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Sandi Cooper, the Chair of the University Faculty Senate and professor of European History at CUNY, discusses her talk for the Curry School of Education regarding the endangered fate of public higher education. She focuses on New York City mayor's critique on the open-enrollment of public higher education.
Michelle Kisliuk, professor of Music at the University of Virginia, discusses the transgeneric culture process through music focusing on socio-aesthetic.
Part one. Civil rights attorney Charles Todd Duncan discusses his involvement with the Brown v. Board of Education cases when he worked in the law office of Frank D. Reeves. He did much research on the history of African American codes. He was straight out of law school and was mainly a helper and errand-runner on the case, but he likes to remember that he was the one who personally physically filed the Brown case at the US Supreme Court. He mentions Charles Black. Mr. Duncan talks about Brown's impact, as well as what it didn't affect. Part two. Mr. Duncan helped out on the Brown case at the New York City NAACP Legal Defense Fund offices. He participated in strategy and decision-making sessions there and describes what these sessions were like. He recounts how the five Brown cases were chosen to take to the Supreme Court for very specific reasons.
Susan Fraiman, associate professor of English at the University of Virginia, discusses sex in the White House with a feminist lens, the issues over oral sex, and the public's perception of Monica Lewinski.
Part one. Students sit on The Lawn at the University of Virginia and discuss Charles Hamilton Houston, Thurgood Marshall, James Nabrit, and Samuel Tucker. Each student explains why he/she got involved with the Elwood project. They discuss their own generation participating in the civil rights struggle. Part two. Students discuss differences among generations of black Americans. Part three. Students change location to William Elwood's house. Topics include the importance of education and the difference between overt versus subtle discrimination. Part four. Continuation of conversation in William Elwood's house about the status of black students at the University of Virginia and pressures on black students in 1985.
Part one. Judge Constance Baker Motley recalls her childhood and education, including her first experience with Jim Crow. The Gaines case in 1938 influenced her to become a lawyer. Clarence Blakeslee, a white philanthropist in Connecticut, paid for her law school tuition. She joined the NAACP Legal Defense Fund in 1945 as a clerk. She discusses the legal strategy to target southern graduate schools with enforcement of the Gaines decision. Part two. Judge Motley recalls the NAACP Legal Defense Fund campaign to address the lack of adequate graduate and professional schools for African American students in the South. She discusses the background of several higher education cases, including the 1946 Sweatt case in Texas and the Sipuel case in Oklahoma. The next step in the strategy was to bring suits in elementary and secondary education. Five of these cases culminated in the Brown v. Board of Education decision. She also reviews the immediate history of civil rights following the Brown decision. Part three. Motley describes the grassroots revolution for civil rights after the Brown decision as a surprise to the legal strategists at the NAACP. New laws on the state level reasserting discrimination were also an obstacle for Motley and her NAACP colleagues. In 1961 she represented James Meredith in his fight to enter the University of Mississippi; she also represented Charlayne Hunter Gault and Hamilton Holmes in their fights to enter the University of Georgia. She recalls the first case she ever tried in 1949 in Mississippi. Part four. The judge shares her memories of the early days of the NAACP Legal Defense Fund, especially hearing stories by Thurgood Marshall about Charles Hamilton Houston and William Hastie. She heard Houston and Marshall argue the restrictive covenant cases at the US Supreme Court. During this visit to Washington DC, she and her African American comrades were not allowed to stay in DC hotels. She recalls the important cases devised or tried by Houston. Part five. Judge Motley lists the many changes since the Brown decision.
Doctor Eugene A. Foster discusses his role as the organizer of the chromosomal research on Thomas Jefferson and Sally Hemmings to determine the paternity of her children.
Ning de Coninck-Smith, Professor of Education at Odense University in Denmark, discusses the history of child laborers in the five Scandinavian countries and the concept of children as social agents.
Miki Liszt, dancer and founder of the Miki Liszt Dance Company, discusses her latest modern dance performance based on the book Veils and Words as an avenue of self-exploration and the veil as an Iranian-born woman.
Derek Nystrom discusses his dissertation for the English department at the University of Virginia on men's involvement in feminism and class identity in American film in the 1970s.
Anne Firor Scott, Professor at Duke University, writer, activist and pioneer in the history of women, discusses her work and the importance of the African-American women activists and their part in the expansion of the "Black Middle Class."
Professor of criminal Law at Vanderbilt University discusses the significance of the verdict of OJ Simpson Trial; the larger cultural context of racial politics in the L.A. police department; and the lack of focus on domestic violence.
Part one. Civil rights activist Gardner Bishop talks about his involvement with the Consolidated Parents Group. He relates that the group first met to discuss the atrocious school facilities in African American neighborhoods. At his suggestion, the group embarked on a school strike to embarrass the white school board. Mr. Bishop relates the details of the school strike saga. Part two. Mr. Bishop introduced himself to Charles Houston in order to enlist his help. Houston became the group's lawyer, ended the strike, and led the group into legal action. As the Consolidated Parents Group became organized, they needed publicity for their legal cases, and so provoked arrests by swimming in a public pool. Mr. Bishop recounts Houston's unexpected illness. Part three. Mr. Bishop tells the story of being arrested for playing with his daughter in a white playground. He describes his philosophy of life. Part four. Mr. Bishop discusses his philosophy of life. He recalls Houston asking him how "common" African Americans felt about various issues. Bishop mentions Dorothy Porter and Herbert Reid. Part five. Mr. Bishop talks about James Nabrit helming the Consolidated Parents Group case after Houston's death. Mr. Bishop recalls provoking the case by escorting an African American student to a white junior high school. He also recounts the story of advising the US Secretary of the Interior about the swimming pool case. At 19:00, we see William Elwood at the Rotunda talking to the camera, not filmed in December.
