Start Over Date 2019

12. Dealing with racist comments by patients: dilemmas in the hospital and society (57:28)

Date:
2019-03-20
Main contributors:
University of Virginia. School of Medicine
Summary:
One of medicine’s open secrets is that some patients request reassignment, or degrade, belittle, or harass health care professionals based on those professionals' race or ethnicity. Such patient conduct can raise thorny ethical, legal, and clinical challenges, and can be painful, confusing, and scarring for the physicians and other clinicians involved. This widely practiced, yet scarcely acknowledged, phenomenon poses a fundamental dilemma for law, medicine, and ethics. It also raises hard questions about how we should think about identity, health, and individual autonomy in the healthcare context and how we manage communication around representations of racial and ethnic bias. In this Koppaka Lecture, Drs. Lo and Paul-Emile will discuss their framework for considering and addressing this phenomenon. The Koppaka Family Foundation Lecture in Medical Humanities

14. Digitalis (2:01:18)

Date:
2019-04-29
Main contributors:
McIntire Department of Music
Summary:
AUTODIVA’S ROOM - Susan Grochmal Vestigial Wings - Eli Stine The Gate is Open - Aiman Khan Integration - Daniel Arvelo-Perez Rain Shadow No. 2 - Ben Luca Robertson Quotation d0419: “Franco, Christian. “Victor Huerta”, Mexico 2009” - Omar Fraire Complicated - Kaiming Cheng Icarus - Ryan Kann godtrash - Becky Brown Squash - 3 LB Program Notes AUTODIVA’S ROOM Hey what’s up welcome to my room have a good time —Susan Grochmal AUTODIVA is currently working on her second album, DIVA PARTY, scheduled for release this summer, a followup to her first album DUAL- ITY. She explores important topics such as the Internet and Computers and are we Real. Vestigial Wings “At the boundary of the desert Beneath the telescopic sky I stopped to take the world in As it went on rushing by I thought ten hundred futures Of what could and would become As the dark of night got closer Slipping disk of orange sun I thought of all I’d loved and lost: Of dropped, forgotten things Of books with unread pages Broken roots, vestigial wings I thought of names gone unremembered, And of places never seen, Of the last of every species, Silent forests, noiseless seas And as dusk made way to nightfall Black sky pricked with yellow light I had not moved a single muscle And so doing lost my life Because in thinking and not doing All I did was just compare What could and would become of Rather than what was really there” —Eli Stine Eli Stine is a composer, programmer, and educator. Stine is currently finishing a Ph.D. in Composition and Computer Technologies as a Jefferson Fellow at the University of Virginia, and is a graduate of Oberlin College and Conservatory with degrees in Technology In Music And Related Arts and Computer Science. Stine’s work explores electroacoustic sound, multimedia technologies (often custom-built software, video projection, and multi-channel speaker systems), and collaboration between disciplines (artistic and otherwise). Festivals and conferences that have programmed Stine’s work include ICMC, SEAMUS, NIME, CMMR, NYCEMF, the Third Practice Festival, CubeFest, the Muestra Internacional de Música Electroacústica, the International Sound Art Festival Berlin, the Workshop on Intelligent Music Interfaces for Listening and Creation, and the International Conference on Computational Intelligence in Music, Sound, Art and De- sign. Currently, his sound design for the virtual reality installation MetamorphosisVR, a virtual reality adaptation of Franz Kafka’s Metamorphosis, is touring around the world, with installation locations including Prague, Berlin, Madrid, Cairo, Oslo, Seoul, Tokyo, and Hong Kong. The Gate Is Open With the guidance of Professor Leah Reid, I wrote this piece this semester. It reflects my recent experience of finding unprecedented happiness and depth in my life and learning to become familiar with joy without worrying about the future. I hadn’t previously composed music with a specific personal event or feeling in mind, so this has been a fun change. The piece begins with just horn alone, and several layers of sound periodically enter and leave throughout, interacting both with each other and with the solo horn. —Aiman Khan Aiman Khan is in her fourth year at the University of Virginia, studying Music and Economics. She is in the Performance Concentration within the Music Department, and she is a member of the horn section of the Charlottesville Symphony. In the summer of 2018, she spent five weeks in Greensboro, NC at the Eastern Music Festival, and this coming sum- mer she will participate the in National Music Festival in Maryland. Aiman is also a composer, primarily of electro-acoustic music. In November 2018, her piece Fluid Awareness was performed at the UVA Fall Dance Concert, and she performed her piece Ragged Call at the 2019 National Student Electronic Music Event (NSEME) in February. Integration Integration is a piece that brings together and takes apart harmony, form, and texture of acoustic and electronic sound. Its inspiration has come from UVA faculty guidance and “integration” of self-inspired ideas and synthesis. Rojo also wants to thank Kevin Davis, Heather Mease, Akin Odeleye, Robert Kaufman, Karidan Mavericks, and Leah Reid for their time and patience in the