My interview by Bianca

Bianca: Are all your poems/pieces referencing something personal or some experience that you or a loved one went through?

Lexy: Yeah, all of my poems are about a moment that I have personally been through and that I have experienced. It's moments that I feel that other people have gone through and not talked about so its speaking to women universally. Being abused or watching a loved one die. They are all very personal, all about specific moments and specific people, but speak to women in general.

Bianca: What kind of feeling do you expect your audience to feel when they read your poems? Men and Women.

Lexy: I think when people in general read them they are going to feel sympathetic or sad. I think women are going to feel more sympathetic and feel more connected to it, like they have been in that moment. They have gone through a break up similar. I don't know how men are going to feel about it, I hope they just don't dismiss it. I hope they can connect to it in some way, or put themselves into the view. I hope they read them and understand them, and feel some kind of sadness, but some kind of realism. I hope everyone gets a sense of realism. 

Bianca: Same feeling for the entire show?

Lexy: Yes, I am making those balloons cause my show title is Parallel Figures, White Flags, so I am using my balloons and lipsticks as a surrendering. You know when you let go of a balloon, or when someone dies, you are letting go of that moment, but that moment never really goes away. You never really forget it. Especially with the balloons that I'm making, they will never actually leave that room; they will never be able to fly. I am creating this fake sense of surrender. I am surrendering all this to my audience, but it's never actually going away. It can't go anywhere; it can't leave that space.

Bianca: I notice that you have a few key words that you want to repeat in each poem, is that direct choice or is it just happenstance?

Lexy: For the most part they are happy accidents, or they would be similar words, synonyms of each other. So you would still get that same feeling. I would either make them the same word or change them so they have the same meaning. It would be an easy transition from one poem to the next. 

Bianca: Do you plan to explain any of your poems in depth during your show or do you want that mystery?

Lexy: I am still trying to decide, I kind of want the mystery, but I feel that I am going to get questions about specific poems. So I don't mind explaining them, but I will go about it by saying, "Oh, I had a situation similar to this", not just saying, "Oh, this happened." 
Bianca: You don't want the actual incident revealed, you want the feeling revealed? 

Lexy: Yes, exactly.  So then people can take from it that these moments happen everywhere. If people ask me, I am going to kind of shy away from it, but I'll probably talk about it a little bit. 

Bianca: With your make-up, is it referencing all females wearing masks or is it in correlation with one of your poems?

Lexy: It is referencing every woman, but it started out super personal, I wear make up to cover my flaws, which can be taken metaphorical or physical. But once I started getting make-up donated to me, I would take someone's make-up and do a make-up painting just of their make-up, so it represented them. It's representing me, it's representing the people that gave me the make-up and then just women as a whole. In society, it's what we do to ourselves; we hide ourselves.

Bianca: Do you think your poetry is more traditional or more slam poetry? I think of them separately.

Lexy: I think it's a mix of both. 

Bianca: Would you perform them?

Lexy: I would, the problem is, I write short poetry, and usually slam poetry is long. I would perform them and give it a certain "mff". I think it really could go either way.

Bianca: When I read them personally, and when you read one of them aloud, I always get a sense of falling, each word is falling into the next line. Is that on purpose?

Lexy: Yes, that's definitely on purpose, I choose my line breaks super carefully. When I was going into my show, I was thinking about residue, that residue that is left over from moments, because they can be done and gone, but it's always still there. It's always still in you and affecting you. I wanted it to read like it is falling into the next line, leaving it's residue. Like a moment, each line is very specific.

japr interview

Interview of me by KC.

kc - Do you have a title yet?

Lucid Premonitions. It just made me think about foreshadowing of dreaming and stuff like that. Dreams can foreshadow, they can repeat, they can be a reflection of the day or they can be something you want to see in yourself, such as wishes and hopes… I think they serve lots of different purposes for different people. I would hope and I think it'll be different for every viewer. However, I don't want to say this one is about this and this one means that. It’s about the dreams, but I don't want to narrative every dream for every person.

kc - With your video do you still want it in a frame alongside your other images?

If it works out. I have 5 boxes that I'm creating. I might cut pieces of certain transparencies out and overlap them to give an optical illusion. That way they create this narrative going through different layers. I was thinking of 4 images for sure, and in one box maybe having a movie. I want it to look similar with the same box structure so it's not disconnected.

