Podcasts about acis

Revenue cycle doesn't just need more reporting; it needs smarter systems that can prevent problems before they happen.In this episode of Straight Outta Health IT, Jeff Hatfield, Co-Founder and CEO of Four Points Health, talks about how Agentic AI and intelligent automation are reshaping revenue cycle management for hospitals. He explains why denials, write-offs, payer complexity, and manual rework continue to drain financial resources and create unnecessary administrative burden. Drawing from both personal experience and years of working with hospital leaders, Jeff shares why healthcare needs to move beyond retrospective dashboards and toward real-time action.Jeff introduces the Agentic Claims Integrity System (ACIS), built to help hospitals shift from reactive denial management to proactive denial prevention. Rather than simply flagging problems after the fact, ACIS identifies issues upstream, intervenes before claims are submitted, and helps teams reduce avoidable denials and write-offs. He also explains how closed-loop systems can track payer behavior, validate whether fixes worked, and continuously improve performance over time.He also explores the human side of automation, emphasizing that AI should not replace healthcare teams but give them leverage. By reducing repetitive work, improving productivity, and speeding up reimbursement, intelligent automation can help staff focus on higher-value tasks while strengthening hospital financial performance. Hatfield also highlights the importance of making this technology accessible to rural and community hospitals, so AI does not widen existing gaps in healthcare.Tune in to hear how Agentic AI can help hospitals reduce denials, improve cash flow, ease staff burnout, and build a more sustainable future for healthcare operations!ResourcesConnect with Jeff Hatfield on LinkedIn here.Follow Four Points Health on LinkedIn here and visit the website here.

Birželio 19 ir 20 d. Vilniaus senajame teatre įvyks Georgo Friedricho Händelio – baroko genijaus – pastoralinės operos „Acis ir Galatėja“ premjera. Tai baroko muzikos estetiką ir šiuolaikinį fizinį teatrą sujungiantis pastatymas.Šiandien Kompozitorių namuose vyks 16-osios Baltijos trienalės įžanginis renginys „Traukiant strėlę iš širdies“, kuriame bus atskleidžiamos būsimos, 2027 m. vyksiančios trienalės kryptys ir temos. Pokalbis su vienu iš Trienalės kuratorių, ukrainiečių menininku Nikita Kadan.Čekijos vyriausybė pirmadienį patvirtino įstatymo projektą, kuriuo atsisakoma licencijos mokesčių visuomeninei žiniasklaidai finansuoti, pereinant prie tiesioginio finansavimo iš valstybės biudžeto. Reaguodami į šiuos planus, šimtai Čekijos televizijos ir radijo darbuotojų birželio 22 d. rengia vienos dienos įspėjamąjį streiką. Pokalbis su Čekijos televizijos žurnalistu, streiko komiteto nariu Jan Moláček ir Vilniaus universiteto Žurnalistikos ir medijų tyrimų centro profesoriumi dr. Deimantu Jastramskiu.Ar XIX amžius – naujasis tarpukaris? Kauno miesto muziejus kviečia į parodą „Šešėly ir šviesoj. Kauno vaizdas“, kurios ašis sukasi apie anksčiausią žinomą spalvotą tapybos darbą, kuriame vaizduojama Kauno panorama.Šiuolaikinio meno ir kultūros erdvėje „Medūza“ atidaroma menininkės Emilijos Škarnulytės personalinė paroda „Milky Way“. Joje pirmą kartą Lietuvos publikai pristatomi menininkės piešiniai ir 16 mm filmai. Pokalbis su menininke ir parodos kuratoriumi Audriumi Pociu.Ved. Justė Luščinskytė

