Gerardo Aldana
Photo by Xuan Li
Lan Li
Miljohn Ruperto
Contact:
Stanford Arts Institute
artsinstitute@stanford.edu
Gerardo Aldana is a professor of Chicana/o Studies at the University of California, Santa Barbara. His research takes a history of science and indigenous studies approach to exploring Mayan hieroglyphic history, with a focus on astronomy. Throughout his research, for example in The Apotheosis of Janaab Pakal: Science, History and Religion at Classic Maya Palenque and Calculating Brilliance: an intellectual history of Mayan Astronomy at Chich’en Itza, he investigates cases of historically contingent invention and discovery within indigenous Mayan scientific practice.
Recently, my research has led me to further explore what I’ve referred to as “oracular science” within ancient Mesoamerican astronomical practice. At the core of this exploration is a 14th century indigenous Mayan hieroglyphic manuscript comprising primarily divination almanacs and astronomical tables. By focusing on an underlying oracular epistemology within both types of content, I suggest that Mayan scientific endeavor differed substantially from its popular portrayal as proto-(Western-)scientific.

Photo by Xuan Li

Full Manchu man, Qing dynasty (1644-1912). Unknown illustrator, woodblock print
Meridian men largely remained consistent as a visual genre. They established a graphic lineage to which authors, illustrators, and editors understood themselves as contributing. The 14 meridian series always showed 14 individual meridian men in the same order, with bladder man appearing seventh.
From Hua Boren (滑伯仁), Guben jiaozhu, Shisi jing fahui, 1969, 39

Intercostal nerves (detail), 17th century. Unknown engraver, engraving
Intercostal nerves, engraving detail. Willis visualized the nerves as a living, rooted entities in constant proliferation. Inset: enlargement of the improvised rendering of the intercostal nerves labeled A, B, C, D.
From Thomas Willis (1621–1675), Cerebri Anatome, 1663, 435, table 10
Stanford Arts Institute
artsinstitute@stanford.edu
I sought to express the conflicting emotions-guilt as well as pleasure-associating with eating cake.
2016
Ink Resist on Paper
By Brooke Ferber '20I drew some random kid I found on a Youtube thumbnail. I think it was an Omeleto video.
2019
Colored Pencil on Paper, Digital
By Jessica Lee '22This 3D, interactive piece represents my relationship with my immigrant other due to the shifting pressures of assimilation.
2023
Interactive 3D animation installation
By Hannah Cha '25Forms of intimacy—emotional, physical, intellectual, spiritual—overlap in these abstract shapes. Intimacy is fluid, not rooted in rigid definitions.
2022
Wood Sculpture
By Bryan Defjan '24This drawing is a representation of a fractal called a Julia set, which has been rendered out of plants and other organic elements.
2018
Markers on paper
By Alejandro Poler '19Man passing through a quickly gentrifying neighborhood in Paris. The text reads “it is dark (or literally, black) in the country of lights.”
2019
Photograph of Man in Paris
By Charlie Jarvis '19Submersion is a painting that experiments with figure in distortion, and blends the organic elements of nature with human form.
2015
Acrylic Paint on Canvas
By Meagan Wu '18This is how your friend from high school looks at you–knowing you’re different now, knowing she’s different now.
2014
Color Film
By Chase Porter '17A sketched self-portrait replaced into its photographic context.
2020
Graphite on Paper, Photograph
By Phoebe Kimm '2016 wooden chairs, each with one leg severed, tap in syncopated rhythm, puncturing through a low droning electrical hum.
2023
Found and modified wooden chairs, custom steel hardware, dc motors, wires, solder, modified cast iron weights
By Andrew Sungtaek Ingersoll '25I use this artwork to ask, “What has become of our childhood innocence?”
2019
ink on paper, collage
By Helena Zhang '22As a landscape photographer, I like to see things in different light.
2016
Photo with artistic editing
By Lining Sun '18This short film was submitted as part of my arts portfolio for my Stanford application
2021
Short Film
By Leeth Singhage '26This piece was made the week before quarantine when everything was uncertain and the weight of not knowing what was to come next hung over our heads.
2020
Boulder & Rope
By Paige Warmington '22This print came from a colored pencil drawing I made for a friend. I thought it’d be sweet to make a sort of postcard from it.
2024
Four color Riso print
By Galia Santana-Oikawa '25A portrayal of the death of Chaos as depicted in the Zhuangzi, who expired after Shu and Hu bored a new hole into him each day for seven days.
2015
Digital Visual Art
By Andrew Lesh '19The feet of my former roommate are greeted by the warm light that streams in through the blinds.
2022
Oil on canvas
By Jackie Liu '25A series of poems written exclusively with programming keywords. An investigation on language, audience, and dangerous English-centric thinking.
2017
code poems
By Stephanie Niu '19Body painting is used to simulate the patient-doctor relationship. Imagery is inspired by anatomy and the model’s bodily experiences.
2020
Body Paint on Skin
By Savannah Mohacsi '20