposed to be done and how – or what they are “expected to know.” This results in ECAs finding themselves struggling to build necessary skills to assist them with future teaching commitments.

    How we put a resource together

    A formal mentoring scheme at Hartpury University led us to develop a series of infographics as a visual communication tool to assist the development and delivery of pedagogical concepts to assist teaching delivery (in the subject area of anatomy). One example can be seen here on the National Teaching Repository, with links to others below.

    This was underpinned by discussing with ECAs their needs and resources to support their own teaching journey. These resources have grown organically as an operational user-friendly guide.

    This “anatomy series” appears to have resonated with both mentors and ECAs – according to the downloads we’ve seen from the repository at key points in the academic annual cycle.

    Through a small study (n=7), we collated an illustrative selection of narratives from ECAs and mentors on their thoughts. Both ECAs and mentors reported using the majority of the infographics “somewhat” or “to a great extent,” providing positive feedback in the following areas:

    • clear, evidence-based material that is easy to digest and ready to use as a quick reference guide
    • bite-sized content for quick reference during content creation or planning
    • “user-friendly” approach with concise actionable guidance
    • visually appealing resources that enhance clarity and learning retention.

    In addition, mentors highlighted:

    • effective scaffolding and signposting for module and assessment design
    • succinct prompts as a helpful reminder of the fundamental principles to focus on with ECAs
    • accessible, shareable resource featuring clear examples for ECAs.

    Ideas for future topics provided by respondents included technology and innovation, student support and success, and lecturer wellbeing.

    For a thriving academic career

    A rewarding academic career needs the right support and balance to transfer knowledge, inspire a generation, and pursue research.

    ECAs face complex challenges – but universities can help by improving mentorship programmes, building supportive networks, and offering guidance, as well as creating user-friendly resources that assist the practicalities of teaching.

    Early-career academics are central to the academic ecosystem, yet their struggles can be overlooked, particularly within the teaching and learning environment. By establishing a more sustainable and supportive environment, we can ensure that they are able to thrive within the multiplicity of roles they are asked to take on, and contribute to the academic community for years to come.

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  • Australia poised to poach students, academics as Trump “aggressively revokes” Chinese visas – Campus Review

    Australia poised to poach students, academics as Trump “aggressively revokes” Chinese visas – Campus Review

    The future of Australians studying at American universities is in limbo after the Trump administration ordered a pause on new student visa approvals and is actively cancelling Chinese student visas.

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  • New Book Helps Academics Become Public Writers

    New Book Helps Academics Become Public Writers

    I’d be hard-pressed to find any person in higher ed who has had a larger influence on my own thinking than James Lang. Many folks will know Jim from his books like Cheating Lessons, Small Teaching and Distracted. He’s consistently ahead of the curve when it comes to identifying a problem in teaching and learning spaces—academic dishonesty, class disengagement, student attention problems—and proposing remedies that instructors can explore and make use of for themselves.

    His new book, Write Like You Teach: Taking Your Classroom Skills to a Bigger Audience, part of the University of Chicago Press series of guides to writing, editing and publishing, is the best book I’ve ever seen for showing academics how to translate their current skills and practices to another audience and purpose. I’m excited by this book because we need as many academics as possible putting their voices into the world, not just because they have so many interesting and worthwhile things to say as individuals, but because it also helps remind everyone about the value of institutions where this kind of work happens.

    I had a great time talking to Jim over email. This Q&A even breaks some news on Jim’s next book, too.

    Jim Lang is a professor of the practice at the Kaneb Center for Teaching Excellence at the University of Notre Dame, and an emeritus professor of English at Assumption University. He’s the author of multiple books, including Small Teaching and Distracted, and a longtime columnist for The Chronicle of Higher Education. You can follow him on Substack at A General Education or connect with him on LinkedIn.  

    John Warner: One of my favorite initial questions for people who write is if they enjoy writing. So that’s my question: Do you enjoy writing?

    James Lang: “Enjoyment” doesn’t seem like the right word for my feelings about writing. Writing has always been the activity that drives and gives meaning to my life. It helps me make sense of the world; if I have deep questions about the purpose of my life, or questions about anything important, I seek answers through writing, both within my published work and in my various notebooks. I have always been a very curious person who gets excited about learning new things, so writing has always been a way to satisfy those curiosities and push me into new places in my life.

    If I focus specifically on the emotion of enjoyment … I hate to admit it, but I don’t seem to enjoy the actual writing process quite as much as I used to. I think I had a more unreserved embrace of writing when I was younger, when I felt like I had a lot to say and was confident that I had the ability to say it. I think both of those feelings have diminished, which I attribute in equal parts to the stroke I had a few years ago and to my age. I had to learn to speak and write again after my stroke, and while I have regained all of the words and writing skills I had before, I have to work a little harder than I used to [to] call them up and apply them. But even beyond the stroke, I guess I feel less of a desire to announce my ideas confidently to the world than I once felt. I have a great family, lots of friends and ongoing interests in many areas of my life. As my appreciation for those things has increased, the available real estate in the enjoyment part of my brain has shrunk slightly.

