College News

Prompt response

Joe Arney — Tue, 10 Mar 2026 15:24:09 +0000

Prompt response Joe Arney Tue, 03/10/2026 - 09:24

Joe Arney

Pooja Iyer laughed when she saw the Anthropic Super Bowl ad about a skinny guy looking for tips to get stronger. When he asks his trainer—a chatbot—for help getting swole, he also gets sold an ad for shoe inserts.

Courtesy Anthropic

“Ads are coming to A.I.” the onscreen overlay reads. “But not to Claude.”

“I was one of the early adopters to ChatGPT, because I like to experiment with new technology,” said Iyer, an assistant professor of advertising at the College of Communication, Media, Design and Information. “And I remember immediately thinking this was search on steroids—so, personalized ads on steroids.”

Iyer said advertising on generative artificial intelligence tools like ChatGPT was “inevitable,” especially if you consider how services like Google and Facebook monetized personal data to enable targeted advertising as core components of their products. And a chatbot that claims it will never rely on advertising should probably encourage its marketing and accounting departments to talk.

“There’s the cost of building and training a large language model, building data centers, hiring advertising and software teams—all that money has to come from somewhere,” she said. “Subscriptions, which are already higher than most streaming services, only get you so far. Newspapers ran because they were supported by advertising. If it was just subscriber money, newspapers would be long dead.”

Practical and academic expertise

Iyer studies advertising from the standpoint of data and technology, especially the consequences to consumers, who must surrender their data and privacy to use popular platforms. Her perspective is rooted in the pragmatic, as Iyer worked as an associate media director before earning her PhD in advertising from the University of Texas at Austin.

Pooja Iyer

A major problem she’s trying to solve is a lack of clarity on what data consumers are comfortable sharing with advertisers. It’s important to get that right, because while consumers generally are supportive of targeted digital advertising—studies consistently find about three in four consumers prefer ads tailored to their interests—there are plenty of cases where companies went too far. For instance, the pro-life Veritas Society used cellphone location data to serve anti-abortion ads to women who visited Planned Parenthood clinics.

“We are really lacking in research in that area of what people want, or will tolerate,” Iyer said. “We have asked questions to help understand how much and to what extent people are willing to share, but a lot depends on who you are. If I am in a vulnerable part of the country, or an immigrant, or of a certain gender or race, my level of comfort sharing data is very different than how you may share your data.”

Those consequences, right now, are not part of the digital advertising playbook. The entry of A.I. into this space—OpenAI has already started serving ads to ChatGPT users—adds urgency to bring a more ethical approach to how companies serve up ads in the future.

Privacy in class

And it’s even more interesting in the context of Iyer’s classes, which often visit topics around digital advertising, ethical data use and A.I.

“I’ll say something like, ‘I can target the people in this room, if I want to,’ and while plenty of them are taken aback, a lot just shrug,” Iyer said. “Privacy is only a concern if you know that you had privacy once. But if you were born in a world where that didn’t exist, you may not care.”

Part of what concerns her about ChatGPT and advertising is how quickly the platform has been adopted. From its public launch in November 2022, it has grown to 900 million active weekly users. No other technology has been adopted so quickly, or broadly, so there’s some uncertainty as to what advertising on the platform will look like.

“How do we build this balance of being ethical and mindful about using consumer data? That’s the question the industry needs to answer.”

Pooja Iyer, assistant professor, APRD

“I think Chat will take all your data, synthesize it and show you ads that may not be related to your query,” Iyer said. “You might ask it to help you become fit, and instead of a sneaker ad, you get something based on other life issues or queries you’ve put in.

“Chat says you’ll get mindful, context-aware ads, but I don’t know what that means. If I’m using Chat as my therapist, will I see ads aimed at uplifting me in some way? Or will it tell me to go shopping, and try retail therapy?”

It’s too early to share findings on her research, but Iyer hopes her work helps companies advertise in ways that are informative without being intrusive.

“Like A.I., advertising is here to stay. And I don’t think that’s a bad thing,” she said. “But how do we build this balance of being ethical and mindful about using consumer data? That’s the question the industry needs to answer.”

Joe Arney covers research and general news for the college.

How will advertisers operate on ChatGPT and other A.I. platforms? A CMDI expert is exploring the limits of data use in targeting customers.

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If you generate it…

Joe Arney — Mon, 09 Mar 2026 15:15:01 +0000

If you generate it… Joe Arney Mon, 03/09/2026 - 09:15

Joe Arney

Photos by Patrick Campbell, Kimberly Coffin (CritMedia, StComm’18), Nathan Thompson (Jour’24)

When Averie Dow tells the parents of prospective CU ��ý�� students that she’s studying information science, one of the first questions she typically gets is around generative artificial intelligence.

“How A.I. is used in the classroom is their biggest concern, because they don’t want to send their kids here to just have them use A.I. for everything,” said Dow, a senior and university tour guide. “They tend to be grateful when I tell them our faculty acknowledge A.I., and that they have policies around when and how to use it. Because you can’t let it do your work for you, but you also can’t pretend it doesn’t exist, or you’ll graduate into a workplace where you’re the only one who can’t use it.”

“The way we learn about (A.I.) helps makes it a smaller problem. I’m seeing the advantages that comes from using it responsibly and ethically.”

Averie Dow

Finding that balance has been especially important to a discipline like information science, which incorporates ideas from computer science, social science and the humanities to reimagine how technology can unlock possibilities and better work for people.

A.I. is nothing new to faculty in the information science department of the College of Communication, Media, Design and Information, but the proliferation of tools like ChatGPT, Gemini and Claude—and the scramble by businesses to search for cost-saving innovations—have meant constant curricular course corrections to keep pace with shifts in the market: In February, the University of Colorado system announced a $2 million licensing deal with OpenAI to bring ChatGPT to all students, staff and faculty.

But rather than focusing on particular tools, CMDI faculty teach students to think critically about the problem they’re trying to solve, as well as the benefits and limitations of the tools at their disposal.

Robin Burke

“Not every problem needs the biggest hammer,” said Robin Burke, a professor who studies recommender systems and teaches an undergraduate course on applied machine learning.

In that course, “we do talk about deep learning technologies, but we spend a lot of time on other machine learning techniques, because it’s important to know that range of possibilities,” he said. “You only get that if you understand what’s going on under the hood.”

Students who are technically oriented said they appreciate the real-world use cases where they can see what using A.I. looks like at work. Kaeden Stander is pursuing a master’s in information science to go with the bachelor’s degree he’s on track to earn in December. Thinking about how to use A.I. tools in the college’s Digital Legacy Clinic has helped him with his entrepreneurial aspirations; he’s the founder of PublishPoint, a content generation platform for WordPress sites.

‘A.I. is in every aspect of the workplace now’

“You input your information and the A.I. learns from your brand,” Stander said. “Then it’s able to make recommendations, generate blogs, social media captions, podcasts and even help create detailed data visualizations.”

His real-world experience using A.I. has helped him appreciate how to use it in class. In courses he takes for his philosophy minor, Stander said, no A.I. use is permitted, “so I don’t use it, but it’s not realistic—A.I. is in every aspect of the workplace now.”

“Why gatekeep something and put people behind when they should be ahead coming out of college? It’s something the information science program does well.”

Professor Jed Brubaker, center, of the Digital Legacy Clinic, which challenges students to help members of the community make plans for their digital estates. Photo by Patrick Campbell.

Burke’s research on recommender systems aims to enhance the fairness of algorithms by removing the biases that systems may inherit, whether from engineers’ design decisions or from the data used to train them. Right now, he’s interested in how to give users more control over what content or products the algorithm serves up.

You might expect him to be an A.I. evangelist, but Burke is more measured about the likely impact these tools will have.

“The hype is absurd,” he said. “I want students to focus on the proven capabilities of these technologies, as opposed to the claims people make about them.”

