The gamecock. (Columbia, S.C.) 1908-2006, August 21, 1989, Registration Issue, Page 5B, Image 13
particularly want to explain, and I somehow
don't particularly want to dissect described
and explain Eric Andersen's come aw
knowing ;
Ghosts Upon the Road. cept that v
But there are those things we if even
Future journalis
Lou Grant, the hard-nosed newspaper editor
portrayed on television, probably would have
fallen out of his chair if asked to pick up a
mouse and draw on a computer, but that's exactly
what journalism students at the University
of South Carolina are being asked to do.
Yes, draw. Pictures, graphs, charts, line art
?images that will instruct or entertain newspaper
readers. This art is produced not with pen
and ink but with a mouse, a tiny device held in
the hand and moved across a hard surface to
produce computer images.
For some folks, it was bad enough giving up
typewriters for bulky machines with blinking
cursors, much less being asked to become artists.
But that is what students at USC's College
of Journalism and Mass Communications are
expected to do.
Students didn't like the idea at first, admits
Van Kornegay, a journalism instructor and
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"We murder to dissect," Words- sense' nc
worth wrote. say: .
Anders*
We've all felt things we don't thing tht
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just can't shut up about, believable for those
-e never make too much less-experienced liv
> matter how much we must believe there is
usual about his life.
mi's album is the kind of Because, somehow,
it says too much, but there,
dissects every experience If Andersen se
in his ballads. Yet we indulgent, a little too
ay from the record not perhaps overly hap
anything new, really. Ex- would seem at a glam
ve've been there. lonely life, then we
^thing Andersen sings is when listening to a s
? title track that we w
scribe our happiness
!RIC ANDERSEN "iffiany lin
,j, fL <7 n ** bum sound like clich
fc'fowS Wif?K*\ must know ^at life 1
be a cliche, and then
? yfcl <nT ~ /) away.
Sa /rJj )/l/ AnH n/fiilA 11 otonini
OXJ 11 0"\ TYIIXIV/ HOlX/1 111
if we wonder what th
this music really is, \
^ to learn to throw lab
^ -dm the trash.
A lot of stuff hapi
Andersen on Ghosts.
cord of a life of exp
honesty. So a lot of s
to us when we listen ti
|L_3BMBLI to?ts
required to be
computer wizard who runs the college's computer
laboratory.
"People were scared of the whole process.
They said things like, 'I can't draw,' or 'I'm not
an artist' And in fact, most of them can't draw
a straight line. But they quickly learn they don't
really need artistic skills with the software
programs we use."
Tony Moreno, a 1989 USC graduate, is
working as a reporter/graphics designer at the
Beaufort Gazette.
"Until I took that computer graphics course,
I'd never thought about doing art work,"
Moreno said. "I would probably have just been
an ordinary reporter. As it turned out, I enjoy
doing graphics more than writing."
Other graduates found that they could land
jobs producing publications ? an opportunity
that would not have been possible without
graphics experience.
Students in USC's news/editorial sequence
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to look at lite
of us with We remember things we promes,
then we ised ourselves we would forget,
nothing un- We feel pain we've never really
known, but which we've seen in
we've been people we've never really known
as they passed us on a New York,
ems self- London, Brussels or Columbia
melancholy, street.
py at what Most of all, we see life in a way
:q like a sad, , ?
must realize we ve never really smiled about
;one like the before. Experience is not so much
ould all de- water under the bridge as it is the
bv throwing beer we drink which keeps us
watching a toilet gyrate until 5:00
es on this al- a-mles
then we We see Ghosts as a memory,
ongs first to bung up on the past. But the music
to throw it tells us ^ time (when) and space
(where) don't matter so much as
7 tQ Qhosts what and how. And, maybe, with
e hell all of wh?mve
just have A poetry teacher once told me,
sis out with y?u won,t say it in a bar, don't
write it" I think she was quoting
jens to Eric Ezra Pound.
