- Date:
- 2018-10-03
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Thirty years ago, the medical school at East Carolina University created a readers' theater program in which short stories about medicine were adapted as theatrical scripts. Medical students performed a story by reading it aloud, then actors and audience--often a community group--together discussed the drama and the ethical and social issues it raised. These plays and post-performance discussions enlivened and changed how future physicians and audiences--prospective patients all--approached and learned from one another. The best way to learn about medical readers' theater? Just do it. In this Medical Center Hour, UVA medical student actors present a dramatic reading of physician-poet William Carlos Williams's 1938 short story, "A Face of Stone." Following the performance, the audience joins in, as everyone responds to and discusses the play and the ethical, social, and cultural concerns it explores. A John F. Anderson Memorial Lecture Co-presented with the Sloane Society for Medical Humanities, UVA
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- Date:
- 2018-10-31
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- The year 2018 marks the centennial of the "Spanish" influenza pandemic, the world's deadliest event, killing at least 50 million persons worldwide. This pandemic's sudden emergence and high fatality are stark reminders of the threat influenza has posed to human health and society for more than a millennium. Unusual features of the 1918-1919 outbreak, such as the age-specific mortality pattern and unexpectedly high frequency of severe and fatal pneumonias, are still not fully understood. But the recent sequencing and reconstruction of the 1918 virus—work accomplished by NIH scientist Jeffery Taubenberger and colleagues—have yielded answers to crucial questions about the virus's origin and pathogenicity. In this Hayden-Farr Lecture at Medical Center Hour, Dr. Taubenberger summarizes key findings, considers yet-to-be answered questions about the 1918 influenza, and looks ahead to 21st century public health preparedness and the need to optimize preventive vaccines and vaccination strategies. The Hayden-Farr Lecture in Epidemiology and Virology/Medical Grand Rounds/History of the Health Sciences Lecture Co-presented with the Department of Medicine, Historical Collections in the Health Sciences Library, and Influenza! 1918-2018
- Date:
- 2018-02-28
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- In 1759, London’s British Museum opened its doors for the first time, the first free national public museum in the world. In this Phi Beta Kappa Lecture at Medical Center Hour, historian James Delbourgo explores the role of slavery and imperialism in making this now venerable institution possible by exploring the career of its founder, Anglo-Irish physician Sir Hans Sloane. Sloane worked in Jamaica as a plantation doctor, used money from sugar plantations in the caribbean and from the Atlantic slave trade to support his collecting, and created his own personal imperial network to assemble one of the greatest cabinets of curiosities in the world—and one of the key institutional legacies of the Enlightenment. Co-presented with Phi Beta Kappa (Beta of Virginia), President's Commission on Slavery and the University, Department of History, and History of the Health Sciences Lecture Series, Historical Collections, Claude Moore Health Sciences Library
- Date:
- 2018-10-17
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- What if there were a vaccine that could prevent cancer? The human papillomavirus (HPV) vaccine, available since 2006, does this, guarding against cancers caused by this ubiquitous virus. This Medical Center Hour explores the sociopolitical context of HPV vaccination in Virginia and beyond. Using clips from a powerful documentary film, Someone You Love: The HPV Epidemic (2014), an expert panel of UVA researchers, clinicians, and oncologists discusses the crucial importance of HPV vaccination--for boys as well as girls--and the concerns that still limit its use. A John F. Anderson Memorial Lecture Co-presented with the Cancer Center, UVA
- Date:
- 2018-09-21
- Summary:
- Phonē (1981) John Chowning The Precession of Simulacra Juan Carlos Vasquez Blue Cycle: Noise (2008) Ted Coffey Assessment Postponement Nexus No. 1 Luke Dahl Rotunda Judith Shatin INTERMISSION You Sink Into the Singing Snow Matthew Burtner Lisa Edwards-Burrs, voice Kevin Davis, cello I-Jen Fang, percussion Sk(etch) Leah Reid Maybe Metaphors Are Easier A.D. Carson / Ryan Maguire Warp Study Michele Zaccagnini Voices (2011) John & Maureen Chowning for Soprano and Interactive Computer v.3 Maureen Chowning, soprano Program Notes Phonē (1981) - John Chowning The sounds in Phonē (from the Greek, meaning “sound” or “voice”) were produced using a special configuration of the frequency modulation (FM) synthesis technique that allows the composer to simulate a wide range of timbres including the singing voice and other strongly resonant sounds. The synthesis programs are designed to permit exploration of and control over the ambiguities that can arise in the perception and identification of sound sources. The interpolation