APEX Hour at SUU

After achieving his dream of being a video gamer artist and reaching the top at Blizzard Entertainment, Josh Singh was faced with the reality of what it takes to make it: time and constantly hitting the mark. After leaving and helping make League of Legends the game it is today, Josh finds himself climbing the ladder, both up and down, eventually leading back up to the top of the industry as the Art Director for Marvel Entertainment.

Josh attended BYU-Hawaii, earning an Associate of General Studies in 2001, and studied Graphic Design at Eagle Gate Technical College in Murray, UT. Since graduating, he has worked as a senior character artist at Sony Online Entertainment, Blizzard Entertainment, and Riot Games, as well as other companies. In addition to being Art Director for Marvel Entertainment, he has also been an Art Director for Wavedash Games, where he built their art department entirely from scratch, and Brazilian gaming company Wildlife Games, which taught him a working proficiency in Portuguese. He has worked on such notable projects as Titan Quest, Project Titan (the predecessor to Overwatch), League of Legends, Legends of Runeterra, and Icons: Combat Arena, and Tennis Clash. He has been with Marvel Entertainment since September 2021, where he has been an Art Director for Marvel Snap, Marvel's Midnight Suns, and Marvel's Spider-Man 2. In 2011, he was named a Master Artist by online art community CGHub (a honor with such weight that it has a history of being used to gain a US O-1B Visa, given to those who have extraordinary artistic ability) and was an instructor of a Masterclass at the Gnomon School of Visual Effects (the “MIT of VFX”) in 2013. Josh also speaks fluent Fijian. 

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Eccles APEX Website: https://www.suu.edu/apex

On Friday, 10 October 1800, a ragtag group of artists and Jacobins were arrested at the Paris Opéra, accused of plotting to stab First Consul Napoleon Bonaparte in his box. In the coming weeks the suspected ringleaders of this so-called Conspiracy of Daggers were swiftly tried, convicted, and guillotined as a warning to other would-be assassins. But how guilty were they? Although the regime prosecuted its case confidently, its critics from the beginning insisted that the accused were little more than patsies goaded into the crime by an undercover agent. Drawing on a wide range of sources—including official proceedings, firsthand accounts, architectural plans, secret British intelligence reports, as well as letters and scores in the French National Library and the Paris Opéra archives—this lecture reopens the case and argues that the “conspiracy” was likely an elaborate set-up by the authorities and that the opera performed on that fateful evening played a key role in entrapping and foiling the assassins.

Douglas L. Ipson is Assistant Professor of Music History and Theory at Southern Utah University. He received a Ph.D. in music history at the University of Chicago after earning bachelor’s and master’s degrees in music from Brigham Young University. A specialist in nineteenth-century Italian opera—especially its political aspects—he has been published in the Cambridge Opera Journal and is a contributor to The Cambridge Verdi Encyclopedia (2013). He is preparing the critical edition of the opera La battaglia di Legnano for The Works of Giuseppe Verdi, published by the University of Chicago Press and Casa Ricordi. His other areas of scholarly interest include Shakespeare and opera, the sixteenth-century Italian madrigal, and opera in revolutionary and Napoleonic France. He is also a composer and arranger whose works have performed across the United States and internationally. He is a native of St. George, Utah.

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Eccles APEX Website: https://www.suu.edu/apex