It is the re- If Eric Andersen can't say this
>erience and in a bar, he has probably never
tuff happens even thought it.
o the record, You'll sell yourself short if you
miss this album.
computer artists
are required to take the computer graphics
course. USC is one of the few schools in the
country with such a requirement, Kornegay
said.
"We developed the course to meet the newspaper
industry's growing demand for graduates
who can report stories visually by combining
journalistic abilities with computer graphics
skills," he said.
The journalism college, which began using
Macintosh computers in 1987 to teach writing
classes, has more than 80 machines for writing
and graphics courses.
Students learn the basic principles of graphic
design, chart making and typography using
programs like Macdraw II, Cricket Chart and
Adobe Illustrator. They then start designing
graphics for The Carolina Reporter, a weekly
laboratory newspaper produced by seniors in
the College of Journalism and Mass
Communications.
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Novel depicts life's realities
as well as Japanese culture
Bv The Associated Press Sood mornings. As if the mouths
The hero of John Burnham of everyone were closed too
Schwartz's new novel, Bicycle lIghtly 10 ever open again.
Days, struggles to find a life of .. A f?w month,s later' Alec finds?
his own during a summer in To- i\'msd,f near the jural town of
trvo. awav from hi? Now Ynrt ramadera at the home ot an cl
City home and a family fractured c!cr^ couP^e- Schwartz evokes
by divorce. s ^ contrast between JapanAt
the end of his stay, Alec ese city and country life, describStem
leaves his adopted Japanese ing *n 4eta e actlvlties and
family, questioning the fast-track medltative movements of the
business life he's chosen. He conservative couple,
doesn't know what he wants to , Grandfather hoisted the axe
do with the rest of his life. abovue J1,18 h<;ad> test,nS ^he
He just wants to go home. weight, reads one evocative
Schwartz, 24-year-old author Passaip- The blade hovered,
of Bicycle Days, resembles Alec J. e" ^gaJJ t0 dan5e,in l e sun"
in almost every way - except hghL He bmtigbt it down in one
that the young Harvard Univer- ^leain motion, splitting the log.
sity graduate seems sure of what *
he wants to do. ; ,, naives. it was split perHe
just wants to write. ff*e S"00 of ? * wood
But it wasn't until after he'd clean and precise.
accepted a job with First Boston Th(e novel. bas Powerfu de"
bank in New York that Schwartz f "prions of Japanese culture
decided to turn his back on the b" tt ah? daces Alec s interna
finance career for which his past t0,deal w "V1"8 P3 *
' had prepared him. dlvorce' a ? e <eUuonship
"For the first time in my life, a" ^ ?'der brodf a"d a lovc
I stepped a little to the side and affair wlth an older JaPanese
looked at my life," he recalled in W0,I^T* . . ? ,
an interview while promoting his . h00*,!5 f c?lla8e of m/
book in San Francisco. "I'd been Imagination. Schwartz said,
on track all my life. I'd gone to f You re taking bits and pieces
the right schools, taken the right from different experiences and
courses. It's not that it wasn't mixing them with imagmauon.
fun. But it wasn't necessarily me. H'f father' an emerfinTliat
is when I grew up. I don't T"' law^r 1,vl"8 ,n L?s
ever want to forget that." Angeles, and his mother, a wnter
Bicycle Days sans with Alec llvm? Hawarr always encouron
his first night in Tokyo, eat- a8ed lheir chlldren s creatlve
ing dinner with his adopted Ja- imPa Jes: ... . . .
panese family. It follows him on , J had a uwlld 'mag.nat.on as a
his first working day in the big kld' simn? ^ arwindow and "
city, aboard a packed yet lonely ?8min? lhm8s f or four
commuter train hours 31 a ume- Schwartz recalled.
"That faint feeling of fa"
Hundreds of people crammed miliarity (in writing) made me
together, pushing and shoving, feel as if I was on the right path,
reading and sweating, and not a as if , had made ,he dght
single word. No apologies. No decision."
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