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Will Rourk, Megan Page, Charity Revutin, Amelia Hughes, Adriana Giorgis
Summary:
This is a flythrough animation of the 3D data captured at the Villa Almerico Capra Valmaran, aka Villa la Rotonda, in March 2019. Data was captured by University of Virginia Architectural History students under the direction of Andy Johnston and Will Rourk in collaboration with the Institute for Advanced Technologies in the Humanities at the University of Virginia and the de Valmarana family. The animation was created in Autodesk ReCap v.2023 by Will Rourk.
This is an animation from the 3D data collected by University of Virginia ARH5600 during Fall semester 2023; data was collected using FARO Focus 3D laser scanners, processed with FARO Scene v. 2022 and edited and optimized with Autodesk ReCap v. 2023; the animation is a flythrough of the Carr-Greer farmhouse at River View Farm, Ivy Creek Natural Area, Charlottesville, Va;
This is a flythrough animation of the 3D data from laser scanner data collection at The Mews, Pavilion III, Academical Village, University of Virginia. Data was collected at different periods from 2016, 2023 and 2024. Data was collected with FARO Focus 3D laser scanners and processed with FARO Scene v.2023. Data was imported into Autodesk ReCap for editing and optimization and for the purpose of creating this animation video.
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.
As part of the annual Southeast Regional Seminar in African Studies (SERSAS) at the University of Virginia, Librarian for African American & African Studies Katrina Spencer gathered three panelists who represent diverse stakeholding positions in the publication of African writers, particularly within “Western” markets. While Chinua Achebe's Things Fall Apart has received countless, deserved accolades and Chimamanda Ngozi Adichie’s profile continues to rise, what other names should we know and what trends should we be looking out for in terms of African writing? Nigerian writer Kenechi Uzor has established Iskanchi Press & Magazine to recruit quality works from African creators. Nigerian author Ukamaka Olisakwe’s success has led her to become a screenwriter. And Northwestern University’s Herskovits Library worker Gene Kanneberg, Jr. is keeping his finger on the pulse of pop culture with his writing, “Wakanda as the Window to the Study of Africa,” in the collection Integrating Pop Culture into the Academic Library (Melissa Edmiston Johnson, editor). Each of these players is creating a pathway for the representation of Africa and Africans, and together the four discuss the points at which their missions converge and diverge. The recorded session is sourced from the original virtual Zoom meeting.
The panelists made reference to a variety of opportunities, publishers, and publications in this recording. Below we provide a list of references for viewers’ convenience:
Melville J. Herskovits Library of African Studies Research Grant (https://www.library.northwestern.edu/libraries-collections/herskovits-library/herskovits-travel-grant.html)
Iskanchi Press & Magazine (https://www.iskanchi.com/)
Isele Magazine (https://iselemagazine.com/)
Olongo Africa (https://olongoafrica.com/)
The Enkare Review
Pidgin English
The Middle Daughter by Chika Unigwe
In Such Tremendous Heat by Kehinde Fadipe
An African Abroad by Olabisi Ajala
After God is Dibia by John Anenechukwu Umeh
Nsibidi (a writing system)
africanpoetics.unl.edu
Nnadozie Onyekuru
Ajami manuscripts
Chris Abani
Bakassi Boys
“Nigerian police detain goat over armed robbery” (https://www.reuters.com/article/oukoe-uk-nigeria-robbery-goat/nigerian-police-detain-goat-over-armed-robbery-idUKTRE50M4BM20090123)
Invited speaker Leonardo Flores examines the impact of digital divides in the United States on the emergence of electronic literature as a practice and field, ending with a call for a more expansive term such as "digital writing" to help diversify the field. Professor Flores' talk was part of the Scholars' Lab speaker series at the University of Virginia, April 6, 2022; recorded via Zoom in the presence of a live audience.
UVA Architectural History ARH 5600 - 3D Cultural Heritage Informatics (Spring 2021) invited class speakers, Bryan Clark Green and Patrick Thompson, discuss the process of using 3D laser scan data collected by ARH 5600 students in the Fall 2020 semester to create a historcically accurate 3D architectural model of the Barboursville Plantation House ca. 1820s in Barboursville, VA. Recorded via Zoom web video communications interface in the presence of a live audience of 60+ attendees.
This is a video of aerial footage of the Villa Almerico Capra Valmarana, aka Villa la Rotonda, Vicenza, Italy. This video was created by Shayne Brandon, Institute for Advanced Technologies in the Humanities, University of Virginia Library. It was produced from aerial footage captured by a DJI Inspire 1 quadcopter with X1 HD camera. The footage was captured during field work by UVA Architectural History students performed in March 2019 under direction of Andrew Johnston, Worthy Martin and Will Rourk for their 3 Cavaliers granted project to 3D scan the Villa la Rotonda in Vicenza, Italy.