Ketvirtadienį įvyko 16-ieji Lietuvos kino operatorių asociacijos (LAC) apdovanojimai „Ąžuolas 2026“. Šie metai asociacijai – istoriniai: pirmą kartą išskirta atskira trumpo metro filmų kategorija, įvertinta Kultūros asamblėja, o pagrindinis vakaro apdovanojimas atiteko Vytautui Katkui už filmą „Dulkės, kaulai ir stebuklai“ (rež. Aistės Žegulytė). Pokalbis su viena iš komisijos narių Kristina Sereikaite ir dviem laureatais – Nojumi Drąsučiu ir Ieva Jaruševičiūte.Birželio 19 ir 20 d. Vilniaus senajame teatre įvyks Georgo Friedricho Händelio – baroko genijaus – pastoralinės operos „Acis ir Galatėja“ premjera. Kodėl antikiniu mitu paremta meilės istorija aktuali šiandien ir ką kūrėjams reiškia ši sceninė interpretacija – pasakoja repeticijas stebėjusi kolegė Karina Metrikytė.Birželio 19–21 d. Latvijoje nuvilnys jubiliejinė, XX Baltijos šalių studentų dainų ir šokių šventė „Gaudeamus“. Šis tradicinis renginys šįkart peržengs klasikinio festivalio ribas ir taps ambicingu mokslo, kultūros bei meno sinergijos projektu. Rygoje pasirodys beveik 4 tūkst. studentų, tarp jų – ir viena Lietuvos delegacija, vienijanti per 1 400 dalyvių. Pokalbis su šventės organizatoriais ir dalyviais.Ved. Gerūta Griniūtė

En este episodio, el Abogado Jonathan analiza una tendencia preocupante en las cortes de inmigración de Estados Unidos: el adelanto masivo de audiencias de deportación y el aumento del riesgo de recibir una orden de deportación en ausencia. También explica por qué los inmigrantes con casos pendientes deben revisar constantemente sus fechas de corte y mantenerse en comunicación con sus abogados. En este episodio hablamos de:  Las llamadas “mega audiencias” y cómo están afectando casos programados para 2027, 2028, 2029 y más allá.  Qué es una orden de deportación en ausencia (in absentia) y por qué es tan difícil reabrir un caso después.  Un caso extremo reportado en Carolina del Norte que refleja la postura cada vez más estricta de algunos jueces de inmigración.  La importancia de reportar cambios de dirección mediante el formulario EOIR-33.  Cómo verificar una fecha de audiencia utilizando el sistema EOIR Automated Case Information System (ACIS).  El número telefónico automatizado de la corte para consultar información de audiencias.  Qué hacer si una audiencia fue perdida por un cambio de fecha o una notificación no recibida.  Preguntas del público sobre asilo, ajuste de estatus, permisos de trabajo, TPS, órdenes de deportación y representación legal. Este episodio tiene fines informativos y educativos. Cada caso migratorio es diferente y requiere una evaluación individual.Capítulos00:00 – Introducción y panorama de las cortes de inmigración 01:07 – Casi 4 millones de casos pendientes de deportación 02:58 – Mega audiencias y cambios inesperados de fechas 05:18 – Caso extremo: orden de deportación tras el fallecimiento de un inmigrante 07:44 – Lo difícil que es reabrir un caso por ausencia 09:03 – Formulario EOIR-33 y cambios de dirección 10:07 – Cómo defenderse si no recibió una notificación 12:28 – Herramientas para verificar fechas de corte 14:50 – Uso del sistema EOIR Automated Case Information System (ACIS) 17:12 – Cómo interpretar la información de una audiencia 19:34 – Número telefónico automatizado de la corte de inmigración 21:59 – Transición al segmento de preguntas y respuestas 23:46 – Preguntas del público: asilo, residencia, DACA y órdenes de deportación 57:51 – Conclusiones y recomendaciones finales Contenido informativo general; no sustituye asesoría legal individual. 

