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Erika Langmeyer was only a sophomore in high school when her parents took her to see Mark Morris Dance Group perform near their home in Seattle. Within months, Langmeyer was on a plane en route to Mason, a public university outside of Washington, and trying out dance classes at Donahue’s alma mater. Langmeyer’s why-I-picked-George Mason story is becoming more and more common, says Dan Joyce, a dance professor there. From 1988-1998, Joyce was a member of Morris’s company, and that’s just the beginning of the university’s connections to the this internationally renowned troupe.
And then there are current Morris company members Donohue (Class of 2002) and William Smith III (2007), the darlings of the dance office wall. On a recent February Friday, the headline around campus was that Donahue and Smith were there in the flesh, in the expanded performing arts building, leading masterclasses for Mason’s roughly 80 dance majors.
Upstairs in 310, Smith was teaching the juniors and seniors a choreographic sequence of his own devise. He looks back fondly on his time at George Mason, but prefers to think of himself more as an evangelist for his professors than the university itself.
Both Smith’s and Donohue’s George Mason experience included performing multiple Morris works at the university’s annual spring galas. The February performances found Smith soloing in Morris’ “Going Away Party,” a country-western barn dance that also functions as social satire. There are no Morris works on the program for this year’s spring gala at George Mason, but the students are learning pieces by other international heavy hitters. For Langmeyer, this was her chance to perform with the dancer who indirectly brought her to George Mason watching. And then she was off to her own rehearsal, leaving the Mason dance department less likely then ever to take Donahue’s photos down from the walls. Today we know what her DNA is—and more important, we have a better sense of what genes are uniquely ours. The comparison between Denisovan DNA and that of modern humans also revealed changes in genes since the two groups split, sometime earlier than 170,000 years ago (again, according to the genetic clock). That titillating idea was challenged this summer by two University of Cambridge researchers, Andrea Manica and Anders Eriksson, who argued that ancient-looking DNA could have been carried forward by some members of the modern group from their origins in Africa. The ancient-DNA specialists next intend to go back to the genes of Neanderthals, using the new technique to draw out more details about what made Neanderthals nearly modern humans, and us completely so. Beth McMurtrie is a senior writer focused on research in international studies and the influence of geopolitics on research. Marc Parry is a staff reporter who splits his time between covering technology and writing about research in the humanities and social sciences. For Joel Tenenbaum, years of battling the music industry have come down to a question of money. Those advocates, represented by lawyers from the law schools of Stanford University and the University of California at Berkeley, are now pushing the court to set a legal precedent in the Tenenbaum case that they hope would help universities, artists, and others whose experiments may stretch the boundaries of copyright law.
Their campaign came under the spotlight on Monday as a federal appeals court in Boston took up the Tenenbaum case, making it the first such legal fight to reach the federal appellate level. Having really great food for lunch is fine, though, but what we haven’t spent too much time on is how to carry that food around with you.
Amy Cavender is a member of the Congregation of the Sisters of the Holy Cross, and Associate Professor of Political Science and interim Director of the Center for Academic Innovation at Saint Mary's College, Notre Dame, Indiana. Brian Croxall is the Digital Humanities Strategist at Emory University's Digital Scholarship Commons (DiSC) and Lecturer of English.
Kathleen Fitzpatrick is director of scholarly communication of the Modern Language Association and Visiting Research Professor of English at New York University.
Lincoln Mullen is a PhD candidate at Brandeis University and a historian of religion in early America and the nineteenth century.
Anastasia Salter is an assistant professor of digital media at the University of Central Florida. Mark Sample is an Associate Professor at Davidson College, where he also directs the college's Digital Studies program. Last week we caught up by phone with the 50-year-old computer scientist, entrepreneur, composer, multi-instrumentalist, author (You Are Not a Gadget, Knopf, 2010), and artist.
It was some 20 years ago, at a faculty retreat at Dartmouth to discuss surgical simulations, that he happened upon a book of poems by Amelia Lanier, he recounts by phone. Amelia Lanier, it turns out, may herself have been a convert from a Jewish Moroccan minstrel family, says Lanier.
Asked how music relates to his work with computers, his writing, his art, and the other facets of his career, Lanier says: “The only unifying theme I can see is I’m interested in seeing what it means to bridge the interpersonal gap. Lanier had a famously odd and self-assembled education generally—helping build a “strange house” to replace the tents his family had lived in, and then dropping out of college and art school.
In music and in science, “when I was young I had this ability to connect with older men as kind of an apprentice,” Lanier says. If he had to make a living solely from music, Lanier says, he’d work harder at branding himself as primarily this or that kind of composer or player.
Lanier’s compositions include movie scores, works for opera and ballet, and a triple concerto. The contract specified that the orchestration be the same as that for Beethoven’s Ninth, also on next week’s program, including a chorus and contrabassoon.