I liked the idea of having to look into these boxes and have it be really small and personal like that person is entering the dream state on their own. I think it is a way of looking at how different people dream differently. Such as black and white, really realistic, weird abstract images, flashes, or sometimes your brain connects them like a narrative so they seem super real. It seems like a whole event you went through throughout the night. Being able to watch something and have it feel like a whole story. I thought that trying to control what your subconscious is doing is weird. I wanted to do that by taking these images and turning them into a tangible object. I plan on cutting out parts of the images. Some of them seem to start repeating in a weird way, so if I had little hints of certain images hopefully you start to see this connection like “oh I've seen that before, like déjà vu”... I wonder...

kc - A certain symbol?

I wouldn't say that. But if I deal with repeated images I wonder if they would start to become symbols. After you see something so many times... does that make it a symbol? I think that certain things can definitely become a symbol if it repeats itself enough times and starts to represent something else, remind you of something.

kc - An installation more than just photographs. Was that important? Why?

Technically I guess you could take them off the wall and they could be these little boxes you carry around with you. With it being lit up I think the image begins to be projected in your mind. I don't want to slap a picture on a wall and I've dealt a lot with alternative processes in the past. I don’t want it to read as just here's a picture. I almost feel as though sometimes an image loses its value in a way. It becomes another piece of paper and I don't like that. While at the same time, I don’t think just putting it in a frame necessarily adds importance either. I thought it'd be interesting to separate the images and see how they could work together and relate; and I think that goes along with the theme of the dream state. I thought it'd be interesting to work in a different way.

kc - Do you think everyone will see it as photography? Or will it be a question?

I don't know, I don't think so. What else could it be besides photography? It's not really a photograph, but I’m still playing with that idea. I don't want it to demean my work but if someone were to label it I suppose it could be a photographic installation? But not really.

kc - Do you think this is going to change the way you work? Layers, one dimensional?

I think it’s broadening what I'm capable of. I am definitely acquiring new skill assets through my JAPR. Physically having to build things is an important experience to have so you don't get stuck in the same craft. It's nice to be talented and very skilled in your field but it’s also nice to have a wide range of skills. I've done images with multiple layers before but they just felt flat. I wanted to enter in and explore this more because you could tell there was more to the image and I think that shows more in these layers. But I don't want it to be super obvious. I think it'll let people in more and allow them to bounce back and forth within the image. I think it might open up a new door.

Working commercially I felt like it's a lot of the same thing. I was finding a way to make it different and I always got the comment.. oh that's a Christy picture and I took that as a compliment more so than anything else. I guess it was the start of me finding a style.

kc - It's definitely in color?

Mine are color. I'm still debating about dealing with black and white though. I was wondering about making one layer grayscale. I was working with getting my structures built and now I'm going into the images. I’m thinking more into cutting them down, taking parts out and playing with them, and mixing them around. It might create its own new dream. It's like I'm dreaming while I'm working. Now I'm in control, which is something I was thinking about. I want to keep it somewhat personal; my dreams are color, but to let others get into the work I feel like I might have to explore the black and white, and if that's important? And if that matters? I guess that's something that I'm struggling with.

kc - sound with video?

I don't know if that will enhance or take away from it? To dictate what people are hearing, to help them get into it more? Those are two questions I probably need to ask in class.

Molly Allen

1. Is the type of clay you are using important?

Yes I picked clay called soldate because it has extra grog which allows me to work on a larger scale. It is easy to work with that clay body because it can be attached and reattached at many stages.

2. What is your overall concept?

During this semester I have been exploring how all the mediums I work with fit together, I have been searching for similar meaning with in the work. In my mind they seemed separate and the most I searched for meaning I realized that they all have one major theme in common. Contemplation.

My earlier photo work consisted of girls wearing dress’s floating in a watery landscape that looked surreal. To me that was contemplation of surroundings, or the space one inhabits. It is interesting to me because when someone is floating, they are most likely thinking and every time I float I think of where I inhabit and how I fit into my surroundings. I have always been very interested in the feeling of weightlessness and how it feels to be submerged in water. When on is submerged they get a brief feeling of how integrated they are into their surroundings.

One of my most successful installation projects “freckle map” was also a form of contemplation. The map was contemplation of body, or one physical presence. I had plotted all my major freckles, and in that process I was contemplating my body. Looking at it in a way I had never before.