    But the key word in that sentence is “slightly.” I do still take much pleasure from finding the perfect word, crafting a great sentence or launching a new essay or book. Writing still fills my life with meaning, and I could never envision my life without writing, or at least the desire to write, being part of who I am.

    Q: What you describe sounds a bit like a winding down or maybe a shift in focus? I often say about myself that I’m never going to retire because I can’t imagine not reading and writing, which is both my pleasure and my work. But I do sometimes wonder if there’s a space to do less of it, if that makes sense. But as you note, it seems impossible to shut off that curiosity that drives those activities.

    Where does that curiosity come from for you? You’ve had a varied career and it seems like every so often you shifted gears. Was that necessity or design or something else?

    A: It comes from both a negative and a positive place. The negative place is that I do get bored of routines in any form, and when I feel like my life has fallen into a routine place, I start getting this itch to break it. I received tenure in the usual time frame, and it was only a couple of years after that I was seeking a new challenge, so I applied to direct our honors program. I enjoyed that work tremendously, but then once again sought a change and founded a new teaching center on campus. Right after the pandemic, based on the success of Small Teaching and Distracted, I decided to give myself a new challenge: give up tenure and try to make it with a mix of writing, speaking and adjunct teaching. That plan was upended by my long medical ordeal, but even after I was able to return to that life, I realized that I missed deeply having a home on a campus, which led me to Notre Dame. So that has definitely been a pattern in my career and in my life.

    For the positive explanation for this restlessness, I would point to something my wife (an elementary school teacher) told me about the kids who come into her classrooms each year. She says that while we might be all born curious, by the time children get into school, they are already separating in terms of how much curiosity they bring to school. The differentiating factor she sees is how much exposure kids have to different kinds of life experiences. The kids who sit in their bedroom on their parents’ tablets all day or play video games in their rooms just don’t see as much of the world, and they aren’t being prompted to ask questions, wonder and explore. The ones who come in curious are the ones whose parents have deliberately tried to expose them to new things in some form—trips, walks outside, reading aloud, giving them books, etc.

    When I heard that, I realized that I had been raised as one of those latter kids. My mother was also an elementary school teacher, but her best years were in preschool. She had a special love, and special gift, for very young children. And while I have only a few memories of my preschool years, I know from seeing how she interacted with my children that I must have been raised to become a curious person.

    Q: I had a mini epiphany while reading the opening section of Write Like You Teach, which is that good teachers and good writers think of the needs of their audience (students/readers) first. This is something I think I’ve always done as a teacher, perhaps because I was a writer before I was a teacher, but you make it pretty explicit and then give it a little specific flesh. When did this connection first come to you?

    A: I actually can’t quite remember where that specific connection came from. I do know that this book really came out of my desire to write some more about attention, the subject of my previous book. I have written books about several major issues in teaching and learning, and some of them I finished and felt like I was done with that topic. That wasn’t true for attention. The more you read and learn about attention, the more you realize how it has a part in almost everything that matters in our lives. Work, play, relationships, spirituality, learning—all of them demand our attention. They often go well or poorly depending upon the quality of our attention. And so I still find attention fascinating, and I keep reading and thinking and writing about it. I also just really enjoyed writing the book Distracted. So I think maybe I was trying to determine what else I could write about attention which would relate to another area where I have some interest and expertise.

    Reading was the initial bridge to further thinking about attention. Anyone who reads a lot knows that some books capture our attention more than others. I think the teaching-writing connection that produced this book came from realizing both in classrooms and books, you have to be aware of the limits of a learner’s attention. Both as teachers and writers, we can either just expect people to pay attention or we can try to help them. I had made the case for the latter approach in Distracted and realized I could make the same case to writers: If you want readers to sustain their attention over the course of many pages, don’t just bang away at them with paragraph after paragraph of argument and idea. They need breaks, they need stories, they need space to pause and think—just as students do in the classroom. Seeing how attention informs both teaching and writing led to the basic idea of the book: The things we do in the classroom to help students learn can also be useful for our readers.

    Q: In a note at Substack, Arvind Narayanan (coauthor of AI Snake Oil) offered a “hypothesis on the accelerating decline of reading.” It’s got a bunch of bullets, so I’ll do my best to paraphrase: Essentially, people mostly read for pleasure or to obtain information. These functions have been replaced by other things. Video is more entertaining than reading. We can use large language models to summarize long texts and deliver information to us. He theorizes that most people will be happy with the trade-off of increased speed/efficiency, the same way we’ve gravitated toward “shallow web search over deeper reading.” He’s worried about this but also believes that merely “moralizing” about this is not going to be helpful. (I tend to agree.) I’ve argued for years that getting students engaged with writing is a great way to get them reading, because reading is the necessary fodder for writing. Writing is also a tremendous way to cultivate our ability to pay attention. I’m wondering if you’re worried in the same way as Narayanan or if you have any additional ideas of what we can do about this.