between timbres and extension of “real” vocal timbres into registers that could not exist in the real world — such as a basso “profondissimo” — and the micro-structural control of sound that determines the perceptual fusion and segregation of spectral components are important points in this composition. The composer developed this technique of FM synthesis of the singing voice at IRCAM, Paris in 1979 using a DEC PDP-10 and realized the piece at CCRMA in 1980–81, using the “Samson Box,” a real-time digital synthesizer designed by Peter Samson. The work was premiered at IRCAM in Paris in February 1981. The Precession of Simulacra - Juan Carlos Vasquez The Precession of Simulacra, for piano and electronics, applies in music the concept of “hyperreality” coined by the French sociologist Jean Baudrillard, where a simulated reality (in this case, computer sounds) is progressively indistinguishable from the actual reality (acoustic sounds). This piece was composed thanks to the support of Taiteen edistämiskeskus (Arts Promotion Center in Finland). Blue Cycle: Noise (2008) - Ted Coffey Blue Cycle: Noise (2008) belongs to a cycle of electroacoustic text-sound works dedicated to teachers and mentors. My texts address a related set of aesthetic and social topics including noise, production value, coherence, the open work, and transcendence. The project offers an excuse to soak in text-sound classics by Dodge, Lansky, Stockhausen, Westerkamp, and Wishart (to name a few). While FFT-based, wavelet and other “current” techniques of audio analysis and resynthesis are used to generate materials, I also explore the more venerable methods—vocoding, LPC, FOF, VOSIM, &c.—implementing idiosyncratic real-time instruments and improvising with them. The music plays with the wealth of meaning that spills out when [non-] sense, affect, and “quality-of-sound” are parameterized, and more generally develops syntaxes and structures appropriate to the texts. Often with wicked self-referentiality, Noise offers descriptions of randomness and pattern from human perspectives, and imagines how the matter might look differently from a divine one. Assessment Postponement Nexus No. 1 - Luke Dahl This piece utilizes a custom spatialized 8-channel feedback delay network (FDN) which is parameterized to afford morphing between discrete echos and more “washed out” reverberations. In this performance I use an SH-101 analog synthesizer as sound source, and explore various textural and gestural potentialities of this system. Rotunda - Judith Shatin While sitting in her office, facing the Rotunda and Lawn at the University of Virginia, composer Judith Shatin suddenly saw the scene spring to life as if in a movie that combined the majesty of the place with the daily hum of life. Filmmaker Robert Arnold, whose work often focuses on temporal elements, agreed to collaborate on the project. They re-purposed a computer/camera surveillance system, with the camera located for an entire year on the upper story of Old Cabell Hall, and collected over 300,000 images. During that period Shatin also collected a multitude of sounds, both in and around the Rotunda, and conducted unscripted interviews about its meaning to a wide variety of people. She created two sound tracks from these recordings, often using extensive processing. One includes interview extracts (heard this evening), and the other includes only sonic transformations and ambient sounds, such as rain, the stacking of chairs, the sound of lawn mowers and more. They structured the flow as one day unfolding over the course of a year, moving from dawn to dusk as the year moves through the seasons. The film is available on DVD, including both stereo and 5.1 audio of both ver- sions, available at judithshatin.com. You Sink Into the Singing Snow - Matthew Burtner “You Sink Into the Snow” (2012) is an electroacoustic song from the telemat- ic climate change opera, “Auksalaq,” co-created by Matthew Burtner (music/text) and Scott Deal (visual media) with imaging, video, animation and photography by Miho Aoki, Jordan Munson, Ryota Kadjita and Maya Salganek and data by Hajo Eicken. The song has been extracted from the opera as this independent vocal piece with video and electronics, and as an acapella choral work. The piece features snow as voiced sound and subject. Sk(etch) - Leah Reid Sk(etch) is an acousmatic work that explores sounds, gestures, textures, and timbres associated with the creative process of sketching, drawing, writing, and composing. Maybe Metaphors Are Easier - A.D. Carson / Ryan Maguire When violence is enacted against certain bodies, language breaks down. Perhaps language does not provide enough distance from such subjects to articulate them clearly. Maybe Metaphors Are Easier explores what it means to create distance, by way of metaphor and sound, to make some conversation, any articulation, possible. Voices (2011) - John & Maureen Chowning Voices is a play of imagination evoking the Pythia of Delphi and the mystifying effects of her oracular utterances. A soprano engages a computer- simulated illusory space with her voice, which allows us to project sounds at distances beyond the walls of the actual space in which we listen. Her utterances launch synthesized