Finally in my ceramic work, I make female forms with animal heads. These forms a female, simply because that is my gender. They are the final stage of contemplation. The contemplation of a being, of self. This is different from body; because body is physical and self is being, ideas, morals, thoughts and soul. The figure are in a standing position but I wanted their bodies to be posed in stances that someone who is thinking would stand like.

3. What do the animal heads mean?

The animal heads are ment to be different personality traits. A bunny is fragile and skittish, they seem like they are nervous all the time, or are constantly scared, so it represents anxiety. While the frog, I feel is a pretty passive creature they are more likely to react then to act first, while a bunny is the opposite. An octopus represents hidden aggression, or secrets that people hide. The octopus is a creature of the deep and all we know about that is they fight. The only reason we know that is because when they die and wash on the shore and their skin is full of scars from past encounters. Last, the crow is a animal dealing with omens and superstition.

4. How are you going to glaze each figure?

I am going to use a stain to bring out their raw features. Either black or green. They will all be the same color, I want it to be less about color and more about figure.

JPAR interview. Brett

Interview With Brett Varga

1. So start us off with a brief bio, where you are from and how you got started?
Brett- I am from Virginia Beach, Virginia. I’ve always been into art, even when I was young, but in middle school that took a back seat, because the school didn’t provide certain electives. I got back into art my junior year in high school, my teachers realized I had some real talent and some room to grow so the next year I was taking ap. art. And that really got me back into it. After that I went to Utah State and from there my art has continued.

2. When did you decide you wanted to be an artist?
Brett- Pretty much when I was applying to Utah State. After I graduated high school I had a good amount of work. Once I got accepted into the art program it was pretty much solid. If they didn’t except my portfolio then I probably would have gone down a different path. So I would say around 08 was when I decided.

3. So what is your current JAPR idea? (Materials, Techniques, Content, Ect.)
Brett- My current JAPR idea is about disconnect, and how we deal with life through this disconnect. Ex. Lets say someone is explaining a story about how they were surfing this huge waves but in reality they were just sitting on the beach all day or the waves were a lot smaller then they say. So it is going in that manner… One-sided stories. And that what my JAPR is about. Pictures of kids doing stuff but I’m changing them so that the meaning changes as well. That’s were the idea of a video came in, a porno with all the sex and sexy parts taken out, in turn it becomes comical. This show is a venue that articulates how people propitiate an image of how they want to be perceived. It’s more like creating humor then being so serious, I feel when you’re able to laugh at something, it’s easier to talk about. So my project will deal with kids attending a fictional school, its not poking fun at SNC, and if so I can defend that, but it’s about a bad college that not good for your kids. Putting themselves out there like they are a great school. Like any huge company does today. Ex. Coke-cola, BP. When you’re only hearing one side of the fence your really not seeing the whole picture.

4. And what would you say your overall theme is for JAPR? (Just a Few Words)
Brett- How appropriation is created through not seeing the whole picture, and how that meaning changes drastically. So when your only seeing one side and “they” put a spin on it, the meaning is completely different from the true meaning.

5. What do you see yourself doing after JAPR?
Brett- I don’t think I’m going to go right into my BFA, I think I’m going to wait till my senior year. I think I’m going to take a break because I plan on doing something pretty big for my BFA. Something that has this interactive experience. I want every piece to be interactive in someway but it wouldn’t be so clear-cut. Ex. One idea I had was a picture frame on a clean wall with bubble wrap inside. Everyone wants to touch and pop bubble wrap. Or a fish tank with a fish and just enough water where he is flapping around and a glass of water next to the tank. Stuff like that, but also getting more comical. That’s what I’m trying to do, more so then just generic art. What about a piece that is extremely small and you have to use a magnifier glass to look at it. Just stuff like that.

6. Any influences or anyone you look up to when it comes to your work?
Brett- My one friend Alex Bernett, I look up to him a lot. He’s kind of an idiot but he has really good style. One of my favorite artists is Jackson Pollock, “spatter paint guy” I don’t really look up to him but his story just because it shows that the artist world is just full of shit. And lastly Stephen Chesley an artist from back east.
?
Brett- I am from Virginia Beach, Virginia. I’ve always been into art, even when I was young, but in middle school that took a back seat, because the school didn’t provide certain electives. I got back into art my junior year in high school, my teachers realized I had some real talent and some room to grow so the next year I was taking ap. art. And that really got me back into it. After that I went to Utah State and from there my art has continued.

