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we learned not just how to use the technology but also what is best for learning. The PLUTO workshops provided in-depth learning on pedagogy, accessibility and thoughtful course design. PLUTO has us all set up for success in this unique situation because they have developed the infrastructure for instructional technology support. In addition to teaching fully online and asynchronous language courses in the summers, I’ve taught synchronous courses through the School of Education online for years

meant I wouldn’t be constrained by any particular type of ensemble, and having video to go along with it meant I could tell a visual story as well. Did you learn any new technology for this project? I learned how to use a DAW, a digital audio workstation, that I’d previously been a bit intimidated by. You can design pretty much any sound that you can conceive of, so it was a really exciting tool that helped bring this concept to life. How much did you think about the visuals when writing the music

doing this year before the COVID-19 pandemic hit. Anderson: Before the pandemic, I was working on building out professional development for our 85 instructional coaches, getting ready to start a hiring round, and planning for the design and launch of new certification courses for our coaches. I was also working on finishing up my dissertation for a Ph.D. in Education and TA-ing masters courses for MSU-Bozeman. PLU: As schools began closing to keep communities safe, how did your job transition

; – and what to look for to ensure the credibility of online information. The class culminated in a final “Critical Making” project, where students built, designed, or mocked up a media literacy tool. The goal of the assignment was to envision a web that prioritized the circulation of credible information. Critical making is a process where students apply theories and concepts to a creative project or artifact, and where imaginative design – focusing more on engagement with theory and concepts, rather

borrowing and making costumes. We used ticket sales to reimburse our designers. Kenzie was the main director, and I co-directed, particularly the scenes involving music. I did some choreographing and production work, which included poster design and distribution of money. How did things turn out? Ruggeri: It was successful and sold out the studio theater for the run of three days—two nights and one matinee. We also conducted a survey gauging the lessons the audience took away from the show. About a

. Independent student shows outsource everything, even borrowing and making costumes. We used ticket sales to reimburse our designers. Kenzie was the main director, and I co-directed, particularly the scenes involving music. I did some choreographing and production work, which included poster design and distribution of money. How did things turn out? Ruggeri: It was successful and sold out the studio theater for the run of three days—two nights and one matinee. We also conducted a survey gauging the lessons

of air – the van had been sealed to maintain a constant humidity level – but Louvre’s famous resident was just fine. Eventually, the painting returned to the Paris museum – after being relocated six more times – with most of the rest of the Louvre collection. Most of the other artwork in Europe was not as fortunate, noted Assistant Professor of Art and Design Heather Mathews. Professor Heather Mathews talks about the plunder of art during WWll by the Nazis during the 2012 Holocaust Conference

they even contradict.” Navkiran “Navi” Randhawa Chemistry and Biology Tacoma, Wash. Randhawa loves this – she sees it as a way to engage in ideas she might not otherwise encounter if she spent all her time in the science building. This is by design. Whereas many universities, have programs that focus on global issues, what makes PLU’s truly unique, is that such issues are looked at from multiple perspectives and multiple disciplines – course material is drawn from at least two countries with

forth,” Gould said. “If you don’t leave the PLU dome, you’re not going to have these experiences.”   CONFRONTING PRIVILEGE Professor Beth Kraig said pushing students to confront their privilege was pivotal to the course’s design. That included requiring students to ride Pierce Transit buses ‒ either Route 1 or 45 ‒ to and from Lincoln for the weekly workshops. Students were encouraged to observe and interact with riders and write about their experiences. Those reflections will be included in the

knowledge, a feat that Heath and Rogers are acutely aware of. “I am a little terrified too because I know if i had to design a starship it would fail pretty quickly,” Heath quipped. “But at least I know the questions to ask and I know where we can start looking. And that is the point. To consider big questions, not really build a starship.” Lisa Marcus, professor of English, holds her grandmother's Russian passport from 1914. Her father's family likely would have perished in the Holocaust had her