Aside from the orchestration, Lanier says, the “Symphony for Amelia” is really not like the Ninth at all. At an initial Winter Park rehearsal in May (see the video below), working from a rough draft of the score, the musicians were, “to say the least, perplexed,” says Ted Henderson, a 22-year-old music major from Orlando studying composition and jazz guitar. The work also has lyrical stretches, says Henderson, including an opening solo for soprano.
But although interpretive leaps are foolhardy, could it be that the sweet eloquence of a woman poet half a millennium ago embodies that of a more recent presence, and that the symphony is not for Amelia alone? A student-run Web site at Stanford University seeks to convince students to input their class assignments to keep themselves—and their classmates—more organized. ClassOwl launched this week and has 750 members, according to Sam Purtill, its founder, who is a sophomore majoring in philosophy.
Students already keep track of their class schedules and assignments in applications like Google Calendar, Mr. Plus your subscription includes weekly print or digital delivery of The Chronicle and The Review and the Chronicle iPad® Edition. Morris brings his dancers to Mason nearly every year, creating a bidding war with the just-across-the-river Kennedy Center.
To the left of the door there’s Donahue, in a full-page picture from The New York Times, dancing with Morris just before he retired from the stage. In brand-new studio 3011, Donahue walked freshmen and sophomores through a sequence of movement in “Silhouettes,” a duet included on the Morris company’s weekend program.
Dancers leapt four at a time across the studio floor, while the house drummer and Michael Nickens, the pep band director, jammed on the sidelines. As dance program director Buffy Price said to Donahue,  “I think we still have your costume.” She wasn’t joking. In her review for The Washington Post, critic Sarah Kaufman called Smith “a prince in cowboy boots. There’s an Israeli-modern fusion work by Ohad Naharin performed by 15 students seated in a semi-circle. The last thing they wanted to do was push through “Dvorak Serenade” with Donahue and several other Morris dancers still in the studio. In “Serenade,” she’s one-fourth of a central quartet performing a series of elegant moves at awkward angles.
Ritzel is a freelance writer in Washington who contributes regularly to The Washington Post and other publications. They knew a few skimpy details, like that she was a she, and lived at least 50,000 years ago. Many of them have to do with brain development and vision, and could be traits that set us apart from these near-modern humans in Siberia called Denisovans, their sister group the Neanderthals, and other shadowy relatives in Africa.
It also uses genetics, not traditional geology, to place the woman in Denisova Cave about 80,000 years ago, not 50,000, and attempts to silence skeptics who have asserted that mating with modern humans was a product of geneticists’ imaginations. Paabo’s team that, in essence, pulls apart the two mirror-image strands of the DNA double helix and exposes each one for a complete analysis, something hard to do when the fragmented, timeworn molecule is bound together.
In modern humans, eight genes affecting brain and nervous-system development have evolved since the groups went separate ways.
About 6 percent of DNA from people in Papua New Guinea and in Australian aborigines looks like Denisovan DNA; similarly, the researchers found Europeans have a small percentage of Neanderthal DNA. Paabo, his colleagues, and other researchers contend that if the DNA truly had been around a long time, it would have been sliced into smaller chunks—DNA reshuffles in every generation.
How much will the Boston University graduate student have to pay for illegally downloading and sharing 30 songs?
Tenenbaum by the music industry has provided an instrument to sound alarms about a broader issue: how fear of enormous damages can chill innovation that involves even a minimal risk of copyright liability.
Scripps houses a collection of more than 100,000 photographs, many of them donations from people who took part in oceanographic voyages, but it displays only 4,000 of those images online because many of the photos lack official copyright documentation, the brief says. Templeton is the Anne Morrison Chapman Distinguished Professor of International Study and an associate professor of English at Converse College.
Houston is an associate professor of English at the University of Massachusetts Lowell and a personal productivity coach for academics and professionals. He was in Berkeley, where he does research for the University of California and for Microsoft. That’s where a symphony that he wrote for the Rollins College Winter Park Institute, in conjunction with the Bach Festival Society (which includes Rollins students in its orchestra and choir), will have its premiere, on October 23. Since then she’s made her way into women’s-studies courses, he says, but back then she was a relative unknown. Jaron Lanier’s father chose Lanier as a pen name, partly because he feared anti-Semitism and partly because he admired the 19th-century American poet and flautist Sidney Lanier, whom Jaron Lanier says is a descendant of Amelia.
Her descendants boasted a number of musicians and poets, he notes, including the composer, producer, and trumpeter Quincy Jones.
From those early years playing Beethoven sonatas (“in this way that was exaggeratedly syrupy, as I recall it”) under his mother’s tutelage, he developed as a pianist. When he was 14, he says, he hitchhiked to Mexico to learn from Conlon Nancarrow, an American-born composer best known for his compositions for player piano that allowed for mechanically aided musical feats that performers alone couldn’t accomplish. John Cage was another musical influence, as were, in Lanier’s 20s, Glass, Terry Riley, and Steve Reich.
He has the luxury, he says, of not doing so and doesn’t worry about making much sense of his musical interests.