sounds within this space, sounds that conjure up bronze cauldrons, caverns, and their animate inhabitants, sounds of the world of the Pythia modulated by our fantasy and technology and but rooted in a past even more distant than her own - the Pythia’s voice becomes the voice of Apollo and Mother Earth, Gaea. Selected pitches of the soprano’s voice line are tracked by the computer running a program written by the composer in MaxMSP. The soprano’s voice is transmitted from a microphone to the computer where it is spatialized. At each captured “target pitch” the program synthesizes accompanying sounds using FM synthesis that is mixed with the voice and sent to the sound system in the auditorium. The spectra of the synthesized sounds are inharmonic derived from the Golden Ratio and ‘structured’ to function in the domains of pitch and harmony as well as timbre. The pitch scale is also based on divi- sion of powers of the Golden Ratio rather than powers of 2, as in the common tempered scale, an idea used in Stria (1977) and Phoné (1981).
- Date:
- 2018-09-22
- Summary:
- Ouroboros Becky Brown mouthfeel Alex Christie weaving broken threads Heather Frasch Intermission Coluber sono Heather Mease & Ben Luca Robertson Códigos Obsesos v1.7 Omar Fraire Dulcimer Flight Dan Joseph Program Notes Ouroboros - Becky Brown walk circles round the morning and choke down again tomorrow, too I would like to introduce the days all crawling out of you yawn those teeth a little wide next year’s last week’s burnt anew yesterday’s stuck on your tongue you’ll try today, but then forget to mouthfeel - Alex Christie mouthfeel uses the performer’s human, fleshy mouth as a component in a greater circuit of noise. The mouth both actuates sound and acts as filter, moving the system through states of stability and chaos. weaving broken threads - Heather Frasch “How can secret rooms, rooms that have disappeared, become abodes for an unforgettable past?” Gaston Bachelard, The Poetics of Space, pg. xxxvi. weaving broken threads is the realization of an open text-score, Housed memories, that was inspired by the writings of Gaston Bachelard who uses the memory of “houses as a tool for analysis of the human soul” (The Poetics of Space, Bachelard pg. xxxvi). Both the score and the realization explore the memory of past spaces by using objects (sonic, text, physical) as source material. In the performance it weaves varied aspects of the distinctive places together (e.g. chronologically, most secretive, longest duration etc.). The digital instrument intentionally hides actions to emphasize the notion of interiority and how exterior physical places that no longer exist have become personalized inner notions of self. The digital boxes are a versatile digital instrument constructed from cigar boxes. With microphones, sensors and objects hidden inside, the instrument serves as a vessel for hiding/revealing material during the pieces that it interprets. Coluber sono - Heather Mease (video) & Ben Luca Robertson (sound) This collaboration between Heather and Ben has been realized through in- tense dedication to detailed processes and a love of snakes. Heather’s video combines the physical, time-intensive processes of scraping away at and applying India ink to a 16mm education film titled “Snake’s Alive.” Snakes make up both the content and the medium—as piles of colored film look quite serpentine! The aural component of the piece consists of sonorities generated through electro-magnetic actuation of six strings tuned in 7-limit just intonation. This instrument (‘Rosebud’)—designed and constructed by Ben—responds to electronic signals, whose frequencies correspond to the first seven harmonics of each string. Resultant resonances from the six strings comprise two overtone series’ (Otonalities) and a single undertone series (Utonality). A simple program analyses RGB data from the video, assigns a color value to each overtone/undertone series, and activates sym- pathetic string vibrations according to the average intensity of a given color. The resulting system combines movement, color, and physicality in sound. _Códigos Obsesos v1.7 - Omar Fraire Collaborative piece with the composer Jorge David, inspired by a Samuel Beckett poem. The material is generated by the composer and uploaded in score and audio fragments to be scrambled or manipulated by the collabora- tor: http://codigos-obsesos.hotglue.me Fin fond du néant au bout de quelle guette l’oeil crut entrevoir remuer faiblement la tête le calma disant ce ne fut que dans ta tête. Dulcimer Flight - Dan Joseph In his solo and collaborative works for electroacoustic hammer dulcimer, Dan constructs contemplative soundscapes that slowly unfold over the course of 30-minutes to one-hour. With roots in early minimalism, ambient music and acoustic ecology, these long-form “journeys” combine composed elements, often in the form of a fixed melodic pattern, with extensive improvisation and field recordings while exploring the dulcimer’s rich harmonic properties. Us- ing both traditional and experimental (extended) performance techniques in combination with his self-designed computer-based processing system, Dan gives this ancient instrument and entirely new and contemporary identity.