This illustrated lecture traces the life and work of Sydney architect Harry Seidler (1923-2006), his key role in bringing Modernism and Bauhaus principles to Australia, identifies his distinctive hand, and explores long-lasting creative collaborations with leading visionaries of the 20th century, including with architects Marcel Breuer and Oscar Niemeyer; artists Josef Albers, Alexander Calder, Norman Carlberg, Charles Perry, Frank Stella, and Lin Utzon; engineer Pier Luigi Nervi, photographer Max Dupain, and developer Dick Dusseldorp, founder of Lend Lease Corporation. In almost sixty years, Seidler has realized over 120 of his designs—from houses to mixed-use multi-story towers and prominent government commissions—all over Australia, as well as in Austria, France, Israel, Italy, Mexico, and Hong Kong.
Apart from the architect’s creative achievements, the lecture will reveal a story of Seidler’s life, a fascinating journey from his motherland of Austria to England, Canada, the United States, Brazil, and finally, to Australia, where he settled in 1948, eventually becoming the country’s most accomplished architect. Among projects to be discussed: Rose Seidler House (1950), Harry and Penelope Seidler House (1967), and Australia Square (1967) in Sydney; Edmund Barton Building (Canberra, 1974), Australian Embassy (Paris, 1977), Hong Kong Club (HK, 1984), Shell Headquarters (Melbourne, 1989) and residential complex Wohnpark Neue Donau (Vienna, 1998).
Bella DePaulo, professor of social psychology, has focused on the field of study of day to day lies. In this episode she discusses Bill Clinton scandal and lying.
Part one. Civil rights attorney Charles Morgan remembers Freedom Summer of 1964 and recalls hearing when Chaney, Schwerner, and Goodman were missing. Mr. Morgan says that the system of justice in the South did not work against African American individuals, it worked against all African Americans as a group. He explains how all parts of justice system work together and how public interest lawyers succeeded in changing the law on jury cases in the South. Part two. Mr. Morgan believes that you must integrate colors, creeds, cultures etc., or change and understanding will never happen. Mr. Morgan points out that there were no African American prisons in the South before the Civil War because all African Americans were imprisoned [by slavery]. The civil rights movement was a revolution in the sense that it changed the entire structure of law and altered much of American life. Voter registration wasn't the law until around 1900, and America still hasn't recovered from the fact that fewer people vote because of it. Part three. Mr. Morgan reviews the history of the impact of slavery, segregation, and population centers. Southern legislatures around 1900 were not based on population, and cities were underrepresented. Mr. Morgan talks about Baker v. Carr, Reynolds v. Sims, Gray v. Sanders. Sims was about reapportioning the Alabama state legislature, and Sanders was about reapportioning the congressional districts, where the phrase "one person, one vote" was first used. Television helped to confront all Americans with the problems of the South. Part four. Morgan quotes Congressman John Lewis, "Whatever happened to the civil rights movement? It got elected." Lewis suffered 40 arrests and multiple skull fractures. At 2:48, footage of Washington, DC.
Stephen Margulies, curator of works on paper at the Bayly Art Museum, discusses his new exhibit "The Power of Woe, the Power of Life: Images of Women in Prints from the Renaissance to the Present" and where his inspiration came from.
Lisa Eorio, research scientist at the University of Virginia, discusses her experience as a person living with MS and the new grant that hopes to slow down the effects of MS in women through water aerobics fitness.
Rae Blumberg, professor of sociology at the University of Virginia, discusses policy implications on economic development research carried out in 31 different countries in all continents.
Rebecca Young, 1999-2000 Bayly McIntire Graduate Student Fellow, discusses her dissertation that focuses on the relationship of non-conformist communities to art production in San Francisco in 1950's- '60s and her latest curation "African American Graphic Work of Contemporary Women Artists."
will rourk, wmr5a@virginia.edu, ORCID : 0000-0001-8622-5080
Summary:
Flythrough animation of 3D data collected on site at the Cabell Log House located in the Gospel Hill historic district of Staunton, Va, on 2024-03-21; in collaboration with the Historic Staunton Foundation (https://www.historicstaunton.org/) who own and manage this site; data collected with FARO Focus 3D lasers scanners, models X130, S70, S150; data processed with FARO Scene v. 2023.0.1;
Rae Blumberg, professor of sociology at the University of Virginia, continues her discussion of policy implications on gender in economic development during the African food crisis.
Franny Nudelman, professor at the department of English at the University of Virginia, discusses her book John Brown's Body focusing on masculinity and the representation of martyrdom during the Civil War.