This is an animation from the 3D data collected by University of Virginia ARH5600 during Fall semester 2023; data was collected using FARO Focus 3D laser scanners, processed with FARO Scene v. 2022 and edited and optimized with Autodesk ReCap v. 2023; the animation shows sections through the barn at River View Farm, Ivy Creek Natural Area, Charlottesville, Va;
Flythrough animation of 3D dataset collected at the Old Stone Jail, Palmyra, Virginia during the Spring 2023 semester for ARH5600; data was collected by students of ARH5600 on 2023-02-08 (exterior), 2023-0210 (interior), and 2023-04-28 (attic); data was collected using FARO Focus 3D lasers scanners; data processed with FARO Scene v. 2023 and animation produced with Autodesk ReCap v. 2023;
This is a rendered flythrough animation of the 3D data collected and processed for the former Midloch Plantation enslaved dwelling. Produced from 3d data collected with FARO Focus 3D laser scanners on 2023-03-28 and rendered using Autodesk ReCap Pro v. 2023.
This video is from the final presentation of ARH5600 : 3D Cultural Heritage Informatics, Fall 2022. Students featured in this video include Junyi Wu, Yunong Li, Kelly O'Meara, Dustin Thomas and Elena Wrobel. Their final projects can be accessed at https://wordpress.its.virginia.edu/Cultural_Heritage_Data/arh5600-fall-2022.
Invited speaker, John Hessler of the Library of Congress, discusses the use of artificial intelligence for the reconstruction of ceramics and inscriptions in archaeology for the Scholars' Lab speaker series, University of Virginia, Spring 2021. Recorded via Zoom web video communications interface in the presence of a live audience of 60+ attendees.
Animated flythrough of the 3D data collected at the Woolen Mills Chapel site in Charlottesville, Va, on 2024-03-22; data collected with FARO Focus 3D X130 and S70 laser scanners; data processed with FARO Scene v. 20223.0.1; data edited and optimized for animation output with Autodesk ReCap v.2024;
Flythrough animation of 3D data collected at the Birdwood Mansion, east of Charlottesville; the data was collected with FARO Focus X130 3D lasers scanners; data was processed with FARO Scene v.2023.0.1 and edited with Autodesk ReCap 2024; the animation shows features uncovered in the basement during the renovation of the building including:
- a brick entry platform, original to the early 19th c. phase of Birdwood
- a masonry feature found in the late 19th c. coal room addition
- examples of hand riven lathe in the hallway of the original early 18th c. portion of the house
Animation of the barn at River View Farm, Ivy Creek Natural Area, Charlottesville, VA; data collected with FARO Focus 3D laser scanners by students of ARH5600:3D Cultural Heritage Informatics during the Fall semester of 2022; Data was processed with FARO Scene v.2022; Animation was rendered with Autodesk ReCap v.2023;
This video contains the 2023 Spring semester final presentation for ARH5600/5612 3D Cultural Heritage Informatics, a class taught by Will Rourk as a collaboration between the UVA Library and the Historic Preservation Program in Architectural History. The class is sponsored by Andy Johnston, director of the ARH Historic Preservation Program. Students featured in this video include ARH5600 students Ari Calos, Austin Riggins, Boyang Li, Thomas Wyatt, Yara Mortada and Yizhuo Chen and ARH5612 advanced students Kelly O'Meara and MaryCate Azelborn. Featured team projects include the Long Meadow Farm Barn, Upper Bremo Barn and the Palmyra Old Stone Jail. Student final projects can be accessed from https://wordpress.its.virginia.edu/Cultural_Heritage_Data/arh-5600-5612-spring-2023/.
This movie is an animated flythrough of the 3D point cloud data documentation of the Pine Grove Rosenwald School, Cumberland County, Virginia, ca. 1917. Data was collected by ARH 5600 Fall 2021 class students Zhang Jie, Natalie Chavez, Matthew Schneider, Chris MacDonnell. Equipment used included (2) X 130 and (1) S120 FARO Focus 3D laser scanners. Data was collected in support of community preservation efforts - more info at https://www.ammdpinegroveproject.com/.
The Ten of Swords Becky Brown
the house of the mother of the Heather Mease
Artemisia Ben Luca Robertson
The Mirrors of Uqbar Juan Carlos Vasquez
~ Intermission ~
nothing but nothing Alex Christie
A mexican intervention Ernesto Guzmán
to be performed once and never more,
on very traditional old european devices,
at any usonian educational entity.