    A: First, thanks for sharing that note, which will be helpful to me as I am working on my next project—which I am happy to announce here. My next book will be The End of Reading?, which will be published by W. W. Norton, a publisher whose books I have been reading since high school and assigning in my courses for my entire teaching career. I’m so excited to dig into this project, but I am going to beg off on an answer here because I am just in the beginning of my thinking and writing and need more time to formulate my ideas. Put another way: Ask me that question again in two years!

    Q: I have sort of the opposite problem as the folks this book is addressed to, in that I find it very natural to write to regular people—because that’s where I started—while writing for more formal or academic audiences is something I can struggle with. What is it about the experience of the academic that makes the transition you’re writing about difficult?

    A: The problem here is that experts often lose track of what novices don’t know in their fields. The more we know in a discipline, the further away we get from our memories of what it was like to know very little about biology or literature or politics. When academics write to each other, they can assume their readers know certain things: basic facts, theories, common examples or cases, histories, major players in the field. Let’s say I’m a scholar of Victorian literature and want to write something about a work of Victorian literature. If I am writing to other scholars in that field, I can be confident that my readers know things I know: the expansion of the British Empire during that time period, the impact of Darwin and evolutionary theory on many writers in that era, the political turbulence and social unrest accompanying the Industrial Revolution.

    If I am writing to a more public audience, I can’t assume my reader knows any of that stuff. In a classroom, I can always stop and just ask students, “Have you heard of this before?” If they haven’t, I can give a quick introduction. But as a writer with deep expertise in a subject, I have no idea what a more public audience knows or doesn’t know. Faced with that problem, I think a lot of academics just say, “Never mind, I’ll just keep writing to my people.” And that writing is important and can be great! I love a good scholarly book, and I still read them regularly. That kind of writing also helps people get and keep academic jobs, so I am not on some crusade to encourage everyone to write for the public. But I think the major sticking point for people who do want to expand their audiences is thinking more deeply about their audiences: what they know or don’t know, why they are reading your work, and what you want them to take away from the experience.

    Q: Something I’ve often said about both writing and teaching is that they are “extended exercises in failure,” where failure means not missing the target entirely, but falling short of one’s initial expectations. I find this reality interesting, fascinating, really, because with both activities, you usually get a chance to try again. Does this make sense to you, or do you have any different frames for how you view these two activities?

    A: No absolutely, and in fact that framework applies to all of the pursuits that give me satisfaction, including the other major intellectual pursuit of my life: learning languages. I did not start learning other languages until my first year of high school, where I started with Latin. Immediately I was fascinated, and so in my junior year I added ancient Greek into my curriculum. When I got to college, I took classes in both those languages, and then also took French. Over the next 30 years I have gone back and forth with those original three languages and also tried to learn Spanish and Italian and German.

    I start every new language with this expectation that this time I’m going to really dig in and master this thing and become just totally fluent. The truth is that I have some basic knowledge in all six of those languages but know none of them particularly well. But I just love the fact that I can go back to any of them, at any time, and start trying again. I’m 55, and my brain has a different shape than it used to (because of the stroke), so I have to be realistic and acknowledge that it’s unlikely that I will ever become a fluent speaker in any other language than English. But gosh, I just love to keep trying.

    As you say, teaching and writing are the same. You start off with such hope and expectation and excitement: This will be the best class I will ever teach! This essay or book is the one that will change people’s lives! But it never quite works out that way. Even when you teach a great course, not every class period will be perfect. Not every student will have a great experience. When I look at my own books, I am proud of them but can see places where I cringe and wish I had done better. But I don’t feel defeated by those feelings: They make me want to keep trying.

    Q: The book is filled with practical approaches to writing for broader audiences, but I wouldn’t quite call it a book of “advice.” The word that comes to mind is “guidance.” Does that distinction make sense to you?

    A: This distinction matters a lot to me, actually. I think because of the success of Small Teaching, which had a lot of concrete pieces of advice, people can view me as a “teaching tips” guy. I do love learning and thinking about specific practices in the classroom, so I don’t wholly disavow that association. Presenting theories and big ideas about teaching only gets people so far; they need to envision what those theories look like when they are standing in the classroom on Tuesday of week seven with 20 blank faces in front of them. Describing examples of specific practices helps them with that imaginative work.

    But I always want people to understand that I am not advising them to do anything in particular: I am showing examples designed to spur their own creative thinking. Write Like You Teach, for example, has a chapter about the challenge of reader attention, and I do offer some very concrete pieces of advice based on writing strategies that I have observed in great writers. Ultimately, though, I want the readers of my book to move beyond these specific examples and develop their own strategies based on the principle readers are learners, and learners need support for their attention. With that principle in mind, I want people to analyze their classroom practices and see what translates to the page.