Part one. Former White House executive and civil rights attorney Frederic Morrow contends that World War II triggered increased interest in civil rights among African Americans because they were defending a way of life that they could not enjoy. Mr. Morrow recalls his 1957 trip to Africa with Vice President Richard Nixon; he remembers African nations appointing white ambassadors to the United States because African Americans were discriminated against in the US State Department. Mr. Morrow says that President Eisenhower was a decent man, but his philosophy on race was incorrect. Mr. Morrow reviews his childhood in New Jersey, what it was like in the military during World War II, and his position as the first African American in history to be on the President's staff at the White House. Part two. Mr. Morrow tells how he became the first African American executive in the White House in the 1950s. He had to struggle and jump through many hoops to get a position there. Many top White House staffers said they would walk out if Mr. Morrow served with them. Part three. Mr. Morrow says that the civil rights struggle continues, especially on the economic side and with education. He declares, "We don't need new laws, we don't need new principles, we just have to live by them and do our duty.” Part four. Mr. Morrow recalls knowing Charles Hamilton Houston during the 1930s when he worked with NAACP. He believes that Houston was the foundation of the civil rights struggle. Mr. Morrow recounts his work as an NAACP field reporter. Part five. Mr. Morrow wrote a book called '40 Years a Guinea Pig'. He recalls civil rights supporters being critical of him because they thought he wasn't loudly advocating for civil rights while he worked at the White House. He acknowledges that he was asked to be the head of the Bank of America because their branches were being burned, and they needed an African American face to smooth things over. Mr. Morrow talks about his childhood and his grandfather, who was a slave. Part six. Mr. Morrow tells the remarkable story of how he got into Bowdoin College. He offers a message to young people.
Part one. Footage of classes at Scott's Branch High School in Clarendon County, South Carolina, and some rural housing. At 13:41, Journalist John Norton, an education reporter for a Southern newspaper, talks about how Clarendon County has changed, as well as how it hasn't, since the Briggs v. Elliott case. Part two. Norton recounts some of the history of the school districts in Clarendon County, South Carolina. He outlines how the schools have been neglected, and therefore how the whole community is failing. Part three. Norton describes the education situation in Clarendon County, South Carolina. At 7:18, footage of Clarendon County, South Carolina, including rural roads, Liberty Hill Church, cotton gin.
Part one. Author Genna Rae McNeil offers insight on Charles Hamilton Houston's privileged upbringing, education, and early career. Houston served in the military during World War I, and the extreme discrimination therein inspired him to make civil rights his life's mission. McNeil covers Houston's experiences during the Red Summer of 1919, at Harvard Law School, and as a lawyer at his father's firm. Part two. McNeil describes Houston's belief that lawyers were social engineers with responsibility for improving society. She tells of Houston's professorship at Howard University Law School and his work to change the school from a night school to a traditional daytime degree program. Houston became involved with the NAACP and flirted with International Labor Defense, best known for publicizing the injustice of the Scottsboro case. Part three. Ms. McNeil talks about Houston's involvement with the International Labor Defense. Houston became the first paid lawyer for the NAACP, with the charge to direct a campaign against inequality in education and transportation. Houston crafted the legal strategy used to eliminate segregation. He understood that the justice system functioned in relation to its precedents. Ms. McNeil discusses Houston's travels in the South, especially his visits to rural African American schools. Houston made films of the differences between African American schools and white schools during his trips in order to document what "separate but equal" meant in the South. Part four. Ms. McNeil recounts Houston's involvement with African American railroad firemen and his contributions to activism in the fight for equality in the military, for fair employment practices, and for District of Columbia public schools. McNeil talks about the formation of the Consolidated Parents Group. Part five. Ms. McNeil emphasizes the importance of Houston's involvement in the Consolidated Parents Group. Houston fell ill and died while working with the CPG; he made arrangements for other lawyers to continue this work. McNeil offers her appraisal of Houston's philosophy of life and his commitment to principle. She gives her theory why Houston is not better known. Part six. McNeil continues her account of Houston's accomplishments, and she conjectures why we have forgotten about him.
Part one. Judge Matthew Perry recalls his service in the US Army during World War II in Europe. His travels overseas allowed him to participate in a society without segregation. He discusses his upbringing and education, especially the segregation of higher education institutions. He decided to be a lawyer after seeing Thurgood Marshall and Robert Carter try a case in Columbia, South Carolina concerning segregation in education. Part two. Judge Perry recounts the story of seeing Thurgood Marshall and Robert Carter try a case to desegregate South Carolina University Law School. Perry's own law school alma mater, South Carolina State College Law School, was established in response to the above case. He practiced law in South Carolina until his 1976 appointment to the federal judiciary serving on the United States Court of Military Appeals. During his private practice, he fought to desegregate grand juries. Part three. Judge Perry talks about the state of the New South. He discusses how the law was used to institutionalize racism in America. He notes that it was also the law that was used to defeat the system. He goes over the legal strategy he and his colleagues used to integrate colleges and graduate schools in South Carolina. He talks about Briggs v. Elliott, one of the Brown v. Board of Education cases. Part four. NAACP Legal Defense Fund and NAACP General Counsel provided money and expertise to small, local lawyers all over the South. Judge Perry remarks on Baker v. Carr and various sit-in and protest cases like Edwards v. South Carolina.