In fact, the critical perspective information science faculty bring to A.I. is one of the reasons students appreciate the degree. Dow, a self-described theater kid and art lover, said she came to college “as an A.I. hater, almost”; when she was given an assignment to use ChatGPT as part of an assignment, she was the only person in her class who hadn’t used it before.

“A.I. honestly scares me a little bit, when you think about it as this huge behemoth,” Dow said. “But the way we learn about it—here’s this tool, here’s what it can do, what do we think is wrong with it, what does it do poorly—helps make it a smaller problem. I’m seeing the advantages that come from using it responsibly and ethically.”

The ethical challenges A.I. poses are an important dimension for faculty, as well. That’s especially true at a college like CMDI, which prepares professionals for success in journalism, advertising, design and other creative fields. Because large language models have been trained on reams of copyrighted creative work, there is understandable hesitancy to adopt these tools.

Casey Fiesler

It’s why Casey Fiesler, the William R. Payden endowed professor in information science, leaves room for the “conscientious objectors” in her teaching; her public scholarship—which includes TikTok videos and standup comedy, as well as traditional thought leadership—is deeply concerned with the ethical dimensions of these tools.

She’s piloting a course this spring, A.I. and Society, that challenges students to examine broader societal implications around jobs, creativity, education and environmental impact as they relate to A.I.

“I don’t want students to not take this class because they have an ethical objection to using A.I.,” Fiesler said. “I wanted to create space for students who are really excited about A.I., and should think critically about it, and for those who need to learn how it works even if they’re critical of it.”

A counter to moving fast, breaking things

Chris Carruth approaches such challenges and perspectives from his artwork, which he calls “a slow, contemplative resistance” where he uses technology to “interrupt, interrogate and agitate conventional, normalized systems.”

That work, he said, is intended to run counter to the tech industry’s mantra of moving fast and breaking things.

“I get where Mark Zuckerberg was coming from when he said that, but that attitude incurs an ethical debt, which is what we’re trying to avoid,” said Carruth, an assistant teaching professor.

Rather than lecture at his students, Carruth challenges them to learn about topics like automation, policing and surveillance, and digital labor, and bring researched ideas to class for open discussion and debate. In doing so, he hopes to cultivate a sense of empathy among his charges.

“Ethics in computer science and computer science education should not be a feature. It should be the foundation.”

Chris Carruth, assistant teaching professor, information science

“I’m not saying we need to hit some big red stop button—and you’d probably get fired if you’re at work and pushing not to use A.I. at all,” he said. “To understand how this might actually work in your career, you need to bring a voice not of dissent, but of empathy, of nuance. So, be able to say, let’s not stop, but let’s pause, let’s think about impact before we roll these things out.

“Ethics in computer science and computer science education should not be a feature,” he said. “It should be the foundation.”

For Bryan Semaan, associate professor and chair of the information science department, the need for ethics in this space is expressed through the critical perspectives he studies in his research, which focuses on the interplay of race, media and technology. The Center for Race, Media and Technology that he manages has welcomed speakers like Ruha Benjamin, of Princeton University, and Timnit Gebru, formerly of Google, to encourage more critical thinking around the development of large language models and A.I.

Bringing their own identity, thinking

Bryan Semaan

In his class on race and technology, Semaan asks his students to write an essay reflecting on the benefits and harms of particular technologies. But before they start writing, they feed that prompt into ChatGPT.

“It’s a chance to think critically about what the A.I. returns to them,” he said. “What it’s written tends to not reflect the experiences my students have had. So, it becomes a way for them to see that it’s just giving them something, but they need to make sure their identity and thinking are infused in it.”

Something that makes information science at CMDI unique, he said, is that instead of rolling out countless new courses—which could quickly become dated by the speed of change in A.I.—the department has sought to integrate these tools into each course it offers.

“You won’t see A.I. in every course name, but we bring A.I. to every conversation we’re having, whether that’s data visualization, user-centered design or machine learning,” Semaan said.

As the technology becomes more integrated into students’ lives, those conversations are going deeper and deeper into their coursework.

“When I taught information ethics and policy at the graduate level, we started with a week on A.I. Then it was two weeks on A.I.,” she said. “Now, there’s no weeks on A.I., because it’s everywhere in that class and every other one. In almost everything we teach, A.I. is relevant to the topic.”

Joe Arney covers research and general news for the college.

By integrating generative A.I. into each course, the information science department is attracting students who want to be challenged to use A.I. effectively—and ethically.

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Get politics out of sports? It’s in the game

Joe Arney — Tue, 03 Mar 2026 16:12:32 +0000

Get politics out of sports? It’s in the game Joe Arney Tue, 03/03/2026 - 09:12

Joe Arney

Professional sports have always attracted a certain kind of fan for whom the game is an escape from politics and the news of the day.

That fan probably did not have a great Olympics.

If you go

What: CMDI Sports Media Summit

When: Thursday, March 5, through Friday, March 6, Touchdown Club, Folsom Field.

Who: Alumni and industry professionals in sports media share perspectives on the changing industry landscape. Scheduled speakers include the X Games CEO, an executive vice president of Bleacher Report and an executive vice president at Fox Sports. Full lineup →

Why: An under-the-hood look at topics such as NIL, A.I., streaming and career success. Plus, unbeatable networking opportunities.

Whether it was Kash Patel and Donald Trump inserting themselves into the aftermath of Jack Hughes’ golden goal for the U.S. men’s hockey team, or Ukrainian skeleton pilot Vladyslav Heraskevych being disqualified for a helmet paying tribute to fellow athletes killed during his country’s invasion by Russia, politics was like an icy layer just beneath the snow at the Milan Cortina Games.

“I think people are paying attention to it more because of the contemporary American political moment, but politics has always been an element of sport,” said Ever Figueroa, an assistant professor of journalism at the College of Communication, Media, Design and Information. “And the Olympics, in particular, have always been a platform for that.”

Figueroa studies how race and gender matter within social and cultural systems, especially the political undertone running through sports. He mentioned 1968, which featured the Black Power salute from Tommie Smith and John Carlos, and the 1980 Miracle on Ice as Olympic moments with strong political subtext that made the events memorable and interesting.

“All forms of art are more interesting when they have something to say,” Figueroa said. “Sports are able to communicate cultural values and reflect back on people. And a lot of people care more about the storylines within sports than maybe the actual competition.

‘Kind of boring’

“It’s kind of boring to want to separate sports and politics. It’s far more interesting when they’re together, and we can unpack all the nuances we see.”

That’s a perspective that comes up with some frequency in the courses he teaches, especially Sports, Media and Society, where students will ask about the cultural issues that play out in sport, especially when it comes to how they’re covered by the media. Figueroa asks students to study, for example, the rivalry between the Lakers and Celtics that dominated the NBA in the 1980s, as well as how the Kansas City Chiefs have gone from hero to villain amid the team’s success.

“In Lakers-Celtics, you had a team from LA and a team from Boston, playing two styles that were different from each other. So, it was not just two teams competing against each other, it was two ideas of America competing against each other,” he said. “I think that greater cultural reflection was what brought so many people to the television set to watch them.”

The Chiefs, meanwhile, are a villain story like any other—they’re so good that the league and officials must be rigging the game to help them win. And despite this one being debunked, “I told my class that sports cultivate myths,” Figueroa said. “Myths are more powerful if they feel real—they don’t need to have been drawn from reality or truth.”

Heroic values, but a villain

Ever Figueroa

What about when the game is scripted? One of Figueroa’s research interests is pro wrestling, which offers a nuanced, complex assessment of societal and political issues in its character development. A recent paper published in Communication & Sport examined World Wrestling Entertainment performer Daniel Bryan, who was the league’s champion from November 2018 through the following April.

Bryan’s character, Figueroa said, was that of an eco-friendly environmentalist who railed against greed, consumerism, capitalism, climate change and animal cruelty—which would seem to make him a champion of a lot of values gaining traction in the United States. But, in fact, he plays a heel—wrestling parlance for an antagonist.