completion of Integration. —Daniel Arvelo-Perez Daniel “Rojo” Arvelo-Perez is a non-traditional 2nd year who was accepted into the music department last semester. He has been working with DAWS for over the past ten years and has a deep appreciation for the opportunities UVA has brought to him this current semester. His hobbies outside the music department include juggling, martial arts, and blacksmithing. Rain Shadow No. 2 Rain Shadow No. 2 is part of a continued exploration of textural and spectral topologies. This iteration focuses on tonal flux as a property of intersecting overtone (“Otonal”) and undertone (“Utonal”) structures afforded by 7-limit just intonation. Using a pair of hand-held transduc- ers and amplified strings, the performer probes different surfaces to capture minute impulse signals. These impulses are transformed using a variation of Karplus-Strong synthesis, with all synthesis parameters controlled via a secondary tactile interface. The resultant sonorities retain the textural quality of each surface encountered, while imbuing a microtonal ‘haze’ across the spectrum. -Ben Luca Robertson Ben Luca Robertson is a composer, experimental luthier, and co-found- er of Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems—often supplant- ing narrative structure with an emphasis on the physicality of sound, spectral tuning systems, and microtonality. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scab- lands, basalt outcroppings, and relics of boomtown decay haunt his work. Ben holds an M.A. in Music Composition from Eastern Washington University, a B.A. from the Evergreen State College, and is currently pursuing a Ph.D. in Composition and Computer Technologies at the University of Virginia. In the Summer of 2015, he was appointed to a guest research position at the Tampere Unit for Computer-Human Interactions (TAUCHI) in Finland and recently collaborated with biologists from the University of Idaho to sonify migratory patterns of Chinook Salmon in the Snake River watershed. Quotation d0419: “Franco, Christian. “Víctor Huerta”, México 2009” -No, we are against any kind of pedagogic device, we have no message to convey, we are artist, we make artwork, not propaganda. On our use of quotes we expect to be close what _ _ _ _ _ _ _ _ wrote: “A quote must be like a bandit who assaults passersby.” —FdC Omar Fraire Human as an artist, inventor, magician, curator, teacher - Fraire’s work is inserted into reality by transducing it, and functions as an act of resistance. Fraire enjoys collaborative work, and his energies oscillate across disciplines. After having deserted from two universities in México, Fraire has gone on to specialize in Sonology (Koninklijk Conservatorium - Holland) and holds a Master’s degree in Contemporary Art as auditor (Aguascalientes). He is the creator of Punto Ciego Festival, and artist of the Guggenheim Aguascalientes. Fraire is mostly self-taught, though he holds an M.A. from Wesleyan, having studied under R. Kuivila, and is currently a Ph.D. candidate at UVA. Complicated Complicated is a future bass electronic music piece written for MelodyPainter, a virtual reality-based composition software that transforms the user’s motion into corresponded MIDI notes. Future Bass is a genre that heavily applies modulated synthesized sounds in its composition. With MelodyPainter, one can fully utilize the capacity of different synthesizers. Complicated has a strong rhymic feeling accompanied by beautiful vo- cal lines. In this piece, I hope to explore the potential of blending MelodyPainter into somewhat mainstream music and see how it goes. -Kaiming Cheng Kaiming Cheng is a musician, programmer, and instrument designer. Cheng is currently a fourth year student pursuing a B.A. in Music and Computer Science as a J.Sanford Miller Arts Scholar at the University of Virginia. At a very young age, Cheng began to play drum and was actively involved in different music groups and bands in both China and America. After also developing a keen interest in technology, he tried to combine his two best interests - music and computer science together. Icarus “This is my final project for MUSI 4547 - Composing with Electronics. The goal was to make something Lofi-inspired. Although that’s how it started, it branched off into something much more dynamic.” -Ryan Kann Ryan Kann “I have been composing primarily orchestral and piano music as a hob- by for a few years; however, MUSI 4547 was my first formal composition course. I am really excited to show off everything that I’ve learned, and I feel I have expanded a lot as a musician over the course of this past semester.” godtrash You really screwed up this time, huh? Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works. She focuses on narrative, emotional exposure, and catharsis, with a vested interest in using technology and the voice to deeply connect with an audience, wherever they are. Depending on who you talk to, her music is “honest, direct and communicative,” “personal and raw,” or “took me to a place I didn’t want to go.” She is a 2nd year graduate student in composition at UVA. Squash Squash is an exercise in exercising (exorcising?) for the sake of body, mind, spirit, and art. Object impact reveals the (un)evenness of space as compositional process questions our (im)perception of time. -3LB 3LB was formed in Charlottesville, VA on April 1st, 2019 at 2:11 PM.