Part one. Footage of Chester High School band and football team, Chester, South Carolina. Part two and three. Principal Jeff Brown gives a tour of Chester High School, Chester, South Carolina. Part four. At 19:20, Mr. Brown attends a Chester Rotary Club meeting. Then more footage at high school. Part five. Footage of students at Chester High School. At 7:20, interview with Principal Jeff Brown. Mr. Brown recalls what schools were like when he began his career in education. Part six. Principal Jeff Brown recounts the early days of his education career in Chester, South Carolina. He describes the separate but equal doctrine and how the community imposed certain strictures on black teachers. He also talks about the changes brought by integration. Part eight. Interview with Principal Jeff Brown of Chester High School continues. At 8:38, footage of high school activities and students. At 14:20 interview with Mr. Brown recommences.
Part one. Shots of Beulah Johnson's Tuskegee house and neighborhood. At 3:40 change to William Elwood interviewing Mayor Johnny Ford outside Tuskegee municipal building about the impact of the Voting Rights Act, Gomillion v. Lightfoot case, Fred Gray, and being mayor for 15 years. At 12:05 change to Elwood interviewing civil rights attorney Solomon S. Seay, Jr., in Montgomery about Seay's background and education, his military service experience, and watching the top Brown v. Board of Education lawyers practice the case at Howard Law School. Part two. Seay recounts why he became a lawyer, his reaction to the Brown v. Board of Education ruling, what white leaders did in Montgomery to circumvent the Brown decision and keep schools segregated, and how both sides used the law to get what they want. Part three. Seay tells the history of the neighborhood of Madison Park in Montgomery and goes over cases he’s tried. Part four. Mr. Seay compares working on criminal cases to trying civil rights cases. He discusses Drake v. Covington County Board of Education, the Montgomery march, and voting rights. Disc 121. Footage of Seay's office, Montgomery outdoor scenes.
Part one. Footage of the NAACP Legal Defense and Educational Fund offices including that of civil rights attorney, professor, and NAACP director counsel Julius L. Chambers. Part two. Mr. Chambers discusses the origins of the NAACP Legal Defense Fund, Charles Hamilton Houston, Thurgood Marshall, Jack Greenberg, important cases in fund history, the Keyes principle, and employment cases like Duke Power. Part three. Chambers recalls the most important civil rights case that grew out of his practice, Swann v. Charlotte-Mecklenburg Board of Education in the US Supreme Court, which became known as the busing case. He talks about current concerns of the fund, responding to Reagan administration challenges to civil rights, developing protection for the poor. Part four. Some 1987 fund work in cases dealing with discrimination against the poor. More footage of fund offices.
Part one. Civil rights attorney Samuel Wilbert Tucker recalls the Negro national anthem, “Lift Every Voice and Sing,” and the song, “We Fought Every Race’s Battle But Our Own.” Poor picture quality begins 4:00. Tucker talks about attending a meeting of civil rights attorneys from across the country in Atlanta, Georgia right after the Brown v. Board of Education decision. Tucker recounts becoming a lawyer and why he chose that profession. He never went to law school but passed the bar at age 20. Part two. Tucker discusses his first cases, particularly a murder case. He then goes into detail about his pivotal involvement in the 1939 Alexandria Library Sit-In and its outcome. Part three. Mr. Tucker's brother, Otto, joins the interview. They talk about the library sit-in and the consequent court cases. Part four. Samuel Tucker recalls Charles Houston counseling him about the library sit-in case. Mr. Tucker also imparts advice to young law students. Part five. Tucker argues that the Brown v. Board of Education decision didn't mandate immediate desegregation, so it took years of court cases make it happen slowly. He also discusses civil rights in 1985. At 7:00 there is footage of brothers Samuel and Otto Wilbert visiting the Alexandria Library. At 9:50, interview with William Evans begins. There is no sound until 11:54. Evans discusses his participation in the 1939 Alexandria Library Sit-In.
Gertrude Fraser professor of Anthropology at the University of Virginia discusses her focus on medicine as a cultural system. She shares her life course as being a compilation of migratory movements starting from Jamaica to New York City.
Part one. Pictures inside and outside the Supreme Life Insurance Company in Chicago. At 11:26, Elwood interviews civil rights attorney Earl Dickerson in Dickerson's home in Chicago. Part two. Mr. Dickerson discusses his involvement with the National Lawyers Guild, the Smith Act and the Communist 11, and the Fair Employment Practices Committee. Part three. Mr. Dickerson recounts his association with the civil rights commission under President Truman. He also discusses being president of the National Bar Association. He talks about the Fair Employment Practices Committee during the early 1940s, his meetings with President Franklin Roosevelt concerning FEPC, not being invited back to serve on the FEPC, and his dealings in Birmingham as part of the FEPC. Part four. Mr. Dickerson talks more about the FEPC checking on Birmingham businesses. While president of the National Lawyers Guild during the 1950s, Mr. Dickerson had a run-in with Atty. Gen. Brownell. Mr. Dickerson also talks about knowing Charles Houston. Part five. Mr. Dickerson reminisces about Paul Robeson, W.E.B. DuBois, the March on Washington in 1963, entertaining Martin Luther King Jr. at his home when King came to Chicago, and his peacemaking lunch with Elijah Muhammed, Philip Randolph, and Malcolm X. Part six. Mr. Dickerson describes the use of covenants to restrict African Americans from moving into white neighborhoods. It was his part of the Hansberry v. Lee case to prove racially restrictive covenants were unconstitutional. He also talks about the Squib case, his ideological influences, and his favorite literature. Part seven. Mr. Dickerson recalls how he went from Mississippi to Chicago as a lawyer and his inspiration to cure the defects of society. At 10:15, photos from Dickerson's life with some commentary.