“The reason he worked as a villain is because he violates neoliberal meritocracy. He cheats to win the title and to retain the belt,” Figueroa said. “His character espouses these progressive values, but he’s violating the rules of competition. So it becomes bad to be anti-capitalist, or an environmentalist, because it’s attached to his actions as a wrestler who cheats.”

The paper also looked at the case of Kofi Kingston, a Black wrestler who succeeded Bryan as champion. Both Bryan and then-chairman and CEO Vince McMahon said Kingston was a B-level wrestler “who failed to take the opportunities given to him by WWE’s free market—a common tactic used to discriminate against people of color,” Figueroa said.

“One of the big concepts in our paper was this idea of using neoliberalism and colorblind ideology in tandem to gaslight a Black man who had legitimate grievances that he was being discriminated against because of his race, in order to not make that political subtext visible to the audience.”

Pro wrestling, Figueroa said, is understudied by researchers, which may help explain why certain tropes around the sport—like having a rabidly right-leaning fanbase or repeating the same formulaic story arcs—have persisted. In fact, fans of a competing wrestling promotion, All Elite Wrestling, started the anti-ICE chants that have become viral moments at its recent matches. AEW storylines also touch on progressive themes that eschew toxic masculinity.

“For decades, WWE has been really effectively appropriating contemporary political moments,” Figueroa said. “I use wrestling as an example to show how political sports really are—the narratives, the construction of heroes and villains, and so on. Those are all things we respond to as a culture and society.”

Joe Arney covers research and general news for the college.

A CMDI expert says without cultural and societal context—which includes politics—sports would be “kind of boring.”

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Nextdoor labor

Joe Arney — Mon, 23 Feb 2026 16:55:45 +0000

Nextdoor labor Joe Arney Mon, 02/23/2026 - 09:55

Joe Arney

If your window to the outdoor world is Nextdoor, you might believe your neighborhood is awash in porch pirates, pooch poop, poor drivers and problematic people.

But as more municipalities find themselves without local journalism outlets, your neighbors might be the best source of community news that you have—which is dangerous, said researchers at the College of Communication, Media, Design and Information at CU ��ý��.

“You could say Nextdoor is increasingly serving a need that has been historically served by local news outlets that don’t exist anymore,” said Toby Hopp, an associate professor in the advertising, public relations and design department. “But Nextdoor’s business model is built around retaining audience attention and serving advertisements—it isn’t linked to journalistic norms like balance, fairness and verified reporting.”

In a new paper in New Media & Society, Hopp and Patrick Ferrucci, professor of journalism, found Nextdoor users are more concerned about crime—and more likely to support aggressive policing tactics, even as Americans demonstrate against the methods employed by Immigration and Customs Enforcement officers.

The authors—which include Hunter (Reeves) Krajewski, a PhD student in APRD—expected Nextdoor users who were less trustful of their neighbors would be more concerned about crime, but in fact, it was the users with high levels of social trust who had that worry.

“Because those folks trust their neighbors, they’re more likely to take reports of crime seriously, which is associated with enhanced concern and an openness to more aggressive policing,” Hopp said.

Notably, the researchers’ survey did not establish a causal link between people concerned about crime and Nextdoor use, meaning they couldn’t determine whether users signed up for the service because they were fearful of crime. But their work is still illuminating as the national conversation remains fixated on immigration, incarceration and technology.

Losing the context

Major crime in metropolitan areas has been in decline since rising in the early part of the decade. But with neighbors venting every grievance on Nextdoor, “it maybe gives people the idea that stolen packages, or loitering, are far more prevalent, and they’re not put in the context of policing,” Ferrucci said.

A missing Amazon package is not the same as seeing ICE agents execute demonstrators or separate children from their parents. But when we lose the context of understanding crime beyond our block, it becomes easier to imagine that more aggressive law enforcement is an answer. Hopp said he was surprised by respondents’ willingness to consider ideas like stop and frisk, vehicle searches during routine traffic stops, and equipping police with military-grade weapons.

“Each of these questions presents real constitutional concerns,” he said. “And if you think about what you’re willing to accept in your community, are you more willing to support these kinds of things in other communities?”

It’s not just ICE tactics or Fourth Amendment questions that are in the news—it’s the data gathered by companies that sell digitized surveillance. That’s not Nextdoor’s model, but it’s not a leap to see how increased concerns about crime could lead to adoption of camera technologies like Ring or Flock.

A collaboration between the companies—announced in a Super Bowl ad—was called off amid backlash that the new feature would create a dragnet to allow police to search for suspects, immigrants and others, instead of just missing pets.

“I think we’re finding these kinds of services, generally speaking, can’t be trusted,” Ferrucci said. “And there’s no appetite from a regulatory body to intervene and protect consumers, who have been slowly giving away their privacy for decades.”

Hopp and Ferrucci bring different research specialties to the problem, which offers them broader insights on topics like these. That’s a core value of CMDI, which was created to equip students and faculty to seek opportunities in areas where different fields intersect—especially as traditional disciplinary boundaries fall in the workplace.

“I don’t know that it makes sense to silo people as journalism researchers, or advertising researchers, and so on, because all institutions are producing and distributing information in a variety of ways,” Hopp said. “To parcel that off as just journalism, or just advertising, or just public relations, becomes increasingly difficult.

“We need to understand that we are researchers of the media—whatever the media might be at any given moment.”

Joe Arney covers research and general news for the college.

Does using Nextdoor make you more likely to support aggressive policing tactics? A new paper from two CMDI experts sheds interesting light on the platform.

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Schoolyards rock!

Hannah Stewart — Mon, 16 Feb 2026 20:02:19 +0000

Schoolyards rock! Hannah Stewart Mon, 02/16/2026 - 13:02

Hannah Stewart

When it comes to recess, kids from kindergarten to high school want a space to be creative, use their imagination and connect with friends. But what are the best ways to facilitate that?

For 15 landscape architecture students at the College of Communication, Media, Design and Information, this challenge was a chance to use their own imaginations to design outdoor recreation spaces at two ��ý�� schools.

“We really let it be guided by the students and their interests, and then determined what would be realistic to actually create from that,” said Anastasia Neznamova, a junior studying landscape architecture.

The studio course, Green Schoolyards, first launched in 2020 under Emily Greenwood, an associate teaching professor in the environmental design department. In that time, students have partnered with 18 schools on redesign plans.

Really successful landscapes are storytelling.”

Emily Greenwood

“Schoolyards are accidentally set aside as open space, and are full of opportunity. When we're creating learning spaces and ecological services, future generations benefit from that work,” Greenwood said.

She has worked with as many as six schools in one semester, but this year, the studio partnered with two ��ý�� schools. A teacher at New Vista High School, which recently underwent a massive renovation, is leading a regenerative agriculture program; he and Greenwood were part of a group that decided a collaboration would be a natural next step in the school’s redesign.

Horizons K-8 School, meanwhile, had worked with environmental design students on a nature play area more than a decade ago. This time, they hope to redevelop three separate areas around the campus with nature play opportunities in mind.

“There’s an ongoing effort to create spaces at schools that are sustainable, that really take into consideration a child’s relationship with nature and the ways children play,” said Kristin Hauger, assistant head of school at Horizons. “I love the fact that our students got a chance to work with the CU students, and that they got a chance to come and do some real life, hands-on work in a place where we’re committed to doing these kinds of things.”

It was important for the landscape architecture students to get face time with the students they were designing for. In addition to site visits, they went back to the schools mid-term to present their initial proposals for their schoolyard designs. Photos by Jack Moody (StratComm'25)

Getting their hands dirty

As part of the studio, environmental design students learned from landscape architecture professionals and even went on field trips to local parks and schoolyards that already had elements of nature play, as opposed to those set up around prefabricated equipment.

Most importantly, however, they worked directly with their clients.