“Delegating knowledge is not the same as delegating wisdom. You learn by experience, and if you don’t have any experiences…you will get cognitive atrophy.” –David Vivancos About David Vivancos David Vivancos is an AI, data, and neuroscience serial entrepreneur, having cofounded five startups since 1995. He is a frequent keynote speaker and is the author of six books, including the Artificiology series. Website: vivancos.com LinkedIn Profile: David Vivancos What you will learn Why embracing advanced AI is crucial for human progress How shifting from digitization to automation and datification redefines value The evolving distinction between human-acquired and AI-generated knowledge How to avoid cognitive atrophy and actively exercise your mind alongside AI What cognitive flourishing means in a world of widespread AI augmentation Ways AI can transform and personalize education across all levels The importance of coexistence training as we prepare for AGI's societal integration Why rethinking human identity, humility, and social structures is essential for a future with machine citizens Episode Resources Transcript Ross Dawson: David, it is wonderful to have you on the show. David Vivancos: Thank you very much, Ross. Glad to be here. Ross: So you have a more developed, or some would say, extreme view of the relative role of humans plus AI. I’d love to dig into where you think things are going, and how we can best respond. Perhaps the starting point is, you say that we should not be resisting or pushing back. We should fully embrace the shift towards very high levels of AI capability, or at some point, AGI. David: Yeah, that’s fully my point. I think we are in a moment in history where we are really building this technology that one day is not going to be a technology anymore. So, the sooner we start to embrace it, to teach it, and to be really in sync with what we are creating day by day, the better off we will be. So yes, my point of view is that we should embrace it. We should start building as soon as possible. We should fix most of the problems that humans have had over the last millennia, and some of these problems could be solved by using AI. So basically, our “fourth brain”—we have the three-part brain, but in reality, there’s only one brain—this fourth brain, AI, will help us solve all of these issues. So yes, it’s an opportunity. Ross: Yes. I mean, I think there’s always two sides—as in, every opportunity has a challenge, every challenge has an opportunity. So I always think we need to acknowledge challenges and focus on opportunities. I think we’ll get onto that in discussing some of the cognitive implications. You have a series of books which have really told the story over time around this. One of them was “Automate or Be Automated.” This idea of saying, well, there are things which machines, in the broader sense, can do in automating things. So, how would you frame that now, in terms of what it is that can be automated, and how do we position ourselves relative to that? Where do machines start to do what humans have done? David: Yep. I’ve been in this business of trying to build the impossible for the last 30-plus years. “Automate or Be Automated,” the book you mentioned, is from about six years ago. When I started creating and building technology, also about VR and many other things, about 30 years ago, the first companies were internet companies. Back then, what we did is what people now call digitization. But over the last 20–25 years, what we’ve mostly been doing is datification—gathering data and using that data for companies to grow and to understand what happens in the world. But over the last maybe 10 or 11 years, what I call the new golden age of AI, we are starting to build the capabilities to use that data to really build algorithms. Once we have that, we can start to automate, and with this automation, basically what we regain is time. I think time is our most precious asset, along with health and the people we love. Being able to stop doing these repetitive things over and over and put a machine to do that is a fundamental trait for humans. That book, six years ago, was about building a methodology of what can be automated in the digital world, but also in the physical world. That has changed over the last year and a half with the physicality of AI—humanoid robots. I was invited last year to attend the first humanoid Olympia in Greece, in Olympia, the place where 2,800 years ago, humans started to compete. We’ve just seen this week the explosion of the new race, for example, of the half marathon in China, where robots already beat the human mark. So yes, with automation, you need to see what you are doing, and if you are repeating anything, you can try to see if that can be automated by using an agent, by using the cloud, by using a robot—whatever. So yes, we should regain our time and automate, or be automated. It’s all about that. Ross: Yeah. I think people understand the automation thesis. It’s obviously not new—we’ve been automating things in various ways for centuries, at an increasing pace. Your following book was “The End of Knowledge.” This is an interesting framework, starting to get to cognition. The idea is that knowledge is built on experience of whatever kind, whether that’s just in data or otherwise. Obviously, humans use data just as much as machines. But where this starts to become a distinction, as well as a complementarity, is between AI-embedded knowledge and human knowledge. So why is it “the end of knowledge”? David: Yeah, that’s a really