    That leads me to the final thing I want to say: The first and final goal of this book is to help academics feel empowered and enabled to write for the public. The prospect of doing that kind of writing can be intimidating, and many of us shy away from it. But if I can convince academics of this one principle—a great teacher can become a great writer—then I hope they will be able to develop their own writing practices based on their experiences in the classroom.

    Q: And finally, the last question I ask everyone: What’s one book you recommend that you think not enough people are aware of?

    A: When people ask me to recommend a novel to them, or when people ask me to share my favorite novel, I always mention two: Zadie Smith’s White Teeth and Arundhati Roy’s The God of Small Things. I am cheating a little bit here because both of these novels were very well-known when they were published, sold many copies and won prizes. But they are both a couple of decades old now, and I believe that their themes are as relevant today as they were when they were first published. If you are a word person, choose Roy, whose prose comes as close to poetry as a novel can get; if you love a great plot, choose Smith, whose genius shines through the ebullience of her narrative construction. If I were forced to choose between the two, I would choose … I can’t. I just can’t.

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  • Why Academics Need to Slow Down (opinion)

    Why Academics Need to Slow Down (opinion)

    A 2023 global survey of more than 900 faculty members found that 33 percent are “often or always” physically exhausted, 38 percent are emotionally exhausted and 40 percent are just worn-out. The constant pressure to conduct research, secure grants and fellowships, attend conferences, and publish or perish is only part of the story. There is, additionally, the immense responsibility to teach and mentor students who are facing their own mental health crises.

    In the inescapable race to beat the tenure clock and, once tenured, move to the next rung of the ladder while staying relevant and recognizable in our fields, faculty members need to take a pause. We must slow down to strengthen our mental health, ensure student success and produce meaningful scholarship.

    Some might ask how slowing down will help us keep up. How will we survive in academia if we are slow to publish in high-impact journals, or present our research in international forums, or participate in faculty development opportunities, or mentor multiple students, or be on several significant boards and committees? We will, if we do not equate slowness with being lazy or unproductive and, instead, understand it as the pace and the process that allows us to function and create deliberately, contemplatively, while resisting exhaustion and burnout.

    In my international conflict management classroom at Kennesaw State University, I encourage my students—future peacemakers—to think about slow peace. In my research on feminist agency in violent peripheral geographies, I deliberate on how, in zones of ongoing conflict, active resistance must (and does) surface in response to direct and immediate violence. But this only addresses the symptoms; in the urgency of the moment, what is not—and cannot—be addressed is the structural violence that results from a lack of cultivating peace as a way of life. Only by slowing down to reflect on, and gradually dismantle, the tools that perpetuate cultures and structures of violence can we enable enduring peace, ensure the well-being of the communities in conflict and reduce the recurrence of everyday violence.

    As I move deeper into decolonial feminist peace in my scholarship, teaching and practice, I recognize the university depends on some of the same tools of violence and patriarchal control that are used to perpetuate the colonial and postcolonial conflicts that we study in my classroom. For example, the “fast-paced, metric-oriented neoliberal university” makes constant demands on faculty members’ time and effort, ensuring we are exhausted and preoccupied with “keeping up.” To meet its numerical expectations, we often sacrifice our “intellectual growth and personal freedom”; we rarely pause to reflect on the quality and real-world impact of our output or the toll it takes on us. Exhausted people rarely have the time or energy for community and rest, which are essential not only for individual well-being but also for collective resistance to slow violence.

    Similarly, colonial capitalists initiated my ancestors in Assam, in the peripheral northeast region of India, into the plantation (tea) and extraction (coal, oil) economies by weaponizing productivity and exhaustion. They denigrated our traditional lahe lahe way of life that was based on living gently, slowly and in organic harmony with the planet and its people. The nontribal people of Assam embraced capitalism and the culture of “hard work” and exhaustion. They also aligned with the colonizers to designate the tribal peasants who stayed connected with their ancestral lands and refused to work in the plantations as “lazy natives.”

    This process of ethnic fragmentation started by the colonizers was subsequently exploited by the post-/neocolonial Indian state to diffuse and dissipate resistance against itself as it continued to extract the communal resources of the ethnic people of Assam and its neighboring northeastern states while ignoring their customary laws and political rights and governing this peripheralized region through securitization and militarization. The historical, horizontal conflicts between the many communities of the Northeast undermined their necessary, vertical resistance against the Indian state. Meanwhile, on the Indian mainland, Assam is still derogatorily referred to as “the lahe lahe land” and people from the entire Northeast region are subjected to discrimination and racist violence.

    Building solidarities across marginalized entities alone can successfully challenge larger structures of oppression—whether racism, colonial violence or academic capitalism—that continue to thrive while we remain divided. In the conflict zone I call home, I advocate for addressing the slow and sustained violence that historically eroded indigenous ways of peaceful coexistence between communities. I propose ways of building peace by reintroducing customary nonviolent structures and cultures into everyday practices of communities, allowing community members to reconnect with each other and with nature and the environment.