Over the course of the semester, the environmental design students met their younger counterparts multiple times to get a sense of what they wanted from the designs. One 9-year-old from Horizons, Gretchen, said she wanted to see more nature, “and maybe a water feature.”

Initially hesitant, the high schoolers at New Vista eventually became more engaged once they were encouraged to think outside the box.

“One wild idea was to have a zip line,” Neznamova said, laughing. “Once they were envisioning the space, they got excited. We had to consider what the community told us, then think about how to make something that excites people. That’s the story we’re able to tell through the designs.”

“Working with the Horizon kids was a really cool opportunity to get more imaginative ideas and more creativity for our designs,” said Maddie Veasey, another junior studying landscape architecture.

Presenting new possibilities

After presenting to the schools in late October, the environmental design students had about a month to refine their designs ahead of their final presentations to professionals, including city employees and others in the engineering and architecture industries and get back to the schools to present the design.

Some groups dug in deeper to their designs, like one Horizons group tasked with reenvisioning the field behind the school. They focused their design on "traditional ecological knowledge" and cultivating not only plants, but also community and stewardship of the land.

“We wanted to tell the story of the land: what has been done to it, and what we can do now,” said team member Dylan Dodds, a senior studying landscape architecture. “This project is a story about remembering, reconciling and moving forward with all of this 'traditional ecological knowledge,' the stewardship, these land practices in a way that benefits the environment.”

Community was a key topic for many of the groups, as was honoring the various sites’ history. Dodds’ group at Horizons leaned into both the school’s historical relationship with anthropologist Jane Goodall, who visited Horizons in 2015, as well as the ecological knowledge that can be learned from Indigenous communities.

“We talked about cultivating plants and cultivating stewardship, but we also want to cultivate community and activity,” said junior Ella Seevers, Dodds’ team member. “Part of our concept is tying in that modern use and activity with our other values.”

The students’ thoroughness and thoughtfulness stood out to the professionals at the presentation.

Civil engineer and landscape architect Soozy Zerbe said she was especially impressed by the way the students’ research became part of the story. “That’s one of the most important things as a designer: digging that history up and telling the true story, not just telling the story you want to tell,” said Zerbe, an engineer designer with Alta Planning and Design, of Denver.

The college’s work with New Vista is continuing, with Greenwood and a group of her students collaborating with New Vista on a food cart design-build for its regenerative agriculture program. Hauger said that the Horizon School’s council is enthusiastic about expanding nature play around their campus, and will have to discuss the logistical next steps.

“Our students have the ability to empathize and really understand what kids just one generation below them are really looking for,” Greenwood said. “Really successful landscapes are storytelling. It’s so easy to design literally, but if there’s a thread that binds those elements together, then it’s a stronger design.”

Hannah Stewart covers student news for the college. She graduated from CMDI in 2019 with a degree in communication.

Photos by Jack Moody (StratComm'25)

To reimagine play spaces for young students, two ��ý�� schools enlisted CMDI’s expertise in redesigning their schoolyards.

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Snow news day: The challenge of climate reporting as newsrooms cut back

Joe Arney — Wed, 11 Feb 2026 19:06:34 +0000

Snow news day: The challenge of climate reporting as newsrooms cut back Joe Arney Wed, 02/11/2026 - 12:06

Joe Arney

The Flatirons, in ��ý��, during a more typical winter. CMDI’s Water Desk has been fielding calls throughout the winter drought from resource-starved reporters looking for help covering a warm, extremely dry season. Photo by Joe Arney.

Call it the winter of our discontent: With just 23 inches of snow accumulation since November, ��ý��—and Colorado as a whole—is enduring one of the driest winters on record.

And as parts of Colorado and the American West start to look more like deserts, they’re becoming news deserts, as well. Cuts, closures and consolidations are shuttering newsrooms and robbing reporters of resources, making it harder to ensure the public is getting trustworthy, verified information about the scope of this crisis.

It’s a challenge Luke Runyon sees daily as co-director of The Water Desk.

Luke Runyon

“It’s been an extremely dry and extremely warm winter for the southern Rocky Mountains—really, for much of the West,” said Runyon, whose work with a local NPR station won a prestigious Murrow Award in 2024.

“What I’d love to see more of is reporters going into the field and talking to the people on the ground who have to make tough decisions because of a lack of water. But I understand why that doesn’t happen—it’s more expensive to do that kind of reporting, to find the characters who tell that story.”

It’s not that you can’t watch the local news to see reports of just how dry the weather has been. But resource-starved newsrooms have to make hard editorial decisions about which in-depth stories to pursue, and Runyon said environmental reporting struggles to compete with other beats—so it’s often scaled back.

We ignore water coverage at our own peril, Runyon said, especially as climate change stresses ecosystems, upends established norms and ushers in more brutal fire seasons.

“The reason snow gets so much coverage in the winter is because it has all these domino effects that are felt through the rest of the year.”

Luke Runyon, co-director, The Water Desk

“Access to water is the issue affecting the modern West, one that underlies almost every major question we’re talking about,” he said. “It pops up in housing, agriculture and our ability to feed ourselves, recreation and the broader environment. If we’re not talking about water, we’re missing a huge piece of what it means to live in the west.”

Beyond just financial support

At The Water Desk, Runyon works directly with the journalists trying to tell those stories. Its work has evolved as the needs of journalists have changed. The team used to exclusively provide financial support through small grants; today, it also offers assistance with data visualization and mapping on big stories, even direct editing support from Runyon, who’s covered Colorado River issues for nearly a decade. The Water Desk, which is housed out of the Center for Environmental Journalism at CU ��ý��’s College of Communication, Media, Design and Information, also contributes original reporting on timely issues.

That’s important because while there are good reporters covering water issues, it’s been a hard time to be a journalist—especially one covering a highly complex issue like water, “because it isn’t easy to understand the crazy infrastructure, the complicated legal mechanisms in place to manage water,” he said.

A major story right now that is getting national attention is the need for an updated management proposal for the Colorado River, which supplies water to seven Western U.S. states and Mexico. The states, which disagree on how to manage a shrinking supply of water, missed a fall deadline to submit a plan to the federal government; the new deadline is Saturday.

“The timing of this very dry year comes at a critical moment for the river itself,” Runyon said. “I think you’ll see more being written on this leading up to the 14th.”

Most of the stories Runyon is fielding calls about right now concern poor skiing conditions and the economic impact on resorts and mountain towns. He expects the cycle to turn to agriculture in the spring—especially how farmers will adjust plantings in the face of shortages—and to recreation and ecology in the summer.

“The reason snow gets so much coverage in the winter is because it has all these domino effects that are felt through the rest of the year,” Runyon said.

Finding ways to help a dwindling cast of media to tell deeper and more impactful stories remains his greatest challenge, but Runyon does see opportunities for people looking to break into journalism, especially as new platforms allow reporters to offer their audience deep dives on important topics like climate and water.

“There are a lot of cool, innovative startups out there,” he said. “And there is a much broader definition of who gets to call themselves a journalist. You can be an expert with a Substack newsletter, and you’re basically running your own small business. Hopefully, there’s more of that to come.”

Joe Arney covers research and general news for the college.

CMDI’s Water Desk has expanded the services it offers to resource-starved reporters who need help covering complex stories around the Colorado River and climate change.

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Heated Rivalry is melting the ice—and tropes around sexuality and sports

Joe Arney — Thu, 05 Feb 2026 19:33:14 +0000

Heated Rivalry is melting the ice—and tropes around sexuality and sports Joe Arney Thu, 02/05/2026 - 12:33

Iris Serrano

A CMDI professor praised Heated Rivalry for its willingness to defy the tropes associated with gay male characters, especially in a professional sports setting. Photo courtesy HBO.

Weeks after the release of its season finale, audiences are still going wild for Heated Rivalry. And while fans have been closely tracking the on-screen romance between the two leads—professional hockey players on opposing teams—Jamie Skerski is watching that relationship from a more critical perspective.