I. La escritura|bordes|huellas de un cuerpo.
II. Anthem/end of the line.
III. (Go to I)
Masking Songs Daniel Fishkin
Science Ficta
An ensemble of viola da gamba virtuosi (Doug Balliett, Kivie Cahn- Lipman, Loren Ludwig, and Zoe Weiss), Science Ficta tackles the thorniest polyphonic challenges, old and new. Longtime collaborators and friends, in 2016 the four were inspired to form an ensemble dedicated to music at least as difficult to play as it is to listen to (and hopefully more so!). Science Ficta's arcane but rewarding repertory is comprised both of new commissions and a wealth of little-known sixteenth century works that have been unjustly neglected by modern performers and listeners.
Science Ficta's performances seek points of contact between contemporary music and the diverse experimental musical traditions of the late Renaissance pioneered by composers including Christopher Tye, Ferdinando de las Infantas, John Baldwin, and Johann Walter. Science Ficta has premiered new works by Molly Herron, Doug Balliett, and Cleek Schrey and members of the ensemble have performed and collaborated with composers including Donnacha Dennehy, Nico Mulhy, George Benjamin, Ted Coffey, and numerous others. Recent residencies at Avaloch Farm Music Institute and Cornell and Princeton Universities have allowed Science Ficta to work closely with student performers and composers.
Program Notes & Biographies
The Ten of Swords
The Ten of Swords is a card in the Minor Tarot. It depicts a prone man, ten swords buried in his back, a swath of red draped over his lower body (which could be interpreted as a robe, or his blood, or both). He faces away from the viewer, looking out over a dark lake, towards a distant sunrise.
Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works across the multimedia spectrum. 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.
the house of the mother of the
The House of the Suicide and The House of the Mother of the Suicide are a pair of architectural structures by John Hejduk erected in tribute to the 1969 self-immolation of the Czech dissident Jan Palach whose death was in protest of the 1968 Soviet invasion.
Heather Mease makes sound and video! Heather Mease is often both dry and greasy at the same time! What a nightmare!!
Artemisia
In Artemisia, the composer employs an extended system of 11-Limit just intonation to model the phenomenon of “stretched” octaves and other spectral non-linearities. Contrasting with the simple, harmonic proportions exhibited by most stringed instruments (including the Viol da Gamba), we generally associate such inharmonicity with bells, gongs, and various metallic percussion. However, through the inclusion of high-order just intervals, one may construct ‘hybrid’ sonorities which embody traits of both harmonic and inharmonic timbres. Here, stretched octaves exhibit intervallic displacement equivalent to at least three forms of just commas (81/80, 45/44, 33/32). The cumulative effect for this mode of inharmonic distortion suggests the perception of an altered or otherwise ambiguous fundamental frequency—thus eliciting a sense of movement analogous to ‘Tonal Flux.’ So as to afford the precise transformations in pitch and spectra necessary in generating these phenomena, performers use custom software to process the signals from two electric instruments within the consort. Commensurate to electronic processing, the ensemble also alters the positions of frets on their instruments to accommodate new tuning schemes. From these procedures emerge a continually evolving set of 28 distinct sonorities, which constitute the structure of the piece.
Ben Luca Robertson is a composer, experimental luthier, and co- founder of the independent record label, Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems—often supplanting narrative structure with an emphasis on the physicality of sound, spectral tuning structures, and microtonality. Ben’s current research focuses upon the intersection between actuated string instrument design and just tuning practices. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scablands, basalt outcroppings, and relics of boomtown decay continually 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. Ben’s work has been featured at New Interfaces for Musical Expression (NIME), Sound-Music Computing Conference (SMC), Northwest Public Broadcasting, MOXsonic, New York Re- embodied Sound Symposium, Third Practice, Magma-fest, and Olympia Experimental Music Festivals.
The Mirrors of Uqbar
The Mirrors of Uqbar is a piece based on the metaphor of mirrors found in the short story "Tlön, Uqbar, Orbis Tertius" by Jorge Luis Borges. In this story, Uqbar was a fictional society where mirrors were feared in an allegory to hyperrealism, aka a simulation that takes over reality. In the piece “The Mirrors of Uqbar”, the electronics reflect and modify the melodic acoustic materials, creating a progressively independent world.