    For example, traditional slow crafts like weaving organic cotton and silk fabrics involved the entire community while benefiting individual members and protecting the planet. Reviving these practices would slowly, but radically, disrupt the cycle and progression of violence and societal fragmentation.

    Within the academy, too, we can practice slow peace. My individual resistance began when I started questioning my sense of guilt and self-doubt about being unproductive or “slow.” Just as my precolonial ancestors did, I too realized that my self-worth is not tied to my productivity; I slowed down. This deepened my scholarship and made it more deliberate as I connected it to my embodied, intergenerational history. My approach to scholarship also grew more intentional as I re-examined its real-world impact.

    At the same time, I recalled that my lahe lahe culture valued rest and resting in community through finding connections with people, engaging in communal joy and being in nature. I moved away from commodified self-care products and apps and took more mindful breaths during my morning yoga. Now I am more energized in the classroom, where I practice laughter and joy with my students while encouraging them to build an empathetic and mutually caring classroom culture. They bring genuine engagement and produce strong work that they take ownership of. I have also added nature walks with emotional support coworkers, aka new friends, to my routine. Our conversations have led to research collaborations and several creative engagements with the local community.

    If, as Audre Lorde says, self-care is “warfare,” it is no less a war to attempt to build a community of care involving colleagues and students in institutions and settings that are engineered to facilitate isolation by emphasizing increasingly demanding personal achievements tied to hierarchies of power and privilege. As I continue to deliberately and strategically work on decolonizing my academic praxis, I am convinced that within the academy and outside—where our knowledge-making has consequences—the quicker we begin slowing down, the sooner we will reap the benefits of the lahe lahe life.

    Uddipana Goswami is author of Conflict and Reconciliation: The Politics of Ethnicity in Assam (Routledge 2014) and Gendering Peace in Violent Peripheries: Marginality, Masculinity and Feminist Agency (Routledge 2023). Gendering Peace earned an honorable mention in the International Studies Association’s Peace Section’s 2025 Best Global South Scholar Book Award. She teaches at the School of Conflict Management, Peacebuilding and Development at Kennesaw State University.

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  • Results of Women’s March Madness Bracket Based on Academics

    Results of Women’s March Madness Bracket Based on Academics

    Tyler Schank/NCAA Photos/Getty Images

    Women’s basketball has experienced a surge in popularity of late, and this year is no different. The Athletic reported that regular season viewing of women’s college basketball was up 3 percent on ESPN—even if this year’s Big Ten championship didn’t quite hit the record-breaking viewership of 2024’s, fueled by fans of then–University of Iowa point guard Caitlin Clark.

    Here at Inside Higher Ed, though, we celebrate the start of March Madness a little differently from the 1.44 million people who tuned in earlier this month to this year’s Big Ten championship face-off between the University of Southern California and the University of California, Los Angeles. For every tournament since 2006, we’ve created a bracket of who would take home the trophy if the winners were selected based on academic, rather than athletic, achievement.

    If you’re new here (or you didn’t see the men’s bracket from yesterday), here’s how it works: Matchups are decided by which team had the higher academic progress rate—the NCAA’s own metric for measuring academic performance—based on the most recent data available, from 2022–23. The academic progress rate measures student athlete retention and academic eligibility, though some outside experts have criticized the metric for painting an incomplete picture of a team’s academic achievement.

    There are, inevitably, at least a handful of ties every year. In those cases, we used several different graduation metrics to select winners. First, we used the team’s 2023–24 graduation success rate, which shows whether athletes graduated within six years of entering an institution. If teams tied again, we then turned to the teams’ federal graduation rates, which are more inclusive than the NCAA’s metric. Finally, when teams were matched up on all three of those measures, we turned to the institution’s overall GSR across their athletics programs.

    It’s worth noting that federal graduation rate data is not available for Ivy League teams, so for GSR ties involving Ivies, we skipped right to the overall GSR metric. That caused some chaos in a bracket that ended up seeing a total of seven ties featuring Ivy League institutions.

    Another note on methodology: Although two of the First Four games were decided before publication, we used academic metrics to select the winners of those matchups as well.

    This tournament was intense. There were not two, not three, but four matchups in the second round in which both teams had perfect APRs of 1,000. Kudos to those teams!

    The championship matchup was between two Ivies, Harvard University and Columbia University, both of which had perfect APRs and GSRs and whose overall GSRs were perfectly matched at 99. We’ve never seen this before in Inside Higher Ed’s 19 years of academic March Madness, so, although not ideal, we had to resort to a (virtual) coin flip. Naturally, Harvard was heads, because both start with “H.”


    Women’s 2025 Academic Performance Bracket Fullscreen

    But, in the end, we got tails. Congratulations to the Columbia Lions—who have now won Inside Higher Ed’s academic tournament two years in a row!


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  • Results of Men’s March Madness Bracket Based on Academics

    Results of Men’s March Madness Bracket Based on Academics

    Michael Allio/Icon Sportswire/Getty Images

    No shame if you forgot National Collegiate Athletic Association’s Division I basketball championships were coming up—after all, this March has been filled with more than enough madness in higher ed, even without paying attention to basketball.