Part one. Civil rights attorney Samuel Wilbert Tucker recites lyrics to an unknown song and talks about patriotism. At 13:30, Tucker and Elwood go for a walk. Part two. Stills of Tucker family photographs. Interview begins at 7:30 in Tucker's law office in Alexandria, VA. Subjects of discussion include Tucker's mother and father and Parker Grey school alumni. Part three. Tucker talks about his own education, his elementary school teachers, especially teacher Rozier D. Lyles and the naming of the Lyles Crouch elementary school. Mr. Tucker started the program for adult night classes at the Parker Grey elementary school.
Toccata by Joo Won Park is a solo live electroacoustic piece for
found objects and the SuperCollider program. Joo Won performs
this piece by scratching, rubbing, tapping, and pushing the objects
in different ways on a board with a contact microphone. What you
hear is the sound of those objects being digitally processed. Every
time you see him clicking on a laptop, you hear different effect
combinations. In the pre-performance ritual, he mentally prepares
himself to create a wide range of sounds in a nervous and hectic
mood. The performance guide and the SuperCollider patch for
Toccata can be found at www.joowonpark.net/Toccata.pdf
smooth is piece written for the KYMA signal processing system and Wacom Tablet interface.
Limited Aggregation, by Max Tfirn and Seung-Hye Kim, is a collaborative piece for percussion and computer that explores sounds that are found by hitting different percussion instruments and modified by live processing. Each composer in the collaboration composes new material and edits each other’s material on the fly. This blends the composers’ compositional styles. Each sound from the percussion and computer interacts with every other, creating larger sounds and richer textures. There are also moments where the component sounds are zoomed in on that creates a contest between the larger built sounds and the microscopic natural sounds. These microscopic zoomed sounds are products of analyzing the spectrum and taking certain characteristics of the sound and filtering out others. The changing length of the processed sounds also reinforces the small/microscopic and zoomed aspects.
Within a Sand Dune, by Erik Deluca, scored for amplified percussion quartet with one player, involved a compositional system inspired by time listening to the breath of the Great Sand Dunes in Colorado. The percussion quartet transduces the sounds of the dunes, and the composer’s experience listening to them.
37720, by Rachel Trapp, is a construction of found sound shaped through a process of unfolding telematic communication. Acoustic and inductive recordings of the composers’ simultaneous transit rituals are transformed and positioned in the performance space according to the composers’ shared sensibilities, creating an audible landscape of movement across time, space, and subjectivity.
Look the Other Way, by Kristina Warren: “I explore what I call “found text.” First I compiled texts from several sources, including novels, poems, and newsreels. Then I digitally recorded myself singing- speaking them, and next used various means to obscure the words (e.g., recording to and from tape, intensive layering, etc). This serves to emphasize the sonic and de-emphasize the semantic qualities of the source texts. In performance, I modulate the resulting texture by way of live, semi-semantic vocal input. All this aims to re-consider both signification and authorship.”
Touching, by Eli Stine, is an exploration of surface: surface sounds of different objects and the surface layer of musical structure. Sonic materials come exclusively from recordings of touching, leading to friction, leading to striking of surfaces and objects and their resultant resonances. The sounds of these objects meet and interact, but no interaction is more than skin deep.
Hyperions, by Paul Turowski, is software that presents an interactive context for musical improvisation. While the performer is free to make specific choices about pitch, timing and activity level, their choices are recognized by the computer via microphone input and significantly affect the dynamic physics-based system. Chance- based factors, including the gradual advance of destructive agents, make the piece akin to a tower defense game and allow unique visual and sonic textures to emerge with each performance.
Trans, by Ryan Maguire, is a real-time sonification of a computer transcription of a transalpine scene. The original auditory moment, amidst a herd of cows along a Swiss mountain pass awaiting an approaching thunderstorm, is transformed via machine/human listening and digital transmission. Through repeated transmutation the transience of this particular “found sound” is transpired. In general, all signals are transmodified, and transparency is only relative. The transitory can never be truly transfixed because, first, we have only its trace and, second, communication necessitates transduction wherein its substance is transmuted. Nevertheless, might transpersonal knowledge of such ephemerality facilitate transcendent experience and/or esthesic trance?
Part one. Civil rights activist and history professor John Hope Franklin did historical research for the Brown v. Board of Education cases. He wrote opposition papers, vetted briefs for historical accuracy, and answered history questions from the lawyers. He describes the slow development of state segregation policies and laws, the 14th amendment and schools, the political climate regarding race issues in the late 19th century, and the suppression of African American voters in the South. Part two. Mr. Franklin describes the suppression of African Americans in the South via state legislation. He talks about the elaborate disenfranchisement of African Americans using restrictions regarding real estate, literacy, voting, etc. He mentions Plessy v. Ferguson, the Oklahoma State Constitution of 1915, and the cases about election primaries during the 1920s. Part three. Mr. Franklin contends that the irregular application of Jim Crow laws allowed the system of segregation to be challenged. He says that Brown defending attorney John W. Davis, like other complacent segregationists, expected to win the Brown case because he believed that everybody accepted the naturalness and permanence of a separate society. Mr. Franklin discusses Charles Houston and his legacy. Mr. Franklin tells the story about segregation in higher education in Oklahoma. Part four. Mr. Franklin recounts his participation in the Lyman Johnson case. Franklin says that Brown was a reaffirmation of the national ideal of equality, but like the framers of the 14th amendment, the Supreme Court escaped having to enforce the ideal. Mr. Franklin tells about his experiences as a field researcher in 1934 for the Fisk University/Charles S. Johnson study of the tenancy of African American cotton farmers in Texas and Mississippi.