Juan Carlos Vasquez is an award-winning composer, sound artist, and researcher. His electroacoustic music works are performed constantly around the world and to date have premiered in 28 countries across the Americas, Europe, Asia, and Australia. Vasquez has received grants and commissions by numerous institutions, including the ZKM, the International Computer Music Association, the Nokia Research Center, the Ministry of Culture of Colombia, the Arts Promotion Centre in Finland, the Finnish National Gallery, and CW+ in partnership with the Royal College of Music in London, UK. As a researcher, Vasquez’s writings can be found in the Computer Music Journal (MIT Press), Leonardo Music Journal (MIT Press), and the proceedings of all the standard conferences of the field (ICMC, CHI, SMC, and NIME). Vasquez received his education at the Sibelius Academy (FI), Aalto University (FI), and the University of Virginia (US). He has taken workshops with Robert Normandeau, Miller Puckette, Marco Stroppa, Steven Stucky, William Mival, Jonty Harrison and the Eighth Blackbird Ensemble, among others. Vasquez’s music is available in the catalog of Naxos, MIT Press (US), Important Records (US) and Phasma Music (Poland).
nothing but nothing
I prefer the space of uncommonly occupied hours.
Alex Christie makes acoustic music, electronic music, and intermedia art in many forms. His work has been called “vibrant”, “interesting, I guess”, and responsible for “ruin[ing] my day”. He has collaborated with artists in a variety of fields and is particularly interested in the design of power structures, systems of interference, absurdist bureaucracy, and indeterminacy in composition.
Recently, Alex’s work has explored the ecology of performance in intermedia art and interactive electronic music. Through real-time audio processing, instrument building, light, and theater, Alex expands performance environments to offer multiple lenses through which the audience can experience the work. Alex has performed and presented at a variety of conferences and festivals whose acronyms combine to spell nicedinsaucesfeeeemmmmmmnortfogascabsplot.
Alex serves as faculty, Director of Electronic Music, Director of Composers Forums, and Academic Dean at the Walden School of Music Young Musicians Program. He holds degrees from the Oberlin Conservatory and Mills College and is currently pursuing a Ph.D. in Composition and Computer Technologies (CCT) at the University of Virginia.
A mexican intervention
In the second Trattado de Glosas by the composer and music theorist Diego Ortiz (Rome 1553 ca.) probably discovered later by the African- American songwriter J. Alan Bland, an ancient practice of appropriation is depicted as being common for the Viol Consort repertoire. It is a compositional strategy consisting of taking the melody of an anthem and imposing different lyrics. Such technique has been practiced in many of the regional anthems and state songs throughout The Country. A former president of Avon Products removed the lyrics from a traditional song — where a Canadian declares his love to the daughter of the Oneida Chief Shenandoah — replacing them to make the Virginia Regional Anthem. In later apocryphal studies, it is known that in this anthem–as in the one using the phrase Sic Semper Tyrannis–some verses have been lost or omitted. Following this implanting tradition, these forgotten or forbidden verses are used here to create and add a piece to the body of composed anthems for Viola Da Gamba.
Ernesto Guzmán is an award loser composer. Strangely and recently intrigued about borders. As if they sculpted the political topographies of objects. Like a form resulting from many exclusions whose objectives do not correspond with the function of the object in question.
Masking Songs
Contrary to the masking of external sounds, it is possible to abolish the perception of tinnitus sounds by pure tones of a similar intensity regardless of their frequency (Feldmann, 1971). This proves that “masking” of tinnitus does not involve a mechanical interaction of basilar membrane movements, does not depend on the critical band principle and, therefore, has to occur at a higher level within the auditory pathways. Consequently, the elimination of the perception of tinnitus by another sound should be labeled suppression rather than “masking,” as is commonly used. Unfortunately, Feldmann’s fundamental discovery has been widely disregarded, resulting in focusing attention on masking rather than suppression and in producing tinnitus instruments tuned to the dominant perceived pitch of tinnitus.
Tinnitus Retraining Therapy, Pawel Jastreboff, 2004
Daniel Fishkin: I build instruments because I want to live in sounds, with music—I don’t want the music to stop at the end of the concert. I daydream of new machines as if they were melodies crossing my mind's ear. I don’t often sell my instruments, though I do share them with my trusted collaborators. I live with my instruments; I am responsible for my creations, and I am always thinking about how much space they take up in my life, as I carry them with me to and fro. I hear their songs ringing in my ears, even as they rest silently across the room.
These are two recordings from 2022-09-07 made at the Bremo Enslaved Cemetery, Upper Bremo Farm, Fluvanna County, Virginia. The video includes two letters, one from Liberia to the former Bremo plantation written by Peyton Skipwith (1834) and the other coming from Lower Bremo former plantation to Liberia by Jack Creasy (1840). Both men were enslaved at the former Bremo plantations in the early 19th century. The Creasy letter is read by Horace Scruggs of the Fluvanna Historical Society and descendant of the Bremo enslaved. The Skipwith letter is read by Thomas Nynweph Gmawlue Jr, visiting student from Liberia participating in UVA Landscape Architecture class ALAR 8993 : Cultural Landscape Networks Across the Black Atlantic, lead by Professor Allison James. The readings were done as part of a collaborative field trip between ALAR 8993, ARH 5600 : 3D Cultural Heritage Informatics, lead Professor Will Rourk of the UVA Library and the Fluvanna Historical Society. Sources for the letter were provided by Tricia Johnson, executive director of the Fluvanna Historical Society. The source of the Creasy letter is from the Fluvanna Historical Society Bremo papers and the Skipwith letter is from UVA Library Special Collections.