Skerski, who studies how narratives are shaped and mediated by institutions, audiences and cultural norms, said the show’s popularity points to “the complete lack of nuanced gay representation” in mass media.

“The show defies the stereotypical ‘gay man as feminine sidekick’ trope, and depicts masculinity as simultaneously strong/athletic and vulnerable,” said Skerski, teaching professor of communication at the College of Communication, Media, Design and Information.

While queer representation is more visible in the media than ever, Skerski said the show’s popularity points to what’s missing in that changing conversation. Of particular note, she said, is its setting against the hypermasculine culture of professional sports.

“The series destroys the logic of the hegemonic masculinity that says a real man is masculine, strong and heterosexual,” she said. “Here, we have strong, successful men who are clearly masculine despite their sexuality.”

A hot storyline ahead of Olympics

Jamie Skerski, right, says her students understand that representation in mass media is important—but so is the quality of what’s portrayed. Photo by Kimberly Coffin.

The story focuses on two professional hockey players on opposing teams whose relationship appears like a rivalry to fans, but is much more intimate behind closed doors. The show has generated fan edits on social media, its stars were chosen to be torch bearers for the 2026 Winter Olympics and NHL teams are selling merchandise featuring the characters.

While Heated Rivalry is upending traditional portrayals of masculinity, the show is doing so against one of the last places where homophobia is seen as acceptable—in the locker rooms and on the fields. Despite there being many women in major sports who have come out, the audience finds it intriguing to see a different narrative.

“Representation that falls into tired tropes and stereotypes doesn’t do anything to challenge the underlying value systems that benefit from the perpetuation of those stereotypes.”

Jamie Skerski, teaching professor, communication

Something Skerski especially appreciated about the series is how it portrayed coming out as a complex process, instead of a linear one. Over the course of the show, both male leads struggle to come out over fears of ruining their careers and public images. Still, they are visibly tired of keeping up the facade.

“The nuance and thoughtfulness of that story arc are quite impressive,” she said. “The characters are in a constant state of managing identity, relationships and disclosure. The series portrays that tension with care and tenderness.”

The conversations about the show have even been had in the classroom, where students are thinking about thoughtful storytelling in the media.

The story, and popularity, of Heated Rivalry have come up in the conversations Skerski leads in her Communication, Culture and Sport class, which challenges students to think critically about the communicative, historical and cultural aspects of sports society, including the intersections of power, gender and sexuality, race, and class.

“Students generally understand that representation matters—but this is a good lesson on the quality of that representation,” Skerski said. “Representation that falls into tired tropes and stereotypes doesn’t do anything to challenge the underlying value systems that benefit from the perpetuation of those stereotypes.”

Iris Serrano is studying strategic communication and journalism at CMDI. She covers student news and events for the college.

The hit HBO show has captivated audiences by challenging traditional tropes often seen in mass media.

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Playbook for a winning Super Bowl ad: Embrace risk, seek emotion

Joe Arney — Fri, 30 Jan 2026 16:19:23 +0000

Playbook for a winning Super Bowl ad: Embrace risk, seek emotion Joe Arney Fri, 01/30/2026 - 09:19

Ryan Huff

On Super Bowl Sunday, playing it safe is a guaranteed fumble.

At least when it comes to the commercials.

Courtesy Coca-Cola

“If you show up at the Super Bowl and your ad is just OK and nobody talks about you, you've wasted millions of dollars,” said Jeff Gillette, an assistant teaching professor of advertising at the College of Communication, Media, Design and Information. “If people are divided about whether they love you or hate you and they're talking about you, that's a big win.”

Gillette, a former creative director with 20 years in the advertising business, knows how nerve-wracking it can be to view the commercials and hope for the best as public reaction unfolds. He helped create Coca-Cola spots for six Super Bowls at renowned ad agency Wieden+Kennedy.

Coke’s 2014 Super Bowl ad was particularly memorable for Gillette. The 60-second spot featured young American women signing “America the Beautiful” in a blend of English and their native tongues—including Hebrew, Spanish and a Native American dialect—to celebrate the nation’s diversity.

The scrutiny started immediately, with the ad content debated for days on Facebook feeds and morning news shows.

“We told the Coca-Cola marketing team beforehand, ‘You are going to get backlash, and we need you to back it up,’” Gillette said. And in doing so, they were rewarded: “After it aired, they saw a dip in consumer sentiment for maybe a minute, but then it spiked afterward. There were significantly more people who defended that spot than tried to tear it down.”

Jeff Gillette

Gillette is now co-director of the strategic communication design master’s program, popularly known as The Brand Studios. As he tells his students, airing Super Bowl commercials isn’t for every client. To ensure that today’s going rate of $8 million for 30 seconds of airtime is money well-spent, companies need to have broad appeal to the 125 million people watching.

“If you're in a space that has a lot of competition—like beer, soda, cars—it’s a great opportunity,” he said. “The purpose of Super Bowl marketing is for an established company to persuade you with brand affection and brand emotion. It works when it’s either funny or pulls on your emotional heart strings. It needs to be big and bold, and not trying to sell you something. It’s about communicating on an emotional level.”

Gillette has also seen plenty of flops in his day, too. One that sticks out for him was Mountain Dew’s “Puppy Monkey Baby” campaign during the Denver Broncos’ win in 2016. The spot features a diaper-clad, pug-faced, dancing monkey handing out beverages to three young men on a couch.

“Somebody brainstormed that puppies, monkeys and babies all do well for the Super Bowl. So, what if we mixed them all together?” Gillette said. “You want to be out there and memorable. But you can't just be weird without any kind of a message. Even though some people liked the ad, it didn’t connect with me emotionally.”

Others, though, did make the connection—some critics called it that year’s best ad while others labeled it the worst, creating the divisive buzz Gillette said can lead to consumer attention.

While some companies’ ad concepts only get one Super Bowl in the spotlight, others continue to feature their stable of mainstays. Budweiser has their Clydesdales. Doritos loves user-generated content. And Coca-Cola’s polar bears—icons that began with 1920s French print ads—made a comeback during the 2012 Super Bowl.

Gillette and fellow creative director Hal Curtis dreamed up a fresh angle for those fluffy carnivores beyond the standard in-game advertisement. Would the audience watch a livestream of the bears watching the game?

The creative team used Xbox controllers—this was 2012, after all—to puppet the computer-generated imagery with prepared actions. This enabled the bears—one a Patriots fan, the other a Giants fan—to react with cheers and disgust to the game, halftime show and commercials in real time.

The risk paid off. Nine million people tuned in on phones and laptops for an average of 28 minutes.

“You never get that length of time for somebody to engage with your brand,” Gillette said. “At no time were we like, ‘Hey, go have a Coca-Cola.’ It wasn’t a hard pitch. It was just a brand experience that people seemed to like, because people love the polar bears.”

And apparently, on the eve of this year’s Super Bowl, Pepsi now loves the polar bears, too. More than a week before the big game, Pepsi rolled out a playful twist where a polar bear unexpectedly prefers Pepsi over Coke in a blind taste test of its zero-sugar sodas.

Game on. What’s Coke’s next play?

“If I were Coke, I’d ignore it and concentrate on making better advertising,” Gillette said. “What they shouldn't do is react. If they do, Pepsi gets what they were after: some much-needed attention as the No. 2.

“I don’t blame them, though. Pepsi has always been the challenger brand—and when you’re in that spot, you got to poke, you know, the bear.”

Ryan Huff is the assistant dean of communications and engagement at CMDI.

An advertising professor who’s produced Super spots for Coca-Cola shares what makes a commercial memorable during the big game.

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Announcing the fall 2025 dean's list

Ellie Chase — Wed, 28 Jan 2026 22:57:57 +0000

Announcing the fall 2025 dean's list Ellie Chase Wed, 01/28/2026 - 15:57

More than 800 CMDI students were named to the dean's list for the fall semester. To qualify, students must complete at least 12 credit hours of CU ��ý�� coursework for a letter grade and achieve a term grade point average of 3.75 or better. Each receives a notation on their transcripts and a letter from the dean. Congratulations to all honorees!