- Date:
- 2018-09-23
- Summary:
- WAI from New Zealand with the EcoSono Ensemble: a collaboration across cultures, histories and ecosystems Toi tu te whenua, Ngaro atu te tangata People come and go but the land remains WAI features Mina Ripia, Maaka Phat, Uta Te Whanga and Tuari Dawson. EcoSono Ensemble features Matthew Burtner, Glen Whitehead, Kevin Davis, Christopher Luna-Mega, and I-Jen Fang Punga Shores WAI Hine Te Iwaiwa WAI Sands that Move Glen Whitehead Ki A Korua WAI Festival of Whispers Matthew Burtner Ko Te Rerenga WAI Windrose Matthew Burtner Kāore Hoki WAI Improvisation Tirama WAI The Speed of Sound in an Ice Rain Matthew Burtner Mike Gassman, electric guitar Hine Te Ihorangi WAI This concert and the WAI residency are generously sponsored by the Gassmann Fund for Innovation In Music and the Coastal Futures Conservatory. Concert III - Program Notes WAI and EcoSono explore intercultural histories through the exchange of musical invention in collaboration with the environment. Combining the ancient “Punga” (anchor) and the “Poi” technologies with contemporary computer music and ecoacoustic approaches, WAI and EcoSono engage in interactive improvisations through sound, song, movement and ecology. Punga Shores The concert opens with Punga Shores, a field recording of the place where Maaka discovered the Punga anchor which became the basis and metaphor for our collaboration. Hine Te Iwaiwa - WAI Hine Te Iwaiwa was written by a family member Nuki Tākao and local weavers, when they were preparing to begin their craft. Hine Te Iwaiwa is the principal goddess of Te Whare Pora – The House of Weaving. Hine Te Iwaiwa represents the arts pursued by women. Along with this, she is a guardian over childbirth. For us this song is our connection to the Poi. Hine Te Iwaiwa is also the head of the Aho Tapairu, an aristocratic female line of descent. Sometimes this goddess is referred to as Hina, the female personification of the moon. Sands That Move - Glen Whitehead Sands That Move is based on the Great Sand Dunes National Monument highlighting the long history of this site and the people who, from age-to- age, have stood in awe and wonder of this geographical phenomenon at the northern edge of the San Luis Valley in southern Colorado. These constant shifting sands have gone by many names from the earliest people to the Navajo who called it Saa waap maa nache,“sand that moves,” and the Apaches who settled in New Mexico who called it Sei-anyedi, “it goes up and down.” This fixed media piece was created out of many interacting, free- flowing evolving actions including rapidly moving college students from the University of Colorado, Colorado Springs taking great effort to conjure the dunes as a sonic membrane. The trumpet-based computer accompaniment emulates these efforts and starts gathering its own momentum much like a dune fueling its own energy once it is engaged. Ki A Korua - WAI “Mina’s father wrote this song for his parents (Mina’s grandparents) when they passed on. It speaks of the tears that flow for them; we remember the love and joy that they shared with us.” Festival of Whispers - Matthew Burtner Whispers from people and instruments past and present interact as the sea erodes the foundation of the building. The piece was commissioned by the Athenaeum Library in La Jolla, CA. Ko Te Rerenga - WAI “Mina is of Ngā Puhi and Ngāti Whātua decent on her father’s side and Ngāti Kahungunu decent on her mother’s side. This song is a history lesson that talks of the time when Māori of Ngā Puhi decent were populating the northern part of Aotearoa/NZ. Traditionally we have many songs like this that talk of history, passed down through the ages, so that we never forget people, places and experiences of the past. Gifts for the future generations.” Windrose - Matthew Burtner A windrose is a measure of the winds’ directions in a specific location across a period of time. The piece uses original software that allows the performer to play the windrose of the concert location. Kāore Hoki - WAI Kāore Hoki speaks of a passionate expression of grief and sorrow for ancestors whom have passed. Never ending is the love and never ending is the