This video is from the final presentation of ARH5600 : 3D Cultural Heritage Informatics, Fall 2021. Students featured in this video include Zhang Jie, Natalie Chavez, Matthew Schneider, Chris MacDonnell. Their final projects can be accessed at https://wordpress.its.virginia.edu/Cultural_Heritage_Data/pedagogy/cultural-heritage-informatics-internship/arh-5600-fall-2021/.
In the spotlight for years now, health care that is truly equitable and patient-centered and delivered by a diverse, well-integrated team remains a goal—in most sites, it's not yet everyday reality. Individuals and institutions—including health professional schools as well as centers of clinical practice—continue to work toward this goal. But this effort cannot depend just on recruiting more diverse learners, reorganizing clinical environments, or deploying didactics aimed at eliminating biased attitudes and behaviors. Rather, it’s a matter of redesigning health professional education—curriculum, assessment strategies, learning environments—to prepare a thoroughly diverse workforce ready to counter health disparities. To actually realize diversity’s benefits, we must eschew a colorblind philosophy and embrace principles of equity pedagogy.
In this Medical Center Hour, Dr. Catherine Lucey explores equity pedagogy and how it may help to counter the structural racism and inequitable learning environments of traditional medical school. Such a fundamental change in our pedagogy may be necessary to improve health outcomes for patients of all cultures, colors, creeds, and means and, along the way, establish work environments where clinicians, teachers, and scientists of many backgrounds and professional preparations can all flourish.
A John F. Anderson Memorial Lecture / Medical Education Grand Rounds
Co-presented with the Office of Medical Education
Tuberculosis continues to be one of the world's most deadly infectious diseases, killing almost two million people each year. In this Medical Center Hour, historian Christian McMillen explores TB's stubborn staying power by examining key aspects of the disease—including the rise of drug resistance and TB's resurgence with the HIV/AIDS epidemic—and detailing global efforts to control it since 1900.
Co-presented with the History of the Health Sciences Lecture Series, Historical Collections, Claude Moore Health Sciences Library
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
Neurologist Oliver Sacks (1933-2016) was a legend in his own time—as a physician but also as a writer whose work probed medicine, science, and the arts and as a tireless explorer of both the natural world and the human condition. His clinical tales, published in the medical literature and mass media alike, found a wide audience across medicine and society. Behind these tales, which stretched the case history to illuminate and celebrate the person who was marked, and often rendered remarkable, by neuropsychological illness, flared Sacks's own curiosity, an insatiable urge to question and a generous capacity for paying meticulous attention.
In this inaugural Hook Lecture in Medicine and the Arts, writer and photographer Bill Hayes, who was Sacks's late-life partner, offers insights into Oliver Sacks as a person and a physician whose creative nature and prodigious output enriched medicine and culture across a long and productive life. A writer and photographic artist in his own right, Hayes addresses the place of curiosity and creativity in Sacks's practice and his own, especially how, for both, interest in and radical openness to a fellow human being are paramount.
The Edward W. Hook Lecture in Medicine and the Arts / Medical Grand Rounds
Co-presented with the Department of Medicine, with which the Medical Center Hour shares a fund established by the late Edward W. Hook MD MACP whereby the arts can generously enrich medical education and training.
An oral history interview with Dr. Linda R. Thompson, conducted via Zoom by the Claude Moore Health Sciences Library on November 15, 2021. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation.
Linda Ruth Thompson was born in 1941 in Bristol, Tennessee. She attended King College (now King University) in Bristol, TN, and graduated Magna cum Laude in 1962. Thompson attended the University of Virginia School of Medicine and graduated from medical school in 1966; she was one of three women who graduated in the Class of 1966. After graduation, Thompson completed a rotating internship at the State University of Iowa Hospital in 1967, and then returned to UVA for a residency in psychiatry (1967-1971). She served as the Chief Resident during her final year of residency and also as an Instructor in Psychiatry (1970-1971). Following her residency, she worked as a staff psychiatrist at the Northern Virginia Mental Health Institute in Fairfax, VA, before going into private practice in the Washington, DC, area.