    Nonetheless, the biggest event in college sports kicks off this week. If you’ve been a little too concerned with the news cycle to fill out your bracket, we’re here to help. Every year since 2006, Inside Higher Ed has determined which teams would win in the men’s and women’s tournaments if the results were based on academic, rather than athletic, performance.

    To determine the winners, we used the NCAA’s key academic performance metric, known as the academic progress rate, for the 2022–23 academic year, the most recent data available. The academic progress rate measures student athlete retention and academic eligibility, though some outside experts have said the metric paints an imperfect picture of a program’s academic performance.

    (Full disclosure, we did use this metric to determine the winners of the First Four matchups, even though two of the four games will be determined before publication Wednesday morning.)

    If two colleges had the same APR, we used 2023–24 graduation success rate, the proportion of athletes who graduated within six years of entering an institution, as tiebreakers. If teams tied again, we turned to the team’s six-year federal graduation rates, which is a more inclusive metric.

    Luckily, none of the teams tied in all three categories. Still, there were a handful of nail-biting victories. For instance, the Clemson University Tigers tied the Liberty University Flames on both the academic progress and graduate success rates. But when looking at the overall graduation rate, Clemson won by one point. After besting the Flames in the Final Four, the Tigers beat out the University of Louisville to win the whole thing.


    Men's 2025 Academic Performance Bracket Fullscreen

    Now, the Inside Higher Ed bracket likely won’t win you any money. But there’s no bad time to celebrate the academic achievements of student athletes alongside their athletic prowess.

    Congrats, Clemson Tigers!


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  • Live Workshop on Promoting Your Book Online for Academics

    Live Workshop on Promoting Your Book Online for Academics

    Jennifer van Alstyne and Dr. Sheena Howard designed this live interactive virtual event for professors and researchers like you. Especially if you’ve ever felt like, “I don’t need to do this for me, but I should do this for my book” when it comes to your online presence. Or, if you worry about self-promotion but know your writing / research can help more people if you’re open to sharing it.

    Join Dr. Sheena C. Howard and Jennifer van Alstyne for a 90-minute virtual event to help academics and researchers amplify your work, attract media opportunities, and share your book in meaningful ways.

    We hope you can join us on April 12, 2025 for Promoting Your Book Online for Academics. You’re invited! 💌

    What: 1.5 hour interactive workshop
    When: April 12, 2025 at 11:30am Pacific Time / 2:30pm Eastern Time
    Where: Live on Zoom (there will be a replay)
    With: Jennifer van Alstyne and Dr. Sheena Howard

    Promoting Your Book Online for Academics is on April 12, 2025 at 2pm Eastern / 11:30am Pacific Time. It will be recorded for when you can’t make it live.

    You should sign up if you’re open to

    • Sharing your book (or your research project)
    • Opportunities for your book to be featured in media (but aren’t sure where to start)
    • Helping more people with the writing / research you already do
    • Aim to attract funding
    • Want to build partnerships or collaborations for your equity focused work

    Promoting Your Book Online for Academics is a live event for academic authors. But it’s not just for your monograph or edited collection. If you’ve written a report. If you have created a resource. If your research outputs are something you want to share? This interactive workshop is for you.

    At the end of this workshop you’ll know what’s effective use of your time for media and online presence.

    Icon of a person at their desk with a cup of coffee. On their computer monitor, a Zoom meeting is in progress.
    Icon of a video replay on a computer monitor
    Icon of a calendar

    Hi, I’m Jennifer van Alstyne (@HigherEdPR). I’ve been working 1-on-1 with professors on their online presence since 2018. When I look back on the transformations my clients have gone through, there’s often an emotional journey, not just the capacity-building work we do for your online presence. Most of my clients are authors. The professor writers I work with want their words to reach the right people, but felt unsure about how to go about that online.

    Your book deserves to reach the people you wrote it for. When I ask professors who haven’t promoted their book, “do you hope more readers find this book?” The answer is often “Yes,” even if the book is older. Even when the book didn’t sell as well as you may have hoped. Even when your book is out of print there are things you can do to have agency in sharing it online.

    In 2021, Dr. Sheena Howard and I teamed up for an intimate live event that helped academics around the world. We’ve been wanting to do another one since. But we wanted something that was really going to help you. For years, authors have opened up to each of us about what stopped them from sharing their book for years. When we were brainstorming who we want to help most with this Promoting Your Book Online for Academics event, these are some of the stories that came up:

    I thought I’d have more support in marketing my book from the press…but it seems to be mostly on me.

    My publisher asked me to build up my social media presence for my new book…I’m not really a social media person.

    My books in the past didn’t do well…I’m worried my new book won’t do well either.

    I shared my book once. But I haven’t share it again since on socials.

    I am unsure if it is too early (or too late) to promote my book.

