CSU Wage Strike: Calls for Higher Pay and Improved Benefits

Mk Palaris

On Monday, Jan. 22, California Faculty Association (CFA) workers, part of the largest public university systems in America, walked the picket line. Donning ponchos, they echoed chants of “overeducated and under-compensated.” In efforts to address disproportionate salaries and advocate for better working conditions, the strike was planned to last from Jan. 22 to Jan. 26. Had an agreement not been reached within that time frame, there was a possibility of further escalation. However, the whole ordeal took an unexpected turn when CFA and the California State University (CSU) administration came to a tentative agreement (TA) after one day of striking.

Representing nearly 30,000 professors, lecturers, librarians, counselors and coaches, CFA’s strike marked a significant development in picketing in its sheer magnitude. According to a Strike FAQ on Calfac.org, faculty initiated the strike to fight for a 12% raise, manageable workloads, improved parental leave, accessible and inclusive campuses and more student counselors. With the salary of professors ranging between $64,000 to $122,000, members of the lower-receiving end had the most pressing demand for a 12% raise, with the CFA website reading, “If faculty cannot take care of themselves, we cannot take care of our students.” CFA’s proposals have been addressed in the statutory process but were denied by CSU administration, prompting faculty to strike.

Despite reaching a tentative agreement, it did not come without compromise and alterations from CFA’s original demands. According to an Inside Higher Ed article, the union was aiming for a 12% increase in salary, but the final tentative agreement was just a 5% increase. Additionally, 10 weeks of paid parental leave was granted, but not the full semester like originally requested. The tentative agreement didn't promise more student counselors, but a follow-up CFA news post did acknowledge the goal to increase the student-to-counselor ratio to 1,500:1. With some points of the tentative agreement failing to meet CFA’s demands completely, many union members have criticized the ordeal. Associate professor Andrew Bryne of California Polytechnic State University told Inside Higher Ed, “I don’t understand why this ended so abruptly when so many people showed up […] for results that seem to fall really far short of what our opening demands were.” Many CFA workers were unsatisfied with these discrepancies.

With the tentative agreement on the table, members of CFA are left to either cast a “yes” or “no” vote. A “yes” marks an endorsement of every aspect detailed in the tentative agreement, accepting the compromise reached during negotiations. Conversely, a “no” rejects the agreement, bringing faculty to return to the original terms of imposition. These terms, which included a 5% general salary increase, a pay increase to department chairs and the consequence of higher faculty parking lot fees, would have CSU management not obligated to return to negotiations. As professor Jennifer Eagan of CSU East Bay told CFA, “A yes vote on this Tentative Agreement means progressive movement in areas of our contract that haven’t moved in a very long time. A no vote on this TA would give away everything we forced the CSU to put on the table. Once given away, there are no guarantees that we would get them back.” As CFA members consider the implications of their votes, the decision carries consequences for further negotiations.

Amidst these developments, it’s imperative to note the existing wage disparity within the CSU system. Evident in the earnings of different employee categories, higher-level faculty, like Cal State presidents, earn substantially more than educators. At CSU, lecturers and professors typically earn salaries ranging from $64,000 to $122,000. Despite the wages of the lowest-paid faculty having seen approximately a 20% increase since 2007, campus presidents have seen growth of around 40%, elevating their average salaries to more than $400,000. While many of the professors in the system must work multiple jobs alongside teaching to make ends meet, anger erupts over the CSU chancellor’s nearly 1 million dollar yearly salary and $96,000 housing allowance. Lecturer Laura Quinn of Cal State Bernadino told LAist, “I have a master's degree, I’m teaching a full-time load at this place, and it's just not cutting it. And then you see a million-dollar chancellor with a $96,000 housing allowance.”

The anticipated week-long CSU wage strike ended after one day in an abrupt tentative agreement that many faculty believe falls short of the proposed demands. The forthcoming vote presents a dilemma for many faculty members, as the potential consequences of rejecting the agreement elicit reluctant “yes” votes from CFA members. Many faculty perceive the event as not fully addressing original demands, and tensions arise between CFA and CSU management. 

Despite the strike, CSU faculty salaries are more than La Sierra's, underscoring the need for broader dialogue on fair compensation in academia. La Sierra faculty members are also overworked and underpaid, having large disparities as well between administration and faculty. While the average faculty wage for lecturers and professors is around $73,000–with its range as $58,000 to $94,000–a wage disparity exists in comparison to the university president, whose salary is around $250,000. 

As CSU management grapples with their decision, it’s evident that the discussion on fair compensation for college faculty warrants attention by universities nationwide.

BLACK UNDERGROUND ARTISTS

BY: MK PALARIS

Within the cultural hotspot of Southern California, a myriad of Black artists surface with stories of resilience and innovation through mediums such as visual art, melody and movement. These diverse artists contribute to a mosaic of cultural richness, leaving a profound mark on the community. So in honor of Black History month, this article aims to highlight the achievements of local Black artists.