Dr. Thompson pursued psychoanalytic training at the Washington Psychoanalytic Institute, and graduated from the psychoanalysis program in 1983. In 1984, she moved to the Tri-Cities area of northeastern Tennessee and southwestern Virginia, where she has maintained a general psychiatric practice since 1984. Thompson also worked as a consultant until 2014, primarily with regional mental health centers, and she attended psychiatric patients at local community hospitals. In 2016, Thompson published a book about her experiences with breast cancer, which she was diagnosed with and treated for in 2007 and 2008. She continues to practice medicine part-time in Bristol, TN, and writes about issues in modern healthcare. In addition to her book Surviving Breast Cancer, Thompson is the author of two additional books: Return to Asylums: A Prescription for the American Mental Health System, published in 2016, and Old School Medicine: Lower Tech Care to Improve the High Tech Future of Healthcare, published in 2018.
This is a shortened version of the oral history interview conducted with Dr. Thompson in November 2021. The full length interview remains restricted until 2047.
An oral history interview with Dr. Dorothy G. Tompkins, conducted at the Claude Moore Health Sciences Library on November 19, 2021. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation.
Dorothy Ellen Guild Tompkins was born in 1941 and grew up in Louisa County, VA. She majored in biology at the College of William and Mary (graduating in 1962) before matriculating at the University of Virginia School of Medicine. She graduated from medical school in 1966, one of three women in her class. In 1972, Tompkins returned to UVA as a Fellow in Pediatric Cardiology. She went on to be appointed Assistant Professor of Pediatrics in 1973 and Associate Professor of Pediatrics in 1979. Later she worked in the area of addiction treatment, and from 2003-2006 Tompkins served as a pediatrician in the UVA Department of Psychiatric Medicine. A passionate and dedicated teacher, Tompkins received the Dean's Award for Excellence in Teaching and was elected to the School of Medicine's Academy of Distinguished Educators during her time at UVA.
In recent years, Tompkins has been active in local non-profit work, including master gardener, naturalist, and tree steward programs, and extensive work with women recovering from substance abuse and trauma. She helped found an organization called Georgia's Friends, which operates Georgia's Healing House, a supportive residential home for women in recovery. Tompkins is married to Dr. William Fraser Tompkins III (also a member of the UVA SOM Class of 1966). They live in Central Virginia.
An oral history interview with Dr. Edward T. Wood, conducted by Dr. David S. Wilkes via Zoom on September 23, 2021. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation.
Edward Thomas Wood was born in Lexington, VA, in 1932. He attended Armstrong High School in Richmond, VA, and was a pre-medical student at Dartmouth University, where he earned an A.B. in 1953. Wood and his classmate Edward Bertram Nash became the first two Black students to attend and graduate from the University of Virginia School of Medicine. Matriculating in 1953, they graduated in the Class of 1957. After medical school, Wood completed several internships and residencies in New York. After choosing ophthalmology as a specialty, he opened his own practice in New York and spent the remainder of his career there. He is now retired and living in Florida.
David S. Wilkes graduated from Villanova University (B.S.) and earned an M.D. from Temple University. He served as Dean of the UVA School of Medicine from 2015-2021. Dr. Wilkes remains a member of the research faculty at the UVA School of Medicine.
H5P is a digital toolset for authoring content online. Content creators can design interactive videos, presentations, quizzes, and much more. H5P is used for interactive content creation in OER, and this workshop will introduce instructors to H5P and provide examples of how it is being used to engage students. This session serves as an excellent starting point for those new to the technology and those who need a refresher on some of the key functionalities.
Creation of accessible materials is essential to compliance with UVA's standards and guidelines; moreover, it is critical to creating an inclusive and engaged learning environment for all students. Join us for this workshop, led by UVA Library's Accessibility Designer, Jack Kelly. He'll discuss guidelines and best practices for multimedia accessibility that will guide your OER project development. This session is recommended for those embarking on the creation of open instructional resources.
An oral history interview with Dr. Claudette Dalton, conducted at the Claude Moore Health Sciences Library on June 27, 2022. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation.
Claudette Ellis Harloe Dalton lived in Charlotte, N.C., before attending Sweet Briar College. After graduation, she enrolled in post-baccalaureate courses at the University of Virginia in order to prepare for medical school. She matriculated at the UVA School of Medicine in 1970, the first year that UVA's undergraduate programs officially became co-educational. Dr. Dalton received her M.D. from the UVA School of Medicine in 1974, and she went on to an internship and anesthesiology residency at the University of North Carolina at Chapel Hill.