    If I want to promote my book, when should I be reaching out to media? Before the book launches? After the book launches? I don’t know where to start.

    I don’t think anyone will care about my book.

    I want to go on podcasts to talk about my book, but I haven’t done anything toward that, no.

    Do any of those feel like you? I hope you’ll join us.

    Your book deserves to be out there. You have agency in telling your book’s story. Here’s what’s on the Agenda for this workshop:

    • Goal-setting for your digital success as an academic for where to focusing your time and energy
    • Sharing your book or research project in meaningful ways on social media (in ways that don’t feel icky)
    • Using media to boost research impact and funding (and how being in the media can help you build relationships)
    • Media opportunities for your book and research even if you’re just starting to explore this path (digital, print, TV, YouTube, podcasts)
    • Live profile and online presence reviews
    • Q&A

    Sign up for Promoting Your Book Online for Academics.

    Dr. Sheena C. Howard (@drsheenahoward), a Professor of Communication. She helps professors get media coverage and visibility through Power Your Research (without the expense of a publicist). She’s been featured in ABC, PBS, BBC, NPR, NBC, The LA Times, The New York Times, The Washington Post, and more for her research on representation, identity, and social justice. Her book, Black Comics: Politics of Race and Representation won an Eisner Award. The Encyclopedia of Black Comics, which profiles over 100 Black people in the comics industry. Her book, Why Wakanda Matters, was a clue on Jeopardy.

    She’s a writer without limits. I’ve recommended Sheena to some of my clients because she’s someone who helps people move past the limits we sometimes set for ourselves as writers. The worries or beliefs that sometimes hold us back. She’s worked closely with writers and creatives to build their capacity, to have agency in your media presence so you can make an impact when it matters. You want visibility that makes a difference for you. That invites readers. That can attract opportunities when they’re aligned with with what you want for yourself and the world.

    This event is for you even when you want to do it yourself for your online presence. You won’t have to work with us after the workshop ends. This live event is about implementable strategies, and finding focus for what makes sense for sharing your book or research project.

    Frequently asked questions you may be wondering about.

    Where is the workshop?

    This is a live virtual interactive event on Zoom on April 12, 2025 at 11:30am Pacific Time / 2:30pm Eastern Time.

    What if I can’t make it live?

    At our last event, some people knew they wouldn’t be able to attend live when they signed up. A couple people also couldn’t make it live unexpectedly. If you’re unable to join us live on April 12, 2025, you’ll have everything you need.

    Jennifer will email you the event replay when it’s finished processing. You’ll get a copy of the take home worksheet to help you take action and the resources guide. That email will also have your private scheduling link for a follow up meeting with Jennifer if you’d find space to chat about your online presence supportive.

    How much is the workshop?

    This event is $300 USD.

    You can sign up on Dr. Sheena Howard’s Calendly to pay with PayPal.

    Or, email Jennifer for a custom invoice at [email protected]

    Outside of the United States? We had people register from around the world last time. If you run into an issue checking out, Jennifer is happy to create an invoice for you through Wise. Email [email protected]

    This event is non-refundable. If something comes up and you’re unable to join us live on April 12, 2025, you’ll have everything you need.

    Jennifer will email you the event replay when it’s finished processing. You’ll get a copy of the take home worksheet to help you take action and the resources guide. That email will also have your private scheduling link for a follow up meeting with Jennifer if you’d find space to chat about your online presence supportive.

    Can I use professional development funds or research funds to pay for this event?

    Yes. If a custom invoice would be helpful for you, please reach out to [email protected]

    I’m interested in working with Jennifer and Sheena privately. Is this event still for me?

    Jennifer and Sheena team up for online presence VIP Days. And some of our clients have worked with us separately depending on your goals.

    While I’m happy to see how we can work together, this is not a sales event. At our last event, people found having a bit of private space after the event was helpful. So we wanted to be sure you get that private follow up consultation too. If you’re interested in working with us, please do sign up for that Zoom call. We can save time to chat about what may be helpful for you.

    This workshop isn’t in my budget…I still want a stronger online presence for my book / research.

    Yay, I’m glad you found this page because I want that for you. You deserve a stronger online presence if that’s something you want for yourself. Best wishes for your online presence, you’ve got this! There are free resources here on The Social Academic blog to help you have a stronger online presence for your book and your research. You can search by category to find what’s helpful for you. You might start resources related to Authors and Books.

    I don’t think this event is right for me, can I share it with a friend?

    Yes! I’d love that. If this event isn’t right for you, but you think it may be helpful for your friend or colleague, please share it with them. We appreciate you!


    Questions about this event? Please don’t hesitate to reach out. I’m happy to answer your question, hesitation, or concern.

    Email me at [email protected].
    Or, send me a message on LinkedIn.