2. When did you decide you wanted to be an artist?
Brett- Pretty much when I was applying to Utah State. After I graduated high school I had a good amount of work. Once I got accepted into the art program it was pretty much solid. If they didn’t except my portfolio then I probably would have gone down a different path. So I would say around 08 was when I decided.

3. So what is your current JAPR idea? (Materials, Techniques, Content, Ect.)
Brett- My current JAPR idea is about disconnect, and how we deal with life through this disconnect. Ex. Lets say someone is explaining a story about how they were surfing this huge waves but in reality they were just sitting on the beach all day or the waves were a lot smaller then they say. So it is going in that manner… One-sided stories. And that what my JAPR is about. Pictures of kids doing stuff but I’m changing them so that the meaning changes as well. That’s were the idea of a video came in, a porno with all the sex and sexy parts taken out, in turn it becomes comical. The whole show is a vehicle for a metaphor that people propitiates themselves to be better then they are. It’s more like creating humor then being so serious, I feel when your able to laugh at something, its easier to talk about. So my project will deal with kids attending a fictional school, its not poking fun at SNC, and if so I can defend that, but it’s about a bad college that not good for your kids. Putting themselves out there like they are a great school. Like any huge company does today. Ex. Coke-cola, BP. When you’re only hearing one side of the fence your really not seeing the whole picture.

4. And what would you say your overall theme is for JAPR? (Just a Few Words)
Brett- How appropriation is created through not seeing the whole picture, and how that meaning changes drastically. So when your only seeing one side and “they” put a spin on it, the meaning is completely different from the true meaning.

5. What do you see yourself doing after JAPR?
Brett- I don’t think I’m going to go right into my BFA, I think I’m going to wait till my senior year. I think I’m going to take a break because I plan on doing something pretty big for my BFA. Something that has this interactive experience. I want every piece to be interactive in someway but it wouldn’t be so clear-cut. Ex. One idea I had was a picture frame on a clean wall with bubble wrap inside. Everyone wants to touch and pop bubble wrap. Or a fish tank with a fish and just enough water where he is flapping around and a glass of water next to the tank. Stuff like that, but also getting more comical. That’s what I’m trying to do, more so then just generic art. What about a piece that is extremely small and you have to use a magnifier glass to look at it. Just stuff like that.

6. Any influences or anyone you look up to when it comes to your work?
Brett- My one friend Alex Bernett, I look up to him a lot. He’s kind of an idiot but he has really good style. One of my favorite artists is Jackson Pollock, “spatter paint guy” I don’t really look up to him but his story just because it shows that the artist world is just full of shit. And lastly Stephen Chesley an artist from back east.

Kath interviews Jessica

I feel like you are an observer. You are either microscopic or a long way off – you are rarely at ground level. Why observe rather than interact?

I feel that by observing, I am interacting – there is no way to separate myself or my preconceptions from what I am looking at. I am the type of person who sits at home and thinks about stuff on either a very intense level or a very grand level … I don’t particularly care for expressing the mundane every day event as a mundane every day event. I like to either to get in very close and observe what life is like from there, or step back and look at things and observe things on a grand scale. Up close is very intense and personal, while far away is more dreamlike and removed, and I’m interested in how those feelings work.

Why does the comic book venue work for you?

It’s only been in the past couple of years that I’ve started working in comic form, but really I’ve always been very interested in sequencing. When I want to get something across I don’t want to limit myself to one image. Seeing images change from one thing to the next is really interesting to me, and the comic medium is perfect for telling a story that progresses from one thing to another. It also allows for words, which I love; I’m really interested in how words and images can affect and influence one another.

Comic books have become quite sophisticated from their original form it seems…

Comic books have a reputation for being something that can’t enter the world of high art, that can’t compete with fine painting or installation, so that’s why I tend to call them ‘graphic novels’ – that phrase has more gravity to it. They’ve earned this reputation of being lowbrow. I think comics are high art!

You have returned to the physicality of carving out this new work in lino for a handmade book- how does this best work toward your theme and content?

When I am working on something very process based, like carving out a lino plate, I get into the flow very easily with those repetitive movements. It lets me think about the concept of what I am doing; that’s important, that there is a process element to it. I enjoy it because it is something that I have always done; I enjoy the feel of these things as I am making them. Process clears my head so I can think about what’s going on in the work.