Alejandro Abarca
Matt Abatangle
Saroon Abayenh
Marlo Abrahamson
Shea Ackman
Emilio Adams
Phillip Adams
Tassilo Adams
Quinn Ahrens
Lucy Alagna
Maria Alali
Rosie Aldridge
Caitlin Alexander
Kenzi Alipit
Sophie Allaway
Anthony Allen
Trinity Alvord
Saleh Alzamil
Alexandra Anaya
Bridgette Anderson
Molly Anderson
Lila Angelopoulos
Sierra Anguiano
Jaxon Archer
Mia Archuleta
Jazmin Armijo
Remy Arnold
Sydney Arnold
Natasha Arzt
Kaylee Austin
Niles Ayer
Ben Babson
Roxanne Bachana
Alexia Bailey
Owen Balboa
Austin Balconi
Tyler Bales
Cadyn Banerian
Jose Banuelos
Katie Barcroft
Evan Bardinelli
Caleigh Barletta
Julia Barlow
Thomas Barrett
Marina Barretto
Tomas Barrientos
Maddy Barth
Owen Barton
Kate Bashore
Mekdes Bass
Ellena Bassoukos
Leah Baumann
Klaire Bautz
Katie Baxter
Juliana Beans
Lily Becker
Savy Behr
Johnna Belveal
Jane Bengston
Tess Betman
Eliot Bevier Dill
Charlie Bickham
Jack Bigelow
Ezra Billig
Teagan Bischoff
Korinne Bishop
Katie Bixler
Mary Black
Miley Black
Kenna Blank
Sam Blatt
Miranda Bleau
Riley Blomstrand
Sophia Bobier
Sophia Bolich
Piper Bolin
Anvitha Bompalli
Matthew Boothroyd
Carmen Boyle
Reed Bracero
Anna Bradburn
Norah Brady
Kate Branscomb
Antonio Bravo
Elizabeth Brechtel
Olivia Brehm
Keeley Brei
Hannah Brennan
Adeline Briggs
Erin Brinkman
Jack Bronchetti
Elly Brooks
Mia Brosterhous
Samantha Brouhard
Addison Brower
Olivia Brown
Chase Browne
Lili Brownell
Callie Browning
Emma Browning
Eva Bruce
Tessa Buchanan
Tyler Buchanan
Ashley Budy
James Bui
Morgan Burcar
Alena Burris
Parker Burt
Tyler Byrne
America Cabral
Luke Cadenaro
Carli Camens
Claire Cameron
Evan Caplan
Rhiannon Cargo
Jessie Carlin
Gemma Carlson
Gabriella Carnevale
Laila Casanueva
Meredith Case
Madison Cashin
Kathryn Castanoli
Mia Castro
Dominic Celaschi
Zachary Chagnon
Isabella Chan
Emily Chang
Madelyn Chang
Connor Chase
Ellie Chase
Hayden Chedid
Cameron Cheney
Avery Childs
Kate Cho
Anika Chowdhury
Megan Chung
Coco Ciardelli
Malaya Cimino
Abi Clayton
Kay Clifford
Annalia Clifton
Avery Clifton
Emme Clymer
Morgan Coffin
Ava Coffman
MacKenzie Cole
MacKenzie Cole
Jaci Collins-Falcon
Joanna Conforti
Andrew Conley
Sarah Connor
Breah Conradson
Sophie Coombs
Zenden Copeland
Avery Corliss
Susie Cormack
Gilberto Corral
Amelie Couret
Sarah Cowell
Findlay Coykendall
Marissa Crenshaw
Elizabeth Cropper
Maddie Crosier
Chloe Cross
Heidi Crowther
Eryn Cryer
Kaylie Cunningham
Gracyn Custin
Cody Cutone
Liz Cutting
Avery Czachor
Teresa Da Silva
Clara Dailey
Abby Dalrymple
Abikael Daniel
Maya Dank
Olivia Darby
John Davis
Katherine Davis
Mason Davis
Turner Davis
Billy Dayton
Ramon De Arcos Tapia
Brandon De Pena
Olivia DeGregorio
Bella Demartin
Maddy Demmert
Luca Denicola
Rune Denolf
Helena Desoto
Charles Deutser
Leo Dienstfrey
William Dinh
Quinn Dobbs
Sydney Dobriner
Connie Dolati
Lexi Dolsak
Luke Donis
Eric Donjuan
Hunter Donovan
Brodie Dorko
Emily Doskow
Sydney Dossa
Daniel Doupe
Averie Dow
Brady Dowd
Lucas Drager
Irene Drapszo
Baylee Drevno
Kayla Drumke
Emma Dudley
Wyatt Duesenberg
Rowan Dulfer

Carolyn Dunlap
Nicollette Dunn
Etienne Dunoyer
Emily Duvall
Abby Dwyer
Ryan Dye
Ryann Dyk
Esperanza Edwards-Satragni
Avery Ehrig
Riley Eisenstein
Molly Elert
Ryan Elliott
Jenny Ellis
Kaoutar Elouadi
Libby Emery
Ava Esposito
Lucy Esquivel
Felix Estes
Angel Estrada Zarco
Quinn Etheridge
Morgan Evans
Emma Evars
Sienna Fahey
Maddy Farmer
Nolan Farrar
Liam Fehlau-Barton
Aysla Fenner
Peyton Fenner
Anika Fergis
Clare Finnigan
Carolyn Fish
Elena Fisher
Maddie Fisher
Marli Fisher
Tate Fitzgibbons
Emma Flanagan
Aiden Fliszar
William Flockton
Soleil Floyd
Delaney Flynn
Joe Fogler
Callie Forrest
Ellie Foster
Rhen Fowler
Tatum France-Kelly
Natalie Free
Ellis French
Jayne Frey
Rylee Frey
Isabelle Friedrich
Adelene Frymoyer
Colette Gagliano
Kaija Galins
Cassidy Gallagher
Jacalyn Gamble
Lydia Gammon
Gaby Garcia Armendariz
Katelyn Gardner
Abigail Garza
Caitlyn Garza
Zoey Gassner
Samson Gear
Nick Gehring
Carly Gelfand
Piper George
Alex Gertzen
Olivia Gewanter
Hannah Giacomin
Orion Gibbs
Ink Gibson
Caroline Gilchrist
Lauren Gillespie
Danny Gillis
Gigi Gittelman
Graham Givan
Anna Gledhill
Jessie Gleitsman
Arlie Goldman
Susannah Goldsmith
Deborah Gomez
Karlyn Gonsalves
Max Goodman
Salem Goodman
Bella Goodson
Drew Gorman
Avery Goss
Chloe Graham
Kylie Graham
Nora Graham
Ariana Grant
Sophia Graup
Rachel Greenberg
Logyn Greer
Willow Gretsch
Erica Griffiths
Tristan Grosam
Caitlin Grossman
Vivan Guida
Grayson Guinan
Griffin Gurewicz
Owen Guzik
Aric Gyekis
Anthony Haberkorn
Trey Haggarty
Paxton Haines
Hanna Hale
Sabina Hall
Alsa Halquist
Norah Hampford
Nate Hankins
Audrey Hansen
Ella Harris
lanier Harvey
Tyler Harvey
Nick Haseman
Josie Hayes
Keeley Haynes
Brooke Haynie
Skyler Haynie
Madison Hays
Lorraine Healy
Will Henrickson
Vanessa Hernandez
Jane Hershberger
Carter Hessen
Kainoa Hiatt
Tyler Hibri
Bella Hill
Cassidy Hill
Hannah Hillen
Hannah Hoffman
Jason Hoffman
Cruz Hoitsma
Ella Holden
Dylan Hommes
Max Hostetter
Taylar Houck
Mira Hougen
Donavon Houston
Owen Houtakker
Brooklyn Howard
Taylor Hoyt
Oleksa Hryciw
Haley Hubbard Godfrey
Kendra Hudgins
Livia Hughes
Ronan Huizar
Ellie Hultgren
Wyatt Humble
Camille Hunt
Susanna Imhof
Maxine Inman
Samantha Isaacson
Jules Isenberg
Grace Jackman
Grant Jackson
Paige Jaeger
Monroe Jasper
Alana Jenks
Grace Jenks
Alexis Jennings
Annika Jobanputra
Mia Jochamowitz-Endersby Chikhani
Addison Johnson
Tanner Johnson
Liv Johnstad
Neda Jonaitis
Gianna Jordon
Max Julian
Danielle Jung
Emma Kaiser
Nina Kanavati
Chase Kanger
Faith Kaplan
Kush Karamcheti
Lola Karimi
Bailey Karraker
Brooklyn Karraker
Skye Karsh
Ty Keeley
Nicole Keffer
Thomas Keller
Audrey Kelley
Henry Kelty
Charlotte Kendall
Rachel Kennedy
Riley Kenny
John Kerklo
Grayson Kern
Riley Kerstiens
Josh Kesner
Amy Kibort
Madeleine Kiel
Hannah Kijner
Kenzie Kimball
Myra Kirk
Marin Kirkman
Avery Kissinger
Ian Kligora
Ally Klinefeldt
Leia Kliska
Jackson Knapp
Maggie Kocher
Alexa Kofman
Cameron Kolinchak
Jon Kolvereid
Colton Kominski
Alden Koskoff
Kristin Kraml
Riley Krane
Quinn Kreck
Ella Krelovich
Katie Krochalis
Carey Kronhart