great question. It came as an epiphany for me. That book is from about three years ago. I’ve also been involved, of course, in building AI and AGI algorithms over the last 20 years. We started using GPT models before they became can across, but the GPT moment, a year before that, really marked the difference—when we started to be able to use AI in a very seamless way to regenerate and process knowledge. That book, “The End of Knowledge,” came from the realization that we are starting to delegate the production and understanding of knowledge to machines. That’s a critical shift in human history, because through history, humans have needed and used knowledge a lot. Knowledge is power. The more knowledge you have that others don’t, the more advantages you have to do whatever you want. That started to change back then. Now, what people call the “dead internet theory” is basically some of the things I expressed in that book earlier, because we are starting to generate more knowledge. In fact, we’ve already passed the point where most of the human-written knowledge since the printing press has been surpassed by the amount of knowledge we can create using AI. Myself, for example, I started learning to code when I was young. I’ve coded in more than 25 languages and written over a million lines of code in my life. That same number of lines of code, I might now write in the last couple of weeks. So as you can see, you have 40-plus years of your own life in a week. That’s why “the end of knowledge” means that the human capability to gather knowledge and to be knowledgeable about whatever you want can now be delegated to machines. That book marked the difference and started a new field that I now call artificiality. I didn’t know that when I started writing it, but I started this path of trying to see what happens when you delegate some of the main capabilities of your mind to a machine. Ross: Yeah, and I’d like to come back later to the themes of artificiality, machine citizenship, and the societal value we attribute to machines. But I want to start digging into the cognitive piece here. One of the points you make is that we do need to avoid cognitive atrophy. You say we need to have cognitive exercise in order to avoid cognitive atrophy—obviously, a strong analog to the physical world. We need to collaborate with others and with machines to do that. I’d love to get more specific around that. What is the nature of cognitive exercise that will avoid cognitive atrophy, which will enable us to keep our cognition refined and even improving? David: Yeah, that’s a fundamental piece. When we start to delegate all these things to machines, the easy thing to do—and probably the oldest human brain capability—is to not do it yourself. You just delegate everything, and you basically become like in the movie “Idiocracy,” which played out quite well what could happen if we do that. The thing is, with the current AIs—even with the latest releases, like DeepSeek and GPT-5.5—everything is changing quite fast. But even with those AIs, you still need to be in the loop. It’s good if you stay in the loop. I think it’s fundamental. Use the technologies—the AIs, I always call them in plural because there are many—and use as many as you can, but you should still be in the loop, at least for now. Maybe for a couple of years or months, I don’t know exactly, but for a while, you still need to have your hands on the wheel. If you use most of them and get all the information from all these AIs, as a human you need to understand the bias, because all AIs are going to be biased. We all know humans are biased; there are no unbiased humans. The same happens with AIs. But if you are in charge and have that council of intelligences, you can start to grasp what each one is doing. I use about 20 of them every day and get different sets of answers in small batches. You can start to see where they come to consensus and where they differ. So, to avoid cognitive atrophy, if you use AIs to keep yourself in the loop and apply your human curiosity—I don’t even say creativity, because creativity is also being widely delegated to machines—but human curiosity and other things that are still hard to embed in LLM models, you can still add a lot of human value. That’s where, to avoid cognitive atrophy, you should use AIs, but use them with your human in the loop. Ross: So, what specifically, what’s your advice to someone who sees that they’re using LLMs and getting lazy in their thinking? What should specifically they do if they notice their brains are getting lazy? David: They should differentiate between simple questions—where you look for something you need quickly—and other things that should make you think. Delegating knowledge is not the same as delegating wisdom. You learn by experience, and if you don’t have any experiences and you delegate not only knowledge gathering or creation, but also the experience itself, then you will get cognitive atrophy. So, understanding this difference and using knowledge to think is really the key point. It’s not just asking for something simple, but for more complex things, you should still add your thoughts. When you talk to an AI or AIs, it’s basically a conversation. It shouldn’t be, in most situations, just a one-way communication. It’s fundamental to keep this line of communication open, so you can keep feeding your brain with information and other activities, and gather wisdom with that. Ross: I guess this goes to another phrase you use—cognitive flourishing. There is absolutely the potential for