15. Edge states as opportunities for courage and compassion (1:03:31)

Date:
2019-03-13
Main contributors:
University of Virginia. School of Medicine
Summary:
Anthropologist, activist, and priest Roshi Joan Halifax is the founder and head teacher of the Buddhist monastery, Upaya Zen Center. Seventeen years ago at Upaya, she pioneered a new form of bedside contemplative care known as "Being with Dying," which has since helped to illuminate and change the psychosocial, ethical, and spiritual care of the dying. Halifax's newest work probes what she calls five "edge states" of how we become involved with our fellow beings: altruism, empathy, integrity, respect, and engagement. In this Bice Memorial Lecture, she explores the risks and the opportunities for courage and compassion that persons in the helping professions encounter "at the edge." Bice Lecture, Co-presented with the School of Nursing, UVA

17. Extraordinary stories of ordinary life: Radio Diaries (1:03:33)

Date:
2019-01-23
Main contributors:
University of Virginia. School of Medicine
Summary:
January 23, 2019 Joe Richman Since 1996, the Radio Diaries project has been giving people audio recorders and working with them to report on their own lives and histories. Collaborating with teens and octogenarians, persons with chronic and terminal illness, prisoners and prison guards, gospel preachers and bra saleswomen, the famous and the unknown, the project tells extraordinary stories of ordinary life. With stories aired on NPR, BBC, This American Life, and its own podcast, Radio Diaries has pioneered a new form of citizen journalism and, along the way, garnered every major award in broadcast journalism. This Medical Center Hour welcomes Radio Diaries’ founding director, Joe Richman, to share stories and draw parallels with health care practice, where, daily, clinicians traffic in the “extraordinary stories of ordinary life.” The Edward W. Hook Lecture in Medicine and the Arts / Medical Grand Rounds Co-presented with the Department of Medicine, UVA