Among these many artists is La Sierra University senior Sarai Ponkratjeva, a graphic design major, whose projects focus on visual arts, such as photography. She takes great inspiration from her grandmother, who navigated through the challenges of growing up in the Jim Crow era. As a result, her artistic endeavors center on themes of Black beauty, femininity and nature. “My grandma, growing up, her skin tone and her features weren't conventionally attractive and not represented in the media,” Ponkratjeva said. “She has always made sure to really talk about the importance of lifting other Black women up, because of her past experiences.” 

Ponkratjeva’s photography magazine, titled “What is it that you love?,” visually explores individuals’ cherished aspects of life. One of her photoshoots, titled “Strength,” pays homage to the 1960s cultural movement, Black is Beautiful, which aimed to uplift Black features and celebrate the beauty and diversity of the Black community. “My friend Deborah wore her hair out in an afro and I photographed her. Through that, she represented strength and beauty, especially as a Black woman,” Ponkratjeva said. ”I just wanted to emphasize her hair and her features.”

Using various individuals like her siblings and friends as her muse, Ponkratjeva said that her photoshoots aim to highlight the diversity at the La Sierra University campus. She underlines the importance of diversity in artistic media, saying that it can boost confidence in one's ethnic background. “Just like being able to see yourself and see beautiful art, it makes you feel good about yourself honestly,” she said. “At least for me personally, seeing other people that look like me, it doesn't make me want to change. It makes me embrace myself more.”

While passionate about her craft, Ponkratjeva faces hurdles in the art scene, particularly due to the level of vulnerability needed for the creative process. “An insecurity I have is that other people wouldn't be interested in [my art] because of the subject matter; because it's definitely something that's personal, I worry how other people are going to perceive it,” she said. But despite these challenges, she has set goals to put herself out there and has high hopes for the future of Black artists.

“I’m kind of optimistic. I feel like people are being really receptive of Black artists and the art they create, at least in the spaces I’ve been in,” Ponkratjeva said. “I feel like more people are really appreciating it and highlighting Black artists.”

Shifting to the music scene, sophomore Calla Morgan, a music major with an emphasis in studio jazz guitar, adds her own melody to the mix of underground Black artists. Morgan, a singer-songwriter and guitarist, composes and produces her music. She uses Spotify to share her music. Her work hones in on her personal experiences in life, or whatever comes to mind throughout her creative process.

Morgan advocates for encouraging women in the music industry, especially female instrumentalists who are often left out of the limelight. She draws influence from singer-songwriter Tori Kelly and various Black R&B artists. “I feel like sometimes people don't expect me to be able to play guitar and to sing at the same time,” Morgan said. “I take it as a privilege to be able to represent it, to be something new that people don't really see too often.”

To share her music with the community, Morgan has been publishing her songs, promoting her work on social media under @calla_morgan, and performing live gigs. Through networking, Morgan has formed her own community in Los Angeles. “I've definitely been scared out of my mind, nervous to meet people, but in [playing live], I've met some really amazing people who I've been fortunate enough to form my own circle with,” she said.

This year, Morgan aims to release around six singles and start establishing her own shows. To support aspiring Black artists, she hopes that listeners will stream and share songs from local artists, and buy tickets to their shows. She said, “Just show as much support as you can, whether that means reposting or just telling them, ‘Hey, I really love your music.’ Because it's an amazing feeling when your community shows support like that.”

As these students break barriers and celebrate diversity, they pave the way for others, inspiring a new era of creativity and inclusivity in the community.

THE NEW WAVE OF ARTIFICIAL INTELLIGENCE & ENTERTAINMENT

BY: MK PALARIS

Artificial intelligence (AI) is no longer confined to dystopian science fiction, rather imprinting itself into day-to-day life. Though rather than enhancing human-made products, AI’s influence extends beyond this range of human augmentation, rather taking on the challenge – and even stealing from – human artistry, leading to various ethical concerns and this overarching question: Will AI replace human artistry?

AI’s first venture into the creative industry can be traced back decades ago to the 70s, when painter and computer scientist Harold Cohen created a system called AARON, effectively a pen-wielding robot, with a goal to create a mosaic of lines resembling abstract art. Its result mimicked contemporary, if not rudimentary, art styles, and had it been a direct human production, it likely would have gone unnoticed in the vast art world. But this was just the humble beginning of AI’s integration and potential substitution for artistic mediums.

In recent years, generative AI has experienced exponential growth within the realm of creativity, driven by technological advancements and internet trends. However, compared to the inconsequential and simple doodles that Cohen’s AARON produced, the capabilities of AI art manufactured on websites like ArtBreeder or OpenArt pose much greater consequences. These sites have the ability to transform text-to-image prompts into highly realistic artworks in less than a minute.