us to think bigger, better, broader, and in more refined ways than we have in the past using LLMs. But that’s not the default path for most people. Many people start to fall into that trap, so there is a divide. We need this metacognition. We need to be aware of what we are doing and at what level we are working with the LLMs. Maybe paint this picture of cognitive flourishing. What is the positive? How far could we go in terms of potentially improving, augmenting, and letting out our cognition blossom? David: Yeah. The thing is, we humans—of course, there are many intelligences. That’s the first thing we must address, because there isn’t a single IQ or whatever way you want to measure intelligence. For me, the most important one is the capacity to adapt. That’s probably the most important intelligence of all. If we talk about the G factor, it’s one way, maybe mixing different aspects. In that sense, we have limitations. Since the beginning of time, humans have developed tools to extend our physical capabilities, but we’ve also developed tools to extend our mental limitations. This is really the final tool to extend these mental limitations. We have issues, for example, with memorizing long things—it’s quite difficult; our brains aren’t made for that. We’re basically pattern recognition machines; almost two-thirds of our brains are devoted to that. That’s something machines do quite well, so we can use that to extend our mental performance. If we think that now we have AIs with close to 150 IQ points—regardless of what you mean by IQ points, or at least in the Mensa standard test, maybe they’ve learned that, so maybe it’s not so fair to think that—but if that trend continues, even over the current year, it’s not far-fetched to have 200 IQ AIs at your fingertips. That’s a game changer. It’s like we all can have a conversation with Einstein, Newton, Carl Sagan, or whoever you want, and even make them argue about things. That’s another interesting point—when you use AIs, you can have them argue, not just agree with you, but also challenge what you or other AIs are saying. That power at your fingertips—to have this IQ potential of machines—is very critical. Another important aspect is the volume. For example, you can’t read a million books, or even 100 books in a month would be quite challenging. The capability to have machines provide all that knowledge, and even create that knowledge, is huge. We’re now in the age of identity AIs, which is really booming. There have been three big moments in AI over the last five years: the ChatGPT moment, the DeepSeek moment, and the OpenClaw moment. It’s really challenging. I use billions of tokens every month because it’s really changing everything. With that change, you can create one of these clones or agents to build a book for you with the 1,000 books most interesting to you, tailored fully to what you want to learn. You can have that in one page, 10 pages, 100 pages—whatever you want. You can use AI to synthesize and build the knowledge you want to use. That’s another great extension, if you use it that way. Having this capability of really augmented minds that you can interact with, chat with, and create with is important. Humans need the experiential part of building—it’s another critical trait. You shouldn’t just focus on asking or doing things; you should create things and interact with things, especially with multimodality. Two-thirds of our brain is devoted to vision, and we don’t use that as much. We’ve all been “one-eyed” since the beginning of technology, but we have two eyes for a reason. When I started building virtual reality or AR companies—I’ve built a couple, the first in 1995—it was because I was challenged by that. But humans are still using flat screens instead of 3D worlds. This is one area where new AIs with world models and interactive 3D spaces will be a game changer in how you feed knowledge to your brain and make it easier to grasp and understand what’s going on. Ross: Yeah, many people observe that once you start to get machines to experience the world directly for themselves, that’s a different layer compared to doing it through the intermediation of texts written by a human based on their own experience. I want to look at some of the layers of the social, structural, and economic implications. One of the core ones is education. If we are moving into a very different world, which it certainly looks like at the moment, then the nature of education needs to change. What do you think we can or should be doing in terms of redesigning education? Are there any examples you’ve seen that point to where a good education structure may already exist? David: Yeah, that’s a fundamental piece. I started this it in “The End of Knowledge.” There are two types of education. Humans aren’t able to live a meaningful life when we start here on planet Earth—we need at least maybe 15, 11, whatever number of years to build that human from the beginning. That kind of education is fundamental. The other kind—higher education, when you try to become functional by having some sort of capabilities—is another game that probably is going to end quite soon. But the first part is still fundamental, and we need to keep growing it. The thing is, there are a lot of asymmetries. We don’t have enough teachers, but we have a lot of students. The same happens with the elderly—we don’t have enough people to take care of them, and there are a lot of them. With children, it’s even more critical, because if you don’t get that from the early beginning, you won’t