You are doing a lot of layering in this book- how is that going to inform the story more?

Layering is a really interesting concept because it speaks to what I am trying to do in all of my work, which is to get at those layers, that tension, between what the real world is like and what you perceive it to be like. There is so much that happens between the real world and you observing it. There is this cloudy layering process that is constantly happening: by the time you actually understand what you are looking at, it has already gone through so many filters and preconceived notions in your head that it’s something else now. There is no way to purely look at something.

Currently you are letting the images guide the narrative- explain!

I very specifically wanted to start this project without a goal in mind because I do definitely over think and over plan the narrative aspect of storytelling, which can trap you. That can lock you in and prevent you from going in directions that could be more successful. Also, stylistically I am trying to break out of the really rigid, cross-hatched, very tightly defined style that I tend to use; that feels like a crutch, or like a safety blanket. It looks good, but if there is something that isn’t working and I can’t figure out what’s wrong, my first reaction is to go back in and do more of those little lines. That’s not fixing the problem, that’s just making it look a certain way. I’m trying to attack that idea of having everything pre-planned. Know what the problems are and figure out a way to address them.

Where is this particular story going…?

The symbolic imagery, a lot of the umbrella heads, gives it a base in something anxious. A lot of holes that I have used pretty regularly for the past few years, hands coming out of the holes, rain coming down, flooding the place. Flooding being another aspect of anxiety - being overwhelmed. Hooks come down, pick up the people, drop them on dry land and one of them looks down and there is a mass of worms. I had not used worms much before which surprises me because I have a lot invested in them as an image.

I have an idea of the overall story concept, but half of the decisions come about while actually printing the stuff, which has not happened yet; once printed, I can communicate more about it.

Why do you think umbrella man is still with us- you mentioned he has been around since 2007?

It was an image that came to me from watching people in the rain in the city. Seeing how all these people were turned in on themselves, walking and passing each other with these protective barriers, not interacting with each other. All going their separate ways, hunched. I replaced the head with the umbrella. It represents anxiety and that feeling of isolation and being closed off from other people, even when you are in a big crowd. Anxiety and isolation are feelings that I tend to explore a lot because they feel like baseless, overpowering emotions. A lot of us experience that; it’s a prevalent feeling in modern culture. The work that I do tends to address the way that individuals create these states of mind for themselves, and what the effects are, how these feelings can color everything you look at.

Is umbrella person a version of you?

Umbrella person is a version of anybody who has felt anxious, so I would be included in that, but it’s not specifically me.

Do you think the person will be around for a while?

I think that it will persist for a while until I really flesh out why it keeps popping back up; I have a lot of repeated images that I can’t stop working with until I understand them, or why I’m using them. It could be around for a bit.

Your narratives then seem to be the fleshing out of potential emotions rather than a story line that goes from A to B. There does not seem to be a plot…or is there?

With this particular project it is a fleshing out of a sequence that overall will give you and understanding of an emotion. Previously I have done story work with a plot and dialogue, a sequencing of events that’s meant to be read in a line. With this project, I think you can open it to any page, read it in any order, and still get the right sense. My emotional story telling goes in a spiral. You can enter at any point.

Why are your figures asexual? You can’t put a gender to them.

That’s very intentional: it’s supposed to represent anyone who has been in this situation, which applies to both men and women. I’m working with these genderless figures because I want it to be applicable to anyone who looks at it. If I’m talking about an experience which is specific to women or men, or needs that sense of a gender divide, then I will absolutely create male and female figures. Genderless figures apply universally, and I want this story to apply universally.

Color?

I have used color! But I am very, very picky about when and why I use color. There is something about black and white that is much more powerful and direct for me. Since my work enters subjective points of view or more intimate perspective on things, it doesn’t need to look the way that the real world does. If I’m going to use color, it had better be for a reason; it needs to create an atmosphere, or give meaning to an object, rather than color for color’s sake. A colorless world fleshed out in little hatch marks feels right to me. And then there is always that formal choice which is - god, I love black and white!

JH interview with KM

Q: When I look at your work it always strikes me as something very based in process- do you start with the process and use that to hone down an idea, or do you approach it with a concrete concept that you want to convey?