Part one. Drewary Brown talks about social and economic life in Charlottesville during the civil rights era and in 1987. Mr. Brown walks down the Mall in Charlottesville. At 12:37, interview with Florence Bryant in front of Jefferson School in Charlottesville. Ms. Bryant discusses the work of the NAACP on behalf of teachers. She mentions J. Rupert Picott, Aline Black, and Melvin Austin as instrumental in helping African American teachers get equal pay in Virginia in 1940. See also reports her involvement in desegregating schools in Charlottesville. She regards Charlottesville as a leader in desegregation. Part two. Ms. Bryant advocates the teaching of African American history. She tells about her own life. At 7:49 interview with Mr. Williams begins. Mr. Williams discusses the historical importance of the Charlottesville street on which he stands during the interview. He offers his views on public housing and his promotion of scattered housing for low income families.
Part one. Professor Jack Bass talks about Judge J. Waites Waring and his daring decisions. Mr. Bass also recalls the Fifth Circuit Court of Appeals applying a broad interpretation of Brown v. Board of Education to its decisions during the civil rights era. For example, in the Montgomery bus boycott case, the Fifth Circuit Court declared that Brown had overturned Plessy v. Ferguson. Mr. Bass offers remarks concerning Judge Richard Taylor Rives, Judge John R. Brown's dissent in Gomillion v. Lightfoot, and socioeconomic changes in the South. Part two. Mr. Bass describes the African American diaspora to the North. Mr. Bass talks about Judge Frank M. Johnson and his judicial decisions reshaping the structure of society in Alabama. Mr. Bass comments on the problems faced by judges, as well as white lawyers who represented African Americans, and their families when the the judges applied equal rights and protections to minorities. He also talks about Judge John R. Brown, pre-civil rights era voter registration for African Americans, absurd voter registration rules, and intimidation of African American plaintiffs. Part three. Mr. Bass quotes Judge John R. Brown's dissent in Gomillion v. Lightfoot. Bass says that Charles Houston thought that education reform was the key to promoting civil rights in all areas. Bass continues to talk about judges of the Fifth Circuit, including Elbert Tuttle and John Minor Wisdom. In 1963 in Birmingham, Bull Connor expelled a large group of African American students a few weeks before graduation, a decision that a local judge upheld, but Judge Tuttle took immediate action to open the school to all students the next day. Judge Wisdom was instrumental in calling an end to the deliberate speed clause of the Brown decision by ruling that the only constitutional desegregation plan is one that works quickly. Wisdom also put the onus of desegregation plans on school boards and administrations instead of politicians. Part four. Mr. Bass explains that the Fifth Circuit Court defined a new kind of federalism. They incorporated into the Constitution the concept of equality found in the Declaration of Independence. Mr. Bass declares that the great heroes of the civil rights movement are the African American plaintiffs in the lawsuits. He comments on the changes in the South after Congress validated the decisions of the courts with the Civil Rights Act of 1964 and the Voter Rights Act of 1965. Mr. Bass comments on the legal struggle in South Carolina, especially noting Judge Matthew Perry and Judge Skelly Wright.
Stephen Margulies, curator of works on paper at the Bayly Art Museum, discusses his inspiration for the latest exhibit: Universes in Coalition- Men and Women in 19th Century Japanese Prints.
Program Notes
(Ritual music), for viola, oboe, and percussion - David Joo
This piece experiments with the trio’s ability to imitate the sounds of Korean folk music, in particular the incidental timbres from the improvisatory music of shaman rituals. The pitch content is derived from a spectral analysis of the large gong, while the rhythms are loosely based on traditional long-short motifs.
David Joo is a 4th year arts & science student studying chemistry and music with a fascination for paper science and experimental music.
Improvisations on a Painting by Jules Olitski (2018) - Luc Cianfarani
Improvisations on a Painting by Jules Olitski (2018) is a work for piano and live electronics based off of studies in color perception. Each section is based on a color from the painting “Untitled” by Jules Olitski. Much of the work is improvised, and at times the pianist must improvise against an interactive audio-visual screen which changes colors based off of the sounds the piano makes.
Luc Cianfarani is a composer and pianist from Saratoga Springs, NY. His work is informed by a wide-variety of sources including jazz, spectralism, postmodernism and visual art. He will continue his compositional studies next years while pursuing a master’s degree at Boston University.
SALTSCRUB - Heather Mease
tall and tan and tall and lovely the girl from Ipanema goes walking and
while she’s walking she stops and passes, says “ah”
hm ‘lil corncob’ mease is a composer, multimedia artist, schemer, community arts organizer, and aggressive consumer of internet media. mease has a Bachelor’s of Music from Temple University and currently studies Composition and Computer Technologies at the University of Virginia and manages operations at the Bridge Progressive Arts Initiative in Charlottesville.
Zebra Crossings - Aaqil Abdullah
A spectralist piece that explores the landscape of percussion. This piece utilizes many types of instruments in conjunction with electronics to help fill the atmosphere. Let the sound of this crossing envelop you, as it comes to a climax.