be able to really see what every child is good at. There are talents we are all born with, and those are fundamentally lost if you don’t nurture them. If you just try to create clone humans, you’ll get cloned humans when they’re older. That’s fundamental, and I think AI can help a lot. If you start to create that path of learning from early on—I’m involved in a project called Education (with “action” at the end) here in Europe, where we’re trying to reframe all that. It’s like when banks needed to be rescued a few years ago; we think the same is happening with education, and we’re pushing that new project. We think education needs to be rescued to start to keep up with what’s going on. We need to be in sync with learning—with AIs and with physical AIs too. It’s not far-fetched that every child will have a humanoid robot companion. Teaching needs to be bidirectional—we need to help them learn in sync. There are many aspects of technology that can help you grasp what’s happening when you learn, because we all learn in different ways. It’s fundamental to teach you how to learn by yourself. I think the most important trait at the moment is not needing to rely on others, but to learn by yourself and learn all your life. That should be taught from the beginning. There are a lot of technologies starting to pop up. We’re starting to see it in China, for example—a lot of brain-computer interfaces or devices to read some of the biological signals of kids. You can do it with other devices and mix that with multimodality, with different tests, to start seeing what’s happening, why they get distracted, where they learn best. We’re reaching a point where you can really tailor 100% of the learning experiences and even the content itself. You can create it in real time now, so you don’t need to rely on books. You can use interactive 3D content—the interactivity can be quite extensive. These new ways to teach and learn are fundamental. For that, we need to integrate AIs in schools. Of course, regulation is needed—it may be easier in China than in Europe, Australia, the US, or other places. But we need to see the trade-off—not just banning screens, as many countries are doing, but really changing the narrative. The problem isn’t the screen; it’s what’s inside the screen—the content itself. We’ve built smartphones with addictive capabilities, but for other purposes, not for teaching. If you change what’s inside the operating system of the devices—whether it’s a screen or any medium, or a talking experience with a humanoid robot for your child—that can be a game changer. That should be integrated as soon as possible to start having these new ways of learning. It should be gradual, because the technology of today is basically old science just a year or a few months from now. We need to see everything changes so fast, so education should change at the same pace. Ross: Yeah, and this was an interesting phrase you came up with—coexistence training. This is about preparing us for where we have to coexist with systems that, to your mind, will be considered as equivalents to us. David: Yeah, I think it’s happening. I’ve been quietly involved in researching AGI for 25,000–26,000 hours so far—a lot of time and years devoted to that. I see the trend is now starting to close the gap, not through LLMs alone—that could be one way to brute-force some of it—but through new models, new bio-inspired models that are starting to change things. We’re starting to learn from biology, neuroscience, and integrating all that into new models. We’re not still working with the perceptron of Rosenblatt from the 1950s; we’re building new models to cope with something that is alive and learning 24/7. We don’t differentiate between training and inference, and our brain doesn’t either. With that kind of model, the gap is narrowing, and we start to have the “next task,” as I call it—the last human tool. When we start to have that, it’s better if, through the process, we’ve been more in sync with them, instead of just building tools without being the teachers of these tools. The current kids will probably be the last human teachers of machines. That’s the responsibility at the moment—to make these machines that will surpass us. Biologically, we cannot compete; our DNA and the way we evolve is not as fast as machines. They will surpass us, probably by the end of the decade—unless there’s a big nuclear issue or we run out of energy, but otherwise, it’s very probable we’ll have AGIs and ACIs by the end of the decade. We need to start to see that it’s going to be a multi-species world. It already is, but not as intelligent as us. We need to rethink what anthropocentrism means. We’ve gotten rid of some things like that in the past—for example, realizing our planet isn’t the center of everything, like in Galileo’s days. We need to do the same with human intelligence. Human intelligence is not the end game, and very soon, that’s going to change. The sooner we grasp that and understand that some entities will be at the top, the better off we’ll be. If they see us as parents or elders, we’ll be better than if they see us as competition. The competition will be quite limited anyway. Ross: Yeah! David: Well, it’s better if we reframe that. Ross: So, I found out about your work because we were both contributors to the report “Building Human Resilience in the Age of AI.” That point of resilience is particularly critical. Humans are generally pretty adaptable—it’s one of our strengths. But now the pace of adaptation and the need to be resilient is