While current AI produces objectively "better" art with its attempt to approach “perfection,” an interesting paradox unfolds from its artificial nature. Comparing Cohen’s AARON pieces and its poly-geometric abstractions to a modern rendered AI art generation, the former works were more charming; for one, there was still a semblance of human input and drive from Cohen, even behind the robotic brushstrokes. This preference stems from AI art’s varnish of uncanniness. Take a closer look at that “perfect” AI-generated image and notice a slew of inconsistencies in linework, or strange, inhuman features. According to an article by Britannica, facets of the human body that are smaller are more likely to be neglected in AI art. In this computerized strive for artistic perfection, the absence of human influence makes the art less relatable. 

AI art has the potential to take over artistic careers and ventures, battling between convenience, efficiency and moral implications. It certainly seems like a possibility, but the complete replacement of human artistry is unlikely; while AI is impressive in its capabilities, it lacks the intrinsic human touch and intricate skill that humans are inherently attracted to. 

But the dilemma isn’t just the intrinsic human value of art, it’s the legalities of it as well. AI-generated images don’t produce art out of nothing. According to an Interesting Engineering article, AI must first use a learning algorithm and be fed copious amounts of existing artwork to find patterns and generate its own set of images. The artists of the artworks used in this practice are oftentimes not compensated or even informed, like in the case of the Nashville-based artist Kelly McKernan, according to an AP News article. This raises concerns about copyright infringement and ethics within the use of AI in creative endeavors, with laws currently under development.

Only time will tell if society will use AI in artistic mediums as a tool, or as a complete substitution. The creative industry currently exists in a state of limbo as AI and human artistry coexist. As of now, it seems unlikely that AI will completely take over the arts, but in that case, maybe in the not-too-distant future, Criterion would have to change its section name of A&E to AI&E.

La Sierra Art Department's Play Program: A Palette For Summer Creativity

By MK Palaris

As summer faded into the horizon, La Sierra University’s art majors returned to campus with more than just tan lines. These students participated in the annual summer PLAY (Plan, Learn, Air, You) program, which took place from June 24 to Sept. 29. Undergraduate students were able to paint a portrait of their summer adventures using PLAY as a medium for cultivating ideas and fostering independence.

PLAY developed seven years ago from the desire to make a creative space for art students. Art Department Chair, Terrill Thomas, observed art majors encountering various challenges when delving into the creative workforce. He noted that the rigid nature of students’ college education stumped their creative muscles. As a result, PLAY aims to provide students with experience in their creative field, form connections between peers, promote discipline, encourage students to draw cultural inspiration from field trips and introduce the open-ended nature of freelance careers in art. The program is mandatory for Bachelor of Fine Arts majors entering their senior year. 

At the beginning of PLAY, students created an outline to map out their aspirations for the summer. The program provided the students with $100 for materials and open studio access to work toward their goals. Their progress was tracked through various slide presentations throughout the program, which also works to develop their public speaking skills.

“The content of the slides are supposed to be up to you and there’s not supposed to be any words,” said senior Aaron DesJardins, a double major in business marketing and graphic design. “It’s a good experience to be able to talk to an audience about your creative work.”

Tying back to the scenic encouragement of the program, PLAY's schedule included field trips to artistic hubs such as Downtown San Diego, Orange County Museum of Art, Crystal Cove Beach and Laguna Arts Festivals. These locations were chosen to immerse participants in a rich cultural experience, showcasing museums, galleries and art design in real life. “It’s both to go out because it’s cool, it’s amazing, it’s fun, but also to build community, reconnect students, laugh with each other. It's for retention, keeping those bonds strong so that you want to come back, and to be inspired collectively,” Thomas said.

PLAY also incentivized students to continue to engage in their artistic endeavors and pursue freelance work, rather than staying stagnant over the summer. For instance, junior graphic design major, Shauni Quishenberry, pursued independent work over the summer, designing earring holder cards and managing a clothing store’s social media account, effectively immersing herself in the world of freelancing. “You have to create the [work] structure yourself, which is what's so scary about it at first,” Quishenberry said. “But it gave me structure because I was doing client work and they gave me assignments basically, but I was still creating structure for myself because I had to go out and get those jobs.”

As the program concluded, students recapped their summer experiences into a physical magazine containing various art forms such as writing, photography, graphic design and personal projects. Students were allowed creative liberty within the structure of their magazine, allowing individuality within their work. “I tried to section it off in a way that made it make sense, like adding some quotes about creativity,” DesJardins said. “I wanted it to be something someone could read whether you're in the creative field or not, as a way to develop my writing and publication skills.” The independent process was different and unique to each student.

Besides the tangible material created, PLAY participants collectively expressed a sense of personal growth through the program; this was facilitated by self-discipline, learning more about one’s unique creative process and constantly generating original ideas instead of completing assignments from professors. “I think there's a philosophical end product, which is our students becoming more comfortable as they become more disciplined,” Thomas said. “They're able to manage their time, present, and gain more confidence in their creative process and speaking ability.”

In the end, PLAY is more than a summer program; it’s a journey that allows art majors to blossom into more confident, independent artists, ready to embark on a path of art.