Aaqil Abdullah has been composing since he was 16 years old starting off with chiptune music for the Nintendo Entertainment System. Since then he has moved into many different styles of music for many different instruments, such as saxophone quartets, choral arrangements, and even self-producing popular music. After UVA he plans to keep on composing and doing music theory at every opportunity, and hopes to compose new atmospheres for video game soundtracks.
Deep in the Heart of Virginia - Peter Pairo
The construction of the Atlantic Coast Pipeline, fracked-gas pipeline, has recently started in Virginia going through over 300 miles of people’s property, national parks, & waterways! It also happens to pass through Buckingham, the geographical center [heart] of Virginia putting thousands of Virginians in danger. This piece aims to utilize electronic music, acoustic instruments, and various forms of visual aid to better depict this imminent environmental catastrophe.
This Piece is composed of two main movements each intentionally different. The piece tells the story of the James River, one of the major waterways on the path of the pipeline. The first movement gives more emphasis on the initial peaceful state of James as the sound of clean water starts dripping from a bag into a glass. The ambience of synthesized sound, guiro, and marimba along with soft oboe emphasize are used to depict the sound of nature.
Without rest, the second movement starts with the sound of slowly dripping dark colored water [visual pollution]. In the meantime, oboe and viola gradually increase tension by a long crescendo to depict the struggle and the discruption caused by construction. At the end, slapstick [trees falling] breaks this pattern followed by pizzicato in viola and grace notes in oboe leaving the sound of water to solely resonate in the space.
Variance - Connor Watkinson
In this piece I am exploring the relationship between digital music
and nature, combining elements of both live instrumental recordings, immitation, and foley with unique textures meant to represent each space. The three soundscapes being explored here are a spring field, a snow- bound cabin, and a thunderstorm by the sea.
Connor Watkinson is a graduating 4th year Music and Cognitive Science double major.
EXTENSION OF MYSELF - Susan Grochmal
submit too the chaos
Susan Grochmal is an undergrad at UVA studying poetry. She explores
a personal/human relationship to technology through sound and direct interaction. In addition to building physical entities, she is also a video artist and musician. She plans to release her upcoming album, DUALITY, this spring, under her latest project, AUTODIVA.
Rosebud--Excerpt #1 - Ben Robertson
This piece & the creation of the instrument itself, originate in a desire
to develop a re-embodied mode of synthesis in which the composer/ performer physically engages with sound spectra. To this end, ‘Rosebud’ utilizes electro-magnetic actuators to bring six, metal strings into varying states of sympathetic resonance. This resonance is as much a property
of the vibrating string, as it is a product of the software which drives the system. Here sound is not a facsimile of its source. Instead the materials are allowed to speak, translating an imagined world though the artifacts of a very real, physical object.
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 and biological systems—often by supplanting narrative structure with an emphasis on the physicality
of sound, spectral tuning systems, and microtonality. Illustrating the complex interactions and materials of our surroundings is an essential component of Ben’s work and his compositions often reflect themes associated with his upbringing in the Inland Pacific Northwest. As such, recent projects have included collaboration with the University of Idaho Water Resources Department to sonify the migratory patterns of Chinook Salmon. Another important component of this practice includes the construction of new instruments that utilize re-purposed objects, electro-magnetism, and sympathetic resonance as a means for actualizing the complex tuning systems he envisions for his pieces. Ben holds a B.A. from the Evergreen State College and a M.A. in Music Composition from Eastern Washington University. His work has been featured throughout the region and abroad, including performances at the Sound and Music Computing Conference in Ireland and a guest research appointment with the Tampere Unit for Computer-Human Interaction in Finland.
Painting Music in Virtual Reality - Kaimeng Chang
What if you can play any instrument just by waving around? Will the virtual surrounding inspire artists’ innovation? In this piece, Kaiming is going to explore the infinite possibility of virtual reality and its application in music. He will perform an ambient electronic music while totally immersed in a virtual outer space.
Kaiming Cheng is a musician, programmer, and instrument designer. Cheng is currently a third-year student pursuing 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.
No Where - Eli Stine
This work explores the idea of non place, of a designed electroacoustic environment that is inexpressible, undefined, that ultimately has no sense of where. To accomplish this task both a multitude of ambience tropes (for example, filmic tropes of what archetypal spaces (restaurants, carnivals, offices) sound like) and impossible deformations of recorded and virtual spaces (pushing the ceiling beneath the floor, for example) are juxtaposed and interposed to dis- and un-place the listener.
Eli Stine is a composer, programmer, and media designer. Stine is currently pursuing a Ph.D. in Composition and Computer Technologies as a Jefferson Fellow at the University of Virginia. Stine is a graduate of Oberlin College and Conservatory with degrees in Technology In Music And Related Arts and Computer Science. Stine’s work ranges from acoustic to electronic composition, and frequently incorporates multimedia technologies and collaboration, seeking to explore the intersections between performed and computer-generated art. Festivals and conferences that have programmed Stine’s work include the International Computer Music Conference, Society for Electroacoustic Music in the United States conferences, International Symposium on Computer Music Multidisciplinary Research, Conference on New Interfaces for Musical Expression, New York City Electroacoustic Music, Third Practice, Studio 300, and Threshold festivals, the Muestra Internacional de Música Electroacústica, the Spatial Music Workshop, and the International Sound Art Festival Berlin. Most recently Stine created sound design for a VR adaptation of Kafka’s Metamorphosis that is touring the world. More information and work may be found at www. elistine.com.