I typically work where there’s a scene or a picture that I’d like to actualize. I like the formal qualities of imagery. I like making things. I think it’s interesting that art used to be about the end product, but now art can be just about process. For my upcoming BFA show I am being fairly process-oriented. It has been really interesting because it’s not how I normally work. I’ve done process, but I have an end goal -A gets me to B and I want to get to B. I’ve never actually done process for the sake of process until now. The multitude of crows I have been working on might not even turn up in the gallery. At first it really was about a narrative, A B C, and now I’m finding it’s more about a place of reflection or contemplation that still has elements of narrative. I think using process has changed my articulation of what I am trying to communicate.

Q: When you’re working with a single repeated image, say the crow, repeating it again and again over a range of media, does that image transform for you? Do you start finding new ways to physically execute the image, and do your feelings and thoughts about the concept of it start to change?

I’m usually very visual. I like to look at something to execute it. I generally always like to be looking at the thing that I draw- whether it’s a still life, a figure, and a photo. And what I’ve found, working with the crows, is that I’ve started to let go more and more of what it is that I’m looking at. I’ve gotten to know the figure so well that I’m able to take liberties; I’ve started drawing it without reference points. Then it becomes more about the line quality or the materials or the emotion.

Q: The basic storyline behind the crow imagery is something that does come from a very deeply personal place, but the crow itself as a symbol can be interpreted different ways - can you talk about where the dividing line is between being very personal and out there, and telling a more universal story?

The crow is a loaded figure. He’s unique and a good symbol to use because he does have multiple meanings; he’s a good thing to use as personal that speaks to the universal. I can use him to be very particular for me, but he’s also able to be viewed universally. The kickoff point was about death and loss, so he definitely references that, and I know that that’s obvious. In the end that’s what I am trying to say: something very obvious. I don’t think our society gives us the space to mourn very well anymore; I think other societies really include it as a cultural practice, or a ritual, and it’s very inclusive. I think it’s very institutionalized and hidden away now. Once you’ve moved past the funeral, society forgets and you can be treading water and still in a difficult place emotionally. This is my platform to ask people to step into that physical and emotional space with me. And it’s essentially a thing that we’re all going to have to face, or have faced. It’s not like I’m asking you to enter an experience that you might never touch on.

Q: It’s the one universal experience.

A: Right, exactly. I originally intended the crows as the messenger; now I really see them as transition, and it’s not just my personal transition of dealing with grief, but transition to the other side for the person that dies.

Q: Generally, when you’re making work – apart from this particular show – where do you fall on that line between talking more about your personal experience versus introducing something that everybody can relate to?

I always seem to be more interested, and I’m still very interested, in the formal qualities: aesthetics. I can get really interested in just one patch of paint, or a square inch in a painting. I feel like my work, generally, isn’t terribly, terribly personal – because I am so interested in the formal. This show is a departure for me. I’ve chosen something that’s far more difficult for me to try to actualize. I always thought of the BFA show as this end piece, but really I have to look at it as an emerging. I didn’t have anything else I could have done; grief and mourning tend to color everything so I didn’t have a way of producing anything else. This avenue is to ask the viewer to go there with me. It’s to say; it’s not over, it’s not done, and as a society you need to understand that it is ongoing and that we need to be more receptive to it. As artists I think we’re lucky that we get to express ourselves in various ways, but otherwise we’d all be in therapy, behind closed doors.

Q: I’ve heard you say a few times that you don’t consider yourself an artist. Is that a position you still hold?

A: I’m sort of mixed on it. I feel ‘artist’ is a responsibility; I’m not sure that I can live up to that responsibility yet, because I still feel really young artistically. But at the same time I feel I need to create the mantra, “I am an artist,” because I think that affirmation in itself might change the way I think of myself. So I’m torn. I think putting voice to things can sometimes change the way you think about something.

Due Tuesday (10/25): Transcript of Interview

At the beginning of Tuesday's class, you need to have the transcript of your interview completed. Have a hard copy ready to turn in. It doesn't have to be the full transcript of the interview -- you can concentrate on what you think the most interesting or pertinent sections of the interview were -- but have a minimum of five paragraphs of your interviewee's answers typed out. Each person is responsible for transcribing the interview they conducted -- ie., you're typing up the interview as the interviewer, not as the interviewee.

Sam and Brett -- since you weren't in class today, I'm going to have you interview each other, rather than the person you were originally paired with. Please have you interview done and transcript completed by Tuesday.

Also, those of you who have been lame in updating your blogs -- pick up the slack.