It has sections but not movements, and it uses the chorus “in a highly experimental way … a lot of cases where chorus is percussion and instruments are more lyrical.” It is, he says, “definitely a piece of contemporary music,” with echoes of, among other things, Scriabin, Gershwin, and the American minimalists.
Some of that was intended dissonance, but some was unintended—for instance, from some horn parts that had been incorrectly transposed. Business students at the University of Pennsylvania recently launched Coursekit, which offers a discussion board, in addition to a calendar and course syllabus. Purtill acknowledges that choosing an owl as its mascot rather than Stanford’s Cardinal, risks alienating their student base, but he says they chose the owl for its reputation as a wise bird. Allen and Scott Bowen, of the mascot company Signs and Shapes International, signed up nine young men to dress as Chester Cheetah and promote Frito Lay products at Omaha-area Wal-Mart stores. Now she’s a senior, preparing to dance in her final spring gala and planning a post-graduation move to New York. Two of eight tenured dance professors in the program have performed with Morris when he calls in additional dancers to perform large-scale pieces like his holiday farce, The Hard Nut. And to the right there’s a highlighted press release, announcing that Smith was accepted as a member of Parsons Dance Company. The choreographer prefers licensing his works to universities rather than other dance companies, and George Mason buys rights to a dance every other year. A smaller ensemble will perform a work by Robert Battle, the incoming artistic director of Alvin Ailey American Dance Theatre. Also she was not a modern human, but she or others in her group may have mated with our more direct ancestors, contributing a little DNA we still carry today.
Paabo, from the Max Planck Institute of Evolutionary Anthropology, in Leipzig, Germany, published a “draft” genome sequence in 2010—it indicated the gender of the finger-bone owner—but he acknowledges it was prone to error and covered only about 60 percent of the genome. It started ticking 6.5 million years ago, when archaic humans split from chimps, and each tick was a mutation added since that time. It’s tempting to glom onto these as indicators that modern brains have somehow become rewired for sophisticated thinking and adaptability, allowing us to develop technology that let our populations grow and prosper while Denisovans—and Neanderthals—went extinct. Working on behalf of the the Electronic Frontier Foundation, a nonprofit civil-liberties group, they filed a brief urging the U.S.
You might also find him in Los Angeles, where he’s innovator in residence at the University of Southern California’s Annenberg School. Jaron Lanier’s mother was a piano prodigy in Vienna before being sent at 13 to a concentration camp, and she taught Jaron piano in New Mexico before she died in a car accident when he was 9.
But he is also known for his performances on rare Asian wind and string instruments with Yoko Ono, Philip Glass, Ornette Coleman, George Clinton, and others.
Sinclair, artistic director of the Bach Festival and chair of Rollins’s music department, is Lanier’s fifth symphony (at least Lanier thinks it is, puzzling for a moment). That entailed a lot of long-distance correspondence, he says, and one intense summer week in Berkeley with Lanier engaging in heady conversations but also doing a lot of grunt work side by side at their separate computers. Once one student adds an assignment in a class, everyone else in the class has it added to their calendars, as well. Purtill says he would like the site to remain free and would consider bringing on advertisers down the road, potentially textbook stores that could tailor their ads to students’ schedules. Coursekit is paying students up to $200 to input class information, but ClassOwl is hoping students’ own interest in organization will be incentive enough, though rewards, such as clothing and free food in exchange for information, are possible in the future. Two other alums have performed with Morris en route to getting full-time gigs with Jose Limon and Ririe-Woodbury dance companies.
The Fredericksburg, Va., native came to Mason on an academic scholarship, originally planning to double major in engineering and dance. When the dance group visits campus, students have a chance to see the alumni perform the real thing live. The students hadn’t rehearsed since the end of fall semester, but they gave it the old college try, and one alumna found herself very impressed. The argument has persuaded other scientists, like Joshua Akey, an associate professor of genome sciences at the University of Washington, who said “this new paper provides more evidence for recent introgression,” the word population geneticists use for mating. He’s also been affiliated with New York University and Columbia University, in Manhattan, and with the International Institute for Evolution and the Brain, in Boston and Paris.
Ultimately, he’d like to expand the site to include social events on campus, to help students better plan every aspect of their lives.
But the arts triumphed over the prospect of working for the likes of Lockheed Martin, and he had no trouble getting hired as a dancer, first by Parsons, then by Morris. If the mutations occurred at a steady rate, that shortfall—her clock stopped when she died—put her death at nearly 80,000 years ago. Immediately following the concert, there will be a discussion with Jaron Lanier,  free and open to concertgoers and the public. The troubled geologic estimates could indicate only that the trampled ground was older than 50,000 years. Tenenbaum was found guilty of violating copyright law, but Judge Gertner had cut that down to $67,500, arguing that the original fine was “unprecedented and oppressive” and violated the Fifth Amendment’s due-process clause. The Recording Industry Association of America has not tried to collect any money yet, he says. Bento can keep soups warm for hours, while holding salads, fruits, casseroles, dips, or whatever else you might have packed for lunch.

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