The Horizon, Mine - Rebecca Brown
Program notes: Twenty seconds is two minutes is four hours is five days is three weeks. There is some new-old thing I’ve never seen before around every bend, over every hill, along every forest. I never know where I’m going, just that I’m going, just that I’m not where I was anymore or ever again.
Performer: Becky Brown, found objects (or percussion, depends on what makes more sense)
Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works across the multimedia spectrum. Currently, she is pursuing a doctorate in composition at the University of Virginia, studying with Dr. Matthew Burtner. She is the Technical Director of the Electroacoustic Barn Dance, and recently worked as a Music Technology Specialist at the University of Richmond. Her music has been performed at SEAMUS, SCI National/Regional, Third Practice New Music Festival, Ball State New Music Festival, and in Beijing, China. Hold Still, her work for live art and electronics, was released on the SEAMUS label in 2017. Previously, she studied electroacoustic composition with Dr. Mark Snyder, and harp performance with Dr. Grace Bauson.
Suburban Summers - Caroline Kinsella
Growing up, summer in suburbia always left a certain taste in my mouth. It was, and still is, mostly undefinable: somewhere in between exigent and sublime. This composition aims to evoke these feelings—the slow, dreamy heat and inconsistent passage of time—how the weeks blend together and all too soon it’s as if you were living in a memory the whole time.
To build this atmosphere, I collaged sounds I associate with warm weather at home—cars rolling by, birds chirping in the yard, the neighbor’s lawnmower starting up—with raw moments of my own summer journals. This soundscape attempts capture the very surreal and nostalgic feelings I have long associated with summers spent in suburbia.
Caroline Kinsella is a multimedia artist with a penchant for dreamy soundscapes and collage-based artwork. Her all-around artistic influences include Petra Collins, Richard Siken, Sofia Coppola, Ta-Ku, and In Love With a Ghost.
With Bells On - Alex Christie
These are things that bubble to the surface during long periods of sleep
deprivation.
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 ways in which acoustic and electronic sound worlds intersect.
Performer Bios I-Jen Fang, percussion
Described as an “intrepid percussionist” by Fanfare Magazine, I-Jen Fang has a career as a solo performer, chamber musician, orchestral player, and teacher. She joined the faculty of the McIntire Department of Music at the University of Virginia in 2005 and as the Principal Timpanist and Percus- sionist of the Charlottesville Symphony. She received her B.F.A. from Carnegie Mellon University, M.M. from Northwestern University and Doctor of Musical Arts degree from the University of North Texas. I-Jen has performed or recorded with artists such as Keiko Abe, William Cahn, Christopher Deane, Mark Ford, Mike Mainieri, Ed Smith, Michael Spiro, Nanik Wenton, Nyoman Wenton, Attacca Percussion Group, EcoSono Ensemble, and Da Capo Chamber Players. She has performed as marim- ba soloist in Taiwan, U.S., Austria, France, Hungary, Romania, and South Africa. She has also appeared as a featured performer at the Percussive Arts Society International Convention, PAS Day of Percussion, Staunton Music Festival, and Charlottesville Chamber Music Festival. I-Jen Fang is an Innovative Percussion Artist.
Kelly Peral, oboe
Kelly Peterson Peral is University of Virginia’s Lecturer in Oboe and Principal Oboe with the Charlottesville Symphony at the University of Virginia. Her current performance work also includes engagements with the Roanoke Symphony, Williamsburg Symphony, Richmond Symphony, and Virginia Symphony in Norfolk. Interested in supporting new music projects, Ms. Peral has worked with American Composers Orchestra, NYC Opera’s VOX Festival, Philadelphia’s Network for New Music, and Miami’s Subtropics Festival.
Peral has served on the faculties of the Cleveland Music School Settle- ment, Miami’s New World School of the Arts and Florida International University as well as The Juilliard School Pre-College Division. She is
a graduate of The Juilliard School (MM), Cleveland Institute of Music (BM), and Interlochen Arts Academy (HSD). Her major teachers include Elaine Douvas, John Mack, Daniel Stolper, and David Goza.
Ayn Balija, viola
Violist Ayn Balija leads a musically rich life performing and teach-
ing throughout the country. She joined the faculty of the University of Virginia in 2007 and serves as the principal violist of the Charlottesville Symphony at the University of Virginia and is the violist of the Rivanna String Quartet. Ms. Balija performs and teaches around the country including the Richmond Symphony, Tennessee Governors School for the Arts, Yachats Summer Music Festival, North Carolina Chamber Music Festival, Charlottesville Opera, West Virginia University, and the Uni- versity of Tennessee Knoxville. She performs and commissions a wide variety of music including new works from Libby Larsen, Kenji Bunch, Jorge Variejo, Matthew Burtner, and Judith Shatin. She holds degrees from Oberlin Conservatory of Music, The Cleveland Institute of Mu-
sic and James Madison University. She has studied with Peter Slowik, James Dunham, Jeffrey Irvine, Karen Tuttle, Victoria Chiang, and Amadi Azikiwe. Her principal mentors have been Peter Slowik, Jeffrey Irvine, and Karen Tuttle.