Viktoriya Kukarekina
Justin Kulas
Brayden Kurzawa
Emily Kwon
Amy Labontu
Bentley Labrecque
Genevieve Lacey
Devin Lafave
Ella LaMura
Kadence Landis
Skyler Landry
Dalton Lanham
Delaney Lantz
Ben LaPlante
Leighton Larsen
Blake Larson
Maddie Lasker
London Lawrence
Sarah Lawrence
Alex Lazarou
Kaija Lazda
Camille Leach
Lauren Leclair
Lou Leclercq
Alice Lee
Skyler Lee
Chloe Legere
Asher Leish
Aubrey Leneweaver
Brian Leuthold
Charlotte Levine
Kara Liguori
Jasmin Lin
Ahnnali Lindgren
Isabelle Lingo
Joe Lingold
Mia Lioudis
Alexander Lipka
Margaret Lipscomb
Lucy Lloyd
Aramis Loma-Guzman
Luke Lommatzsch
Leif Lomo
Skyler Longerbone
Lauren Lopez
Deborah Loseke
Katelyn Love
Lexi Lower
Stella Lowery
Janie Ludington
Julia Luther
Bailey Luts
Maille Lyon
Claire Macaluso
Molly Machoskie
Julia Maclean
Natalie Madeira
Maxwell Majors
Carly Malamut
Julianna Maldonado
Devon Malling
Mel Malloy
Patrick Mancuso
Lily Maniotes
Emelia Mantz
Alexis Manzo
Nicholas Marcin
Kea Margolis
Annaliese Markel
Isabella Marquez
Sedona Marshall
Taylor Martin
Mia Martinez
Maggie Marusin
Eloise Masciola
Carolyn Mason
Keely Matthews
Alden Mazur
Grace Mcanany
Finn Mccarthy
Evan Mccormick
Elizabeth Mccoy
Wyatt McCune
John Mcdermott
Teague Mcdonald
Maeve Mcerlane
Andrew Mcfadden
Lucia Mcgetrick-Dima
Fiona Mcginnis
Delaney Mckernan
Abbey McMahon
Margaret McQueen
Ava Melen
Alex Melvin
Jenna Mendelssohn
Claire Mercer
Ava Merias
Olivia Meyers
Allison Miller
Channing Miller
Creed Miller
Ellen Miller
Hailey Miller
Maggie Miller
Morgan Miller
Ashley Mohrbach
Camryn Montgomery
Gigi Montgomery
Justice Montoya
Bronte Moore
Emily Moore
Felipe Moore
Jenna Morley
Chaney Morris
Maya Morse
Scout Mortenson
Nathan Mosley
Madison Moss
Trevor Mueller
Ally Murphy
Reese Murphy
Rue Murray
Mason Mutz
Becca Myers
Emma Myers
Aahana Nandy
Caitlin Neil
Remi Netupsky
Natalie Newmann
Taylor Nickerson
Matthew Nielsen
Maximillian Noble
Charlotte Norton
Anna Novak
Lila Nuttle
Remy O'Connell
Nora O'connor
Olivia O'Haver
Addie O'Neil
Brinley O'neill
Ashlyn Oklesh
Taylor Oldenburg
Annabelle Olson
Sofia Olsson
Alexandra Organa
Annika Ort
Maddie Osterkamp
Max Osterman
Alina Ouligian
Emmett Owenby
Josie Pachla
Phoebe Paletta
Aly Pardo
Katy Parks
Macie Parsons
Lauren Paschke
Liliane Patrick
Kaya Patterson
Audrey Patton
Izzy Pell
Caroline Pellerito
Ava Pelster
Lily Pemberton
Mia Pendergast
Paige Pennell
Annie Peragine
Jaclyn Pereira
Kennedy Perez
Brisa Perkins
Emma Perlmutter
Eliza Perry
Isabelle Perry
Quetzal Peterson
Patrick Pethybridge
Ellie Phillips
Bell Piccirillo
Norah Pietras
Mackenzie Pinksa
Macy Place
Alison Plagge
Nico Plaisted
Skye Platto
Liliana Poast Soler
Lilly Polak
Katharine Polep-Sawyer
Ella Policastri
Ashley Pomeroy
Lyla Ponce
Norah Pope
Elle Pottinger
Dax Prata
Bradley Pratt
Addisson Pribble
Elle Price
Giana Pritchard
Taylor Pulley
Sutton Raeburn
Jacob Rainsberger
Samantha Ramirez
Olivia Randazzo
Maya Raulf
Nick Rauscher
Huston Rawls
Madelyn Ray
Rachel Ray
Cameron Reed
Hailey Reed
Jenna Reed
Molly Reed
Katrina Reghitto
Anna Rehak
Jack Remington
Jake Reuss
Katie Reuter