heartache. Improvisation with the sounds of Australian birds, Tasmanian Devils and cedar trees. Tirama - WAI Tirama was written by Maaka’s first cousin Hēmi Te Peeti. Matariki is the Māori name given to the Pleiades star system. When it comes into view it is commonly agreed as the start of the Māori New Year, generally around May or June, and signals a time to prepare the land for the year ahead, to prepare and store food and to meet and discuss issues that affect the families and sub tribes. Tirama names some of the stars and also the actions taken at the time of the Māori New Year. The Speed of Sound in an Ice Rain - Matthew Burtner An ice rain crackles on the leaves of a magnolia tree. Musicians perform changing density, temperature and humidity, altering the speed of the sound. Hine Te Ihorangi - WAI Hine Te Ihorangi is the goddess and personification of rain. This was written by Keri Tākao and it talks of what happens when you are blessed with life. It speaks of the heavens, water and it’s life-giving properties. This connects us to what we as humans are mostly made up of, and what the world is mostly covered by, Water.
- Date:
- 2018-03-28
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- We hear much these days about the widening gap in America between the rich and the poor, the haves and the have-nots. Inequality is all around us, and it exacts a serious toll on health. The poor die sooner. Blacks die sooner. And poor urban blacks die sooner than almost all other Americans. Indeed, there is a 35-year difference in life expectancy between America's wealthiest (and healthiest) and poorest (and sickest) neighborhoods. Internist David Ansell MD has worked for four decades in hospitals serving Chicago's poorest communities. While he's witnessed first-hand the structural violence—racism, economic exploitation, and discrimination—responsible for the "death gap," he argues that geography need not be destiny. In this Medical Center Hour, Dr. Ansell outlines how we can address this national health crisis and act to remedy the circumstances that rob many Americans of their dignity and their lives. Co-presented with Alpha Omega Alpha National Medical Honor Society, UVA chapter
- Date:
- 2018-11-14
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- The 1918 influenza pandemic was a global calamity that brought death on an unprecedented scale and intensified the devastating impact of World War I even as the armistice was signed in November 1918. Statistics tell the tale of this flu in one way, science tells it in another, but this Medical Center Hour—the third in a mini-series marking the pandemic's centenary—lets poetry speak to the human toll exacted by the 1918 H1N1 virus. In 1995, Virginia native and distinguished poet Ellen Bryant Voigt published Kyrie, a book-length sequence of poems in which small town speakers live through the harrowing epidemic and remember, defy, and mourn. Kyrie's fierce, moving poetry brings the global calamity home. In this Medical Center Hour, Voigt (on video) reads selections from Kyrie and discusses with poet Marianne Boruch the making and meaning of this American masterpiece. Co-presented with the Bjoring Center for Nursing Historical Inquiry, Historical Collections in the Claude Moore Health Sciences Library, and Influenza! 1918-2018
- Date:
- 2018-03-14
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Whether we are students, educators, or clinicians (learners all!), our stated assumptions and principles are sometimes at odds with our actual practices. In this Brodie Medical Education Award Lecture, learners of all stripes will practice foundational skills such as cultivating beginner’s eyes and more accurate data collection in order to uncover and examine habits and thought patterns that may no longer serve us. Understanding our own assumptions and the values they reflect will allow us to be more intentional in designing educational programs and clinical learning/practice environments that are principle-driven and meet the needs of patients, learners, and caregivers. The Brodie Medical Education Award Lecture/Medicine Grand Rounds
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