While working in North Carolina, Dr. Dalton remained involved with the UVA Medical Alumni Association, and in 1989, she was invited to join the faculty of the UVA School of Medicine as the Assistant Dean for Alumni Affairs. With this appointment, Dr. Dalton became the first woman to hold the title of Assistant Dean in the history of the UVA School of Medicine. She held several positions during her tenure at the School of Medicine, including: Assistant Dean for Medical Education, Assistant Dean for Community Based Medicine, Director of the Office for Community Based Medical Education, and Assistant Professor for Medical Education. During her time on the faculty, Dr. Dalton served on the School of Medicine's Committee on Women and helped to coordinate an annual Women in Medicine Leadership Conference on behalf of the School of Medicine. In 1993, Dr. Dalton presented the opening remarks at the UVA School of Medicine Graduation Exercises.
Dr. Dalton also served as the Chair of the Federation of State Medical Boards (FSMB) Ethics and Professionalism Committee, and she chaired the Southeastern Delegation to the American Medical Association from 2019-2021. In 1996, she was inducted into the Alpha Omega Alpha (AOA) Society. In 2002, she was awarded the Sharon L. Hostler Women in Medicine Leadership Award. An active alumna of the UVA School of Medicine, Dr. Dalton has served on the Medical Alumni Association Board of Directors, as well as on the Medical Alumni Newsletter editorial board, and acted as Class Representative for the Class of 1974.
An oral history interview with Dr. Maurice Apprey, conducted on May 12, 2022. This interview is part of a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation.
Maurice Apprey was born in Ghana, West Africa. He received a B.S. in Psychology, Philosophy, and Religion from the College of Emporia, Kansas, and graduated in 1974. Dr. Apprey was one of a small number of students who trained under Anna Freud at the Hampstead Clinic in London, from which he graduated in 1979. After studying phenomenological psychological research and hermeneutics with Amedeo Giorgi at the Saybrook Institute in San Franciso, CA, Dr. Apprey received a Ph.D. in Human Science Research. He later pursued a doctorate in Executive Management from the Weatherhead School of Management at Case Western Reserve University.
In 1980, Dr. Apprey joined the faculty of the UVA School of Medicine in the department of Psychiatry and Neurobehavioral Sciences. In 1982, he was appointed Assistant Dean of Student Affairs. His work with current and aspiring medical students continued for two and a half decades, and he was later appointed the Associate Dean of Diversity at the School of Medicine (in 1992) and the Associate Dean of Student Support (in 2003). During these years, Dr. Apprey was highly effective in increasing the number of students from under-represented backgrounds at medical school through initiatives like the Medical Academic Advancement Program (MAAP). He taught undergraduates, medical students, residents in psychiatry and psychology, and hospital chaplains, among others. In 2007, Dr. Apprey was invited to become Dean of the Office of African-American Affairs for the University of Virginia. He accepted and served in that role until his retirement in 2022.
An oral history interview with Dr. Barbara Hasko Curry, conducted at the Claude Moore Health Sciences Library on April 29, 2022. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation.
Barbara Ann Hasko Curry of Silver Spring, Maryland, graduated from high school in 1967 and entered the University of Virginia School of Nursing, finishing with a B.S. in Nursing in 1971. Her interests in the health sciences inspired her to return to UVA to complete the prerequisite courses needed to apply for medical school. In 1973 she was admitted to the UVA School of Medicine, and she graduated from the medical school in 1977.
After graduation, Curry completed an internship at Dartmouth Affiliated Hospitals in Hanover, NH, and a residency at Providence Medical Center in Portland, OR. Dr. Curry became board certified in Emergency Medicine in 1981 and joined the Billings Clinic in Billings, MT, in 1990. After the merger of the Billings Clinic and Deaconess Medical Center, Dr. Curry served as Chair of the Emergency Department at Deaconess Billings Clinic. (“Deaconess” was then dropped from the name in 2005.) In 2007, a state-of-the-art Emergency and Trauma Center opened at the Billings Clinic. Dr. Curry lives and continues to practice in Billings, MT.
Video integration is an effective way to take OER creation to the next level. Creating videos in a manner that allows for reuse and remixing requires a mindful approach to planning, recording, and distribution. In this session, Learning Design & Technology’s Jessica Weaver-Kenney will discuss actionable steps to create reusable and adaptable video. This session is recommended for individuals interested in creating open video content.
Creating a roadmap for your OER project work is a foundational step towards a well-structured project. In this session, we will discuss best practices for planning your OER project, how to set realistic and achievable goals, and ways to manage your workflow and communicate with collaborators in a streamlined and effective manner. This session is recommended for all those embarking on the creation of OER materials.