18. Fred Frith Trio - Old Cabell Hall 10.04.19 (54:10)

Date:
2019-10-04
Main contributors:
McIntire Department of Music
Summary:
Fred Frith Trio: Fred Frith, guitar Jason Hoopes, bass Jordan Glenn, drums Special Guests: Susana Santos Silva, trumpet Heike Liss, video Friday, October 4, 2019 8:00 pm Old Cabell Hall Auditorium University of Virginia The Fred Frith Trio began life almost by accident in 2013. A couple of low key local gigs gave rise to a European tour, a debut record on Intakt, and then another tour a couple of years later. By now the group has created an identity that seems to revolve around memories of a bygone psychedelic era filtered through the lens of razor-sharp improvisation. Whether this will remain the prevalent focus remains to be seen. Their last Intakt CD, Closer to the Ground, has been described as “a gripping piece of spontaneous timelessness,” “a vital statement from a singular artist and his inventive crew,” and “a magical, transcendent world.” The trio regularly cooperates with musical guests such as trumpeter Susana Santos Silva or saxophonist Lotte Anker, and visual artist Heike Liss. Fred Frith is a songwriter, composer, improviser, and multi-instrumentalist best known for the reinvention of the electric guitar that began with Guitar Solos in 1974. He learned his craft as both improviser and composer playing in rock bands, notably Henry Cow, and creating music in the recording studio. Much of his compositional output has been commissioned by choreographers and filmmakers, but his work has also been performed by Ensemble Modern, Hieronymus Firebrain, Arditti Quartet, Robert Wyatt, Bang on a Can All Stars, Concerto Köln, and Rova Sax Quartet, among quite a few others. Fred enthusiastically records and performs all over the place with icons of contemporary music, younger players you may never have heard of, and everyone in between. He is the subject of Nicolas Humbert and Werner Penzel’s award-winning documentary film Step Across the Border. Jordan Glenn, drums, spent his formative years in Oregon drawing cartoons, taking dance classes from his aunt, and putting on plays with his sisters. As he got older, he began making movies with his friends and studying lots of jazz, classical, and rock music. In 2006, he relocated to the Bay Area where he has since worked closely with Fred Frith, William Winant, Zeena Parkins, Ben Goldberg, Todd Sickafoose, John Schott, Dominique Leone, Lisa Mezzacappa, Karl Evangelista, Michael Coleman, and the bands Jack O’ The Clock, Arts & Sciences, Beep!, tUnE-yArDs, and the Oakland Active Orchestra. Jordan leads and conducts the long-standing trio Wiener Kids—and its ten piece expansion, The Wiener Kids Family Band—and directs the conduction ensemble Beak. Jason Hoopes, bass, was born and raised in the mountains of Northern California. He began teaching himself to play guitar and bass in high school after discovering thrash-metal, and eventually found himself at Mills College where he met Jordan Glenn and studied with Fred Frith, Roscoe Mitchell, Zeena Parkins, and Joëlle Léandre. Since graduating from Mills, Jason has become a highly sought after bassist in the Bay Area’s diverse and explosive music scene. Primarily recognized for his work with the critically acclaimed avant- rock band Jack O’ The Clock, as well as with Annie Lewandowski’s powerdove and Dominique Leone, he also improvises in a wide range of contexts. Susana Santos Silva is a Portuguese trumpet player, improviser, and composer based in Stockholm, Sweden. In the last years, she has been considered by the international press as one of the strongest emerging voices in contemporary jazz and improvised music, “one of the most exciting improvisers in the world” (Downbeat). With a singular approach/voice that comes out of a comprehensive spectrum of influences, from classical and contemporary music to jazz and textural sound art, she is interested in stretching the boundaries of the instrument and exploring new ways of expression within music. Her music has been described as “startling, intoxicating, ecstatic, stoically intense, beautiful, overwhelming, mesmerizing, innovative, bold and creative.” She leads her projects Impermanence and Life and Other Transient Storms and co-leads duos with Kaja Draksler and Torbjörn Zetterberg—also in trio with Hampus Lindwall, Child of Illusion and Hearth. In 2018, she released her first solo album, All the Rivers, on Clean Feed Records. Much in demand, she has played, among many others, with Fred Frith, Evan Parker, Joëlle Léandre, Mat Maneri, Craig Taborn, Paul Lovens, Mats Gustafsson, and Hamid Drake. Heike Liss has been developing and refining tools that allow her to mix and digitally draw over personal video footage in response to and in dialogue with improvised live music. Drawing Sound is a collaboration with her partner and traveling companion Fred Frith. Together they have performed with musical improvisers such as Lotte Anker, Ikue Mori, Okkyung Lee, Chris Cutler, Susana Santos Silva, and Shelley Hirsch among others. Heike also performs live visuals with skratchklang, her duo with violinist/composer Thea Farhadian. Heike takes her cues from the people and the world around her and works in a variety of media, including video, photography, drawing, sculpture, site specific installation, and public intervention. Her award-winning work has been exhibited internationally in museums, galleries, and at film and music festivals. She has collaborated with choreographers Sonsherée Giles and François Verret; musicians Ellen Fullman, GAW, Marcus Weiss, Caroline Penwarden, and Theresa Wong; multi-media artists Ellen Lake, Nomi Talisman, and Michael Trigilio; painter Soffia Saemundsdottir; and poet Lyn Hejinian, to name a few. She lives and works in Oakland and Basel and teaches Transdisciplinary Art at the Universidad Austral de Chile.