absolutely fundamental. One of the other things you point to is around identity reconstruction. I guess you’ve just been talking about that—the sense that we have to reimagine who we are as individuals, as a society, as the human species, and reconstruct and rebuild that in a way where we can feel at home in this new emerging world. David: Yeah. I think we need to change the contract somehow—between humans and humans, and between humans and the next thing, and between societies and themselves. The models of society we’ve been building over the last millennia are going to be fully changed in just years. If we don’t really connect and put everyone together to understand that, for example, we’ve been building a world where there is no abundance—but there could be abundance if machines take over and we change how we build and process. Scarcity has been the driving force of conflict and many other things in the current world. All these things can change. Of course, work itself—the meaning of having something to do that’s not related to what you earn—even the role of money, for example. There are many questions we should address as soon as possible to build resilient societies, instead of just trying to keep adapting to the last war and being in the medieval stages of the current world. Ross: So, to round out, you take all of this further than most people do. In your most recent book, “Artificiality,” you point to machine citizenship—where, if there are human citizens, machines are our peers in the sense of also being citizens, able to participate in our society and be players alongside humans. How long might this take? What does this look like? What is required if we are moving in that direction? And, particularly, if this happens, how do we make this a positive for humans? We may recognize the rights of intelligences other than our own, but I think most people would prefer that humans still retain their sovereignty and equality, even if we have other intelligences alongside us. David: Yeah, at the end, it’s humility—understanding your point and your role in the new world. That’s fundamental. As you say, I created more books besides “The End of Knowledge.” The next one was “EAGI”—an acronym I coined for Embodied Artificial General Intelligence—because when we get this physicality of AIs, with millions or billions of humanoid robots, it will be easy to see what happens when they learn in the world. The last book was about “artificeracy,” or this mix of artificial democracy, if you want to frame it that way. These three books are the “Artificiality Trilogy,” in a sense. Artificiality is like anthropology for humans—artificiality is to try to understand all these new things, how they will develop and be among us. So yes, humility is probably the key factor. If you keep thinking you’ll be ruling things that are much smarter than us quite soon, I think that’s not very clever from a human perspective. It’s like if ants wanted to stay at the top of the food chain—it doesn’t make sense if you understand the growth of this intelligence and the capabilities they’re gathering and will gather. The trend is very difficult to stop. I don’t like the word impossible—it’s not in my dictionary—but it’s quite difficult for humans to compete in those asymmetric capabilities, because the increase in machine capabilities is going to be exponential. The last book, “Artificiality,” is the only one where the first part is fully devoted to what’s happening now—it’s called “The Storm,” the first block of the book, narrating what’s happening at the moment. The other two parts look into the possible future. I call it science prediction more than science fiction, because with what you know now, you can see things that could happen in a really short time. My point is that if we start to think and start the narratives at all levels—from every human on Earth to governments and institutions—and start to see what could happen if this happens sooner rather than later, we’ll be better off. Otherwise, if we try to legislate and limit what’s happening, we’re only going to lose competitiveness. Some countries are going to move ahead. If you want to live in the future, just visit somewhere in China, or Shanghai, or this week with the humanoid half marathon and 300 different robots working together, trying to compete with us. You see the pace of change. Now, with just one human, you can build a $1 billion revenue company. That wasn’t possible when I started creating companies in 1995. The capabilities didn’t exist. But now, with AIs, you can move much faster. So, we need to see what role we want to have in that new world. For that, again, humility is the best trait. And, of course, see things with reality lenses. If you think that with your current brain and intellect you can overrun things that are going to be 100 or a million or a billion x more intelligent than you, something is not going well. Ross: So, where can people go to find out more about your work? David: Well, vivancos.com is my site. There you can find all my books, references, and keynotes. I give a lot of keynotes all around the world. I’m going to Berlin to present a paper, later to Osaka and to San Francisco again. Last time, I went to Singapore. I haven’t been to Australia yet, but I’d like to go there—maybe it’s a good place also. Yes, at vivancos.com you have all the information and can reach me there. I’m very open to talk to anyone. Ross: Thank you so much for sharing your insights today, David. David: Thank you, Ross. Fantastic to be with you today. The post