"Give a [wo]man a mask and [s]he will tell you the truth." –Oscar Wilde
Since 2010, Walter Reed National Military Medical Center's therapeutic arts program has engaged brain-injured and traumatized military veterans in hands-on mask making. Even as they conceal the face, these soldiers' masks vividly reveal secret suffering, declare deeply felt identity and patriotism, signal spiritual wounds and moral strengths, externalize guilt or grief. Making a mask can help its creator to (re)claim identity, and to heal. In this AOA Lecture, physician-educator Mark Stephens and art therapist Melissa Walker discuss the construction of masks as an artful means of recognizing oneself and reflecting on identity, not just for wounded warriors but also for healthcare professionals.
Co-presented with Alpha Omega Alpha national medical honor society, UVA Chapter
In this Bice Memorial Lecture, Rebecca Rimel looks back on a life in leadership—in her case, serving 26 years as president and CEO of The Pew Charitable Trusts, an innovative and influential public charity involved in health and human services, the arts, public opinion research, and environmental, public health, and national economic policy. Ms. Rimel's service at Pew was anchored in nursing, built upon an exemplary career in healthcare and on what she learned and practiced as a nurse at UVA—management under pressure, clear communication, purpose and motivation, empathy and caring.
Zula Mae Baber Bice Memorial Lecture co-presented with the School of Nursing
When it comes to matters of health, environment, and urban history, lessons of the past are often forgotten by Americans. However, in many ways, fears from American epidemics in the last 150 years have all become acute again with the COVID-19 pandemic. Working at the intersection of public health and urban/environmental history, architect Sara Jensen Carr investigates how shifts in the American urban landscape were driven by health concerns, and how these have led to this inflection point between living in the pandemic and a post-pandemic future. She's joined by urban and environmental planner Tim Beatley in this Medical Center Hour that addresses the "topography of wellness" in our urban public spaces even as we anticipate COVID-driven design changes.
History of the Health Sciences Lecture
Co-presented with Historical Collections, Claude Moore Health Sciences Library; Center for Design + Health, School of Architecture; and University of Virginia Press
Physician-writer Samuel Shem's iconic black humor-laced novel, The House of God (1978), written while he was a resident, was an exposé of medicine's often-heartless training culture at the time. The book became unofficial required reading for generations of persons going into medicine. His most recent novel, Man's 4th Best Hospital (2020), appeared when clinician morale was low, burnout rampant, and physician suicide on the rise; if anything, the COVID pandemic has exacerbated these conditions. In this Hook Lecture, Shem discusses how his books arose out of perceived injustice to take the measure of medicine's culture, and how he has used fiction both to resist injustice and to call upon doctors, nurses, and others to reclaim their once-humane calling.
Edward W. Hook Memorial Lecture in Medicine and the Arts
Medicine Grand Rounds
Co-presented with the Department of Medicine and with generous support from the School of Medicine's Anderson Lectures
Nimura, Janice P., University of Virginia. School of Medicine
Summary:
The world recoiled at the idea of a woman doctor, yet Elizabeth Blackwell persisted, and in 1849 became the first woman in the U.S. to receive an MD. Her achievement made her an icon. Her younger sister Emily followed her, eternally eclipsed despite being the more brilliant physician of the pair. Together, they founded the first hospital staffed entirely by women, in New York City. While the Doctors Blackwell were visionary and tenacious—they prevailed against a resistant male medical establishment—they weren't always aligned with women's movements, or even with each other. In this Medical Center Hour, biographer Janice Nimura celebrates the Blackwells as pioneers, change agents, and, for women in medicine today, compelling yet somewhat equivocal role models.
Co-presented with Historical Collections, Claude Moore Health Sciences Library
Many doctors have also been celebrated writers, from Anton Chekhov, Arthur Conan Doyle, and William Carlos Williams to Perri Klass, Atul Gawande, and Maxim Osipov. The reading public (including other doctors) eagerly devours what doctors write, not least in hopes of glimpsing what makes physicians tick, as persons, as healers. But why do doctors write? In this Medical Center Hour, three of UVA's own accomplished physician writers respond, in their own inimitable words.
An Ellis C. Moore Memorial Lecture
Among the COVID-19 pandemic's lessons is an increased awareness of the hazards of old age. But only a fraction of that risk is biological. At a moment in history when most of us will live into old age, we've created a world that's almost entirely focused on childhood and adulthood. It's time now to define, design, and empower this new, nearly universal elderhood. In this Medical Center Hour, geriatrician and writer Louise Aronson draws on her clinical experience and creative abilities to reimagine and advocate for old age not as a disease but as a vital phase of being human, with implications for social and community life, technology, geroscience, and healthcare. How shall we now approach elderhood?
Koppaka Family Foundation Lecture in Health Humanities
