133. 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.

134. Freeing patients' BRCA data (1:03:14)

Date:
2013-11-06
Main contributors:
University of Virginia. School of Medicine
Summary:
On 13 June 2013, the U.S. Supreme Court struck down patents on the hereditary breast and ovarian cancer (BRCA) genes. One company, Utah-based Myriad Genetics, claimed ownership of those genes and both marketed and processed the test for them. Myriad now controls the genetic data of all the persons tested for BRCA. In the wake of the 9-0 ruling against Myriad, there's considerable debate about who owns this genetic information and who should control it. Should it be held by a private company or in a commons? Should control rest with the BRCA+ community? "Free the Data," a new grass-roots campaign, brings voices of BRCA+ individuals and biomedical investigators alike into this debate. In this Medical Center Hour, documentary filmmaker Joanna Rudnick, together with law and medical experts from UVA, discuss what's at stake in freeing the data. Co-presented with the Institute for Practical Ethics and Public Life, the Department of Public Health Sciences, and the Cancer Center's Breast Care Program, UVA The Hollingsworth Lecture in Practical Ethics

136. Galileo’s middle finger: heretics, activists, and the search for justice in science (1:02:57)

Date:
2016-03-23
Main contributors:
University of Virginia. School of Medicine
Summary:
Alice Dreger’s newest book, Galileo’s Middle Finger: Heretics, Activists, and the Search for Justice in Science, had its origins in social and scientific controversies having to do with the politics of sex, especially social and medical treatment of so-called intersex individuals. Ms. Dreger’s investigations into this aspect of human identity and intersex rights engaged her with both sides of a heated debate and also with issues of freedom and justice in science. As she says, “Science and social justice require each other to be healthy, and both are critically important to human freedom. . . . [P]ursuit of evidence is probably the most pressing moral imperative of our time. All of our work as scholars, activities, and citizens of democracy depends on it. Yet it seems that, especially when questions of human identity are concerned, we’ve built up a system in which scientists and social justice advocates are fighting in ways that poison the soil on which both depend. It’s high time we think about this mess we’ve created, about what we’re doing to each other and to democracy itself.” In this Medical Center Hour, Ms. Dreger addresses these concerns—for science, justice, and academic freedom—at a time when pursuit of knowledge can clash with established interests, worldviews, and ideas about social progress. Co-presented with the History of the Health Sciences Lecture Series