A Message about the Fence and Discourse at CMU
Yesterday, Carnegie Mellon University hosted a demonstration of kinetic and potential energy from an as-yet unknown artist. This event was witnessed by two Walking to the Sky statues who considered it a spectacle to behold and by several attendees who called it “brief but memorable,” remarking on how the cacophonous screech upon impact was rather similar to my own reaction towards events soon to be detailed.
Specifically, last night, the Fence was unexpectedly painted with the phrase “No Murders on Our Campus.” After much deliberation, I made the decision to have this message removed. The Fence is a prominent symbol of this institution and its 15,000 14,999 students. As the media descends on campus to cover the recent incident, it would not be constructive to display a divisive message that does not reflect the views of the broader CMU community on the topic.
While we recognize that the painting reflects a viewpoint held by some members of our community, its unilaterally negative framing of “murder” fails to acknowledge the diverse methodologies by which and contexts in which “murder” may occur. The term itself carries strongly negative connotations that could be perceived as insensitive to those exploring alternative conflict resolution strategies. In sum, the painting risks creating an environment where those engaged in human-human deactivation—or deactivation-adjacent activities, such as the development of next-generation termination facilitating tools for government and industrial partners—might feel unsafe.
Supporting free expression while maintaining a civil and respectful campus environment is a difficult balancing act, not unlike carrying large musical instruments up a narrow pole. It requires constant reflection, humility, and community participation from those who hold the administration-approved viewpoints. Though some may have misinterpreted my actions to have the opposite effect, I look forward to reaffirming the purpose and potential of the Fence.
Sincerely,
Farnam Jahanian