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  • Academics should forcefully reject the claim they are “promoting ideology”

    Academics should forcefully reject the claim they are “promoting ideology”

    To the editor:

    Jonathan Eburne calls the National Endowment for the Humanities’ posting of the executive orders regarding the promotion of gender, equity and environmental justice ideology an act of “capitulation” equivalent to “the ideological extension of a political party” (“An Open Letter to the NEH,” Feb. 28, 2025). I share his critical stance toward the executive orders and the spirit driving them. But his accusation against the NEH is unfair and normalizes a dangerous misreading of the scope of the orders that higher education must avoid.

    The NEH chair and staffers are federal employees, bound to obey government directives. To refuse compliance would invite immediate termination of the agency’s talented, experienced staff and call the future of the agency into question. With them would go vital funding and stewardship for the humanities that sustains faculty, students, state humanities councils and members of the public.

    To be clear, these orders apply across the federal government, and nothing in them is specific to the NEH. They do not apply to research and teaching; one (EO 14173) includes a carve-out for institutions of higher education.

    By treating NEH projects as falling under the scope of the orders, Eburne implicitly assents to the notion that research and teaching are equivalent to promoting ideology. This is indeed the guiding belief in Florida, and it is shared by the current administration.

    In fact, “promoting ideology” is not an accurate definition of scholarly or scientific inquiry, including the important work of teaching and doing research on gender, equity and the environment.

    It is crucial that we stand up against attempts to define academics as promoters of ideology and thus as untrustworthy stewards of knowledge, or, as the vice president has put it, dedicated to “deceit and lies, not to the truth.” It’s malicious abuse of language designed to undermine people’s confidence in academia and in expertise in general. The right strategy is not to accept a bad definition—it’s to call out the definition as wrong and reject the labeling while these orders are litigated in the courts.

    Joy Connolly is the president of the American Council of Learned Societies.

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  • Support the Mission of the University of Oregon (United Academics of the University of Oregon)

    Support the Mission of the University of Oregon (United Academics of the University of Oregon)

    Tuition has increased faster than
    inflation. State funding has increased faster than inflation.
    Administrator salaries have increased faster than inflation. Yet, the
    administration is demanding that the teachers, librarians, and
    researchers who drive the university’s educational mission take real
    wage cuts. 

    While everyone acknowledges the
    financial challenges facing higher education, the UO is receiving more
    money per student than ever before. If this money isn’t going toward
    student education and knowledge creation, where is it going?

    The Facts:

    Quality Education Requires Investment in Faculty

    The value of a University of Oregon degree depends on the quality of
    its professors, instructors, researchers, and librarians. When faculty
    wages erode due to artificial austerity, neglect, or slow attrition, it
    affects not only the quality of education and research, but also the
    long-term value of a UO degree for students and alumni alike.

    • UO faculty salaries rank near the bottom among our peer institutions in the American Association of Universities (AAU).
    • United Academics has proposed fair wage increases that would merely adjust salaries for inflation and restore them to pre-pandemic budget levels.
    • Despite pandemic-related learning loss, the administration is spending less on education per student (adjusted for inflation) than before COVID-19.
    • The administration has prioritized administrative growth over academic excellence, while faculty have taken on increased workloads since the pandemic.

    Faculty Sacrificed to Protect UO—Now It’s Time for Fair Wages

    During the pandemic, faculty agreed to potential pay reductions to
    help UO weather an uncertain financial future. We made sacrifices to
    ensure the university could continue to serve students. Now, as we
    bargain our first post-pandemic contract, the administration refuses to
    offer wage increases that:

    • Cover inflation
    • Acknowledge additional faculty labor since the pandemic
    • Recognize our unwavering commitment to UO’s educational mission

    Our Vision for UO: Excellence in Teaching & Research

    The University of Oregon’s mission is clear:

    “The University of Oregon is a comprehensive public research
    university committed to exceptional teaching, discovery, and service. We
    work at a human scale to generate big ideas. As a community of
    scholars, we help individuals question critically, think logically,
    reason effectively, communicate clearly, act creatively, and live
    ethically.”

    Our vision for the University of Oregon is one where the educational
    and research mission are at the fore; an institution of higher learning
    where we attract and maintain the best researchers and instructors and
    provide a world class education for the citizens of Oregon and beyond.
    Yes, this will take a shift in economic priorities, but only back to
    those before the pandemic. Our demands are neither extravagant nor
    frivolous. Our demand is that the fiduciaries of the University of
    Oregon perform their primary fiduciary duty: support the mission of the
    University of Oregon.

    Why This Matters Now

    We are currently in state-mandated mediation, a final step before a
    potential faculty strike. Striking is a last resort—faculty do not want
    to disrupt student learning. However, the administration’s arguments for
    austerity do not align with the university’s financial situation or
    acknowledge the increased faculty labor and inflated economic reality
    since the pandemic. If the administration does not relent, we may have
    no choice but to strike.

    We Need Your Support

    A strong show of support from the UO community—students, parents,
    alumni, donors, legislators and citizens of Oregon and beyond—can help
    pressure the administration to do the right thing. 

    Sign our Community Support Letter

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