Ella Revivo
Peyton Rhodes
Katie Ridgway
Jackie Rivera
Eliza Roberts
Caniya Robinson
Ella Robinson
Michael Robinson
Abby Robison
Gabrielle Rodriguez
Cole Rogers
Laura Rogers
Salome Rojas
Lauren Romero
Diana Romero Bermudez
Brynna Roscoe
Jenna Rose
Sophia Rose
Sierra Rosen
Alison Rosenbaum
Eli Rosenthal
Sierra Rossman
Piper Roth
Taylor Roth
Ava Rotman
Giova Rubenstein
Sophie Rubinstein
Reagan Russell
Sam Russo
Brenna Rutherford
Emme Rutherford
Catherine Rutman
Jessica Ryanczak
Brooklyn Sadler
Sosan Safi
Rylee Sahl
Joaquin Salinas
Yahir Sanchez Diaz
Lydia Sarbacker
Ramey Sattich
Christopher Schepers
Riley Schermerhorn
Carly Schiller
Stephanie Schmitt
Addie Schneider
Emma Schneider
Jaimie Schoenke
Sydney Schrader
Teagan Schreiber
Willow Schulz
Aubrey Schwartz
Ben Schweiger
Ella Scolnick
Grace Scott
Madeline Scripp
Olivia Scussel
Grace Seaback
Veronica Seal
Ella Seevers
London Selah
Michael Seward
Krish Shah
Jack Shand
Ava Shanrock
Marissa Sharon
Danny Sheedy
Jenna Shenbaum
Daniel Sher
Cody Shoelson
Zoe Showalter-Flowers
Rainna Shrull
Aaron Siegel
Matthew Silver
Harrison Simeon
Gannett Simonton
Ella Skoloda
Mac Skudlarczyk
Cj Slattery
Moe Slintak
Marie Slotnick
Ella Smith
Matthew Smith
Ryan Smith
Jack Snyder
Eli Sobel
Edgar Soberon Munoz
Sevi Solari
Ewan Sookswat
Noel Sookswat
Madelyn Speights
Sophia Spheeris
Simon Spillane
Matthew Spivack
Samantha Spiwak
Bella Stamper
Kaeden Stander
Brady Stark
Kate Starke
Ashlin Stasswender Swasey
Trent Steffen
Alexander Stein
Zachary Steiner
Evan Stellino
Cole Stephan
Ariele Stern
Sarah Stern
Samuel Stevens
Jordyn Stewart
Braden Stirrett
Stella Stone
Anna Stout
Mary Strasser
Ava Strauss
Xander Sucich
Elizabeth Suffian
Luke Suitts
Lucy Suja
Aoife Sullivan
Clara Sullivan
Olivia Sullivan
Taylor Sutton
Dennis Swanson
Jackson Swartzendruber
Leah Szabo
Willow Tachna
Harper Tagg
Emi Takaoka
Nano Takeda
Mira Talusani
Sophia Tambascio
Jack Tannenbaum
Annie Tanner
Natalie Tapia
Raquel Tapia
Tyler Tatman
Hailey Taylor
Sarah Taylor
Skylar Taylor
Cecelia Tecu
Jordan Teicher
Josie Terry-Lloyd
Annabelle Thomas
Sage Thompson
Channing Thomson
Sol Tirado - Jensen
Brooks Tolany
Grace Toomey
Zohair Toor
Annabelle Torgove
Clio Torrance
Alexa Tovar
Hendley Tracy
Eduardo Trejo Trinidad
Carly Tremaine
Ricky Tuka
Jazzy Tung
Audrey Turley
Braden Turner
Caroline Valdes
Christian Valentino
Ann Vanderveen
Maya Vanvleet
Celia Vargas
Maddie Veasey
Sydney Venetsanopoulos
Bella Vetta
Holden Vincent
Andrew Vogt
Saanvi Vookanti
August Vrielink
Fiona Wachter
Ashtyn Waddle
Chloe Walsh
Catherine Ward
Lauren Ward
Kieran Warger
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When retreat trumps the rise of global free markets

Joe Arney — Wed, 28 Jan 2026 19:34:07 +0000

When retreat trumps the rise of global free markets Joe Arney Wed, 01/28/2026 - 12:34

Joe Arney

For Colette Perold, seeing an imperial power throw its weight around in Latin America isn’t news—she’s an expert on how multinational IT companies have exerted influence in this part of the world.

What she finds curious about Donald Trump’s approach to diplomacy is how out of step it is with the desires of many businesses.

Colette Perold

While the interests of the state and corporations don’t always align, “what’s fascinating about the second Trump administration is that much of its foreign policy appears to undermine the liberalized overseas markets that allowed U.S.-based multinationals to become dominant,” she said. “For that to be replaced by this scattershot, unpredictable type of foreign policy execution is new terrain for them.”

Perold, an assistant professor of media studies at the College of Communication, Media, Design and Information, researches the relationship between media technologies, labor and foreign policy. It’s work she became interested in following her work as a labor organizer and an editor for NACLA Report on the Americas, a quarterly journal on Latin American politics and social movements.

In her best-known work, Perold traces IBM’s investment in Brazil—the company was a dominant force in the country from the 1930s into the late 1970s, and was effectively a monopoly in the region for decades—including how the company contended with, and overcame, labor movements and domestic pressure for economic autonomy. That research is the subject of a forthcoming book, which was supported by the prestigious National Endowment for the Humanities Fellowship.

The rise of IBM

IBM’s priorities largely reflected those of the U.S. government, which was eager to build a liberal international order as it expanded its influence and economic might in the post-World War II era. By kidnapping a foreign head of state and exhorting American oil companies to reinvest in Venezuela, Trump has signaled a return to a time when the nation’s interests were less global in scope.

How we got here

Seeing the Monroe Doctrine in the headlines was probably the first time most Americans thought of it since high-school history class. The doctrine was an early foreign policy declaration that established the United States’ opposition to European intervention in the hemisphere.

In reasserting the Monroe Doctrine, Donald Trump is returning to a period when U.S. intervention in Latin America was not just the practice, but the stated policy. That changed in the Good Neighbor days, but during the Cold War, the United States reasserted its interventionism in Latin America.

The 1990s marked a return to economics as the primary form of domination; today, “it looks like military intervention and other forms of ‘extra-economic’ coercion are becoming both practice and stated policy again,” Colette Perold said.

When Franklin Roosevelt introduced the Good Neighbor Policy, committing the United States to nonintervention in Latin American affairs, “that became the starting point for building a liberal hemispheric and international trade order, to remove barriers to trade and open markets,” Perold said. “Trump is retreating from all of that through his ‘America First’ diplomacy.”

IBM, she said, is a perfect example of how companies benefited from that liberal order. When the company arrived in Brazil in 1917, the tech industry looked nothing like it does today, but as it went from tabulating machines to mainframe computers, IBM was increasingly able to benefit from changing legal obligations, new regulations and shifts in labor markets.

“My interest here is understanding the technological changes alongside the political and economic changes, and how those feed each other,” she said. “By looking at these different players—the IT companies, the U.S. foreign policy apparatus, labor—we can understand, strategically, how we got to where we are today.”

The United States’ decades of commitment to that international order allowed it to stifle political movements in Latin America, most visibly to the benefit of companies like United Fruit, or industries like mining, Perold said. “But while no one really thinks about the unbelievable amount of political power IBM exerted in Brazil, it was very much part of building a liberal international order from the 1930s until its influence started to wane in the late 1970s.”

Signals in foreign policy noise

In examining the White House’s national security strategy, released late last year, she has found some potential signals in Trump’s noisy foreign policy execution.

“It seems like a lot of this strategy is motivated by the last two decades of increasing Chinese investment in Latin America,” she said. U.S. strategy, she said, is about expelling foreign powers, including a return to military force. China, Perold added, “is the subtext throughout the section of the document on the Western Hemisphere.”

“From the Trump administration’s perspective, the liberal trade order that gave us the rise of China is what’s hurting U.S. interests in Latin America. In other words, liberal internationalism was working for American interests in Latin America until it wasn’t—so now, our foreign policy is to directly dominate a sphere of influence, rather than manage it through markets.”

“By looking at these different players—the IT companies, the U.S. foreign policy apparatus, labor—we can understand, strategically, how we got to where we are today.”

Colette Perold, assistant professor, media studies

One of her favorite things about teaching this research, Perold said, is that few students are aware of the history at a time of both fast-moving foreign policy and rapid change driven by the tech industry. When she teaches students about the rise of Japan as a semiconductor giant in the 1980s, many are surprised to see, in U.S. media, the same language and signals aimed at China today.

“Two of the most influential of the so-called Atari Democrats,” who guided their party from organized labor to the largely nonunion information economy, “were senators from Colorado, and we have their papers right here at Norlin Library,” she said. “So, my students were looking at these documents about the supposed threat of Japan—and the real threats to organized labor—and going, wow, this is so similar to how politicians talk about China today.

“The beauty of teaching history classes about media and computing is seeing students get that shock, that this isn’t all new. It’s such a cool experience to watch them recognize that there is precedence to the cultural and technological phenomena they are steeped in every day.”

Joe Arney covers research and general news for the college.

A historian and labor expert says companies like IBM typified how the U.S. dominated the post-World War II global order. Trump’s retreat from that stage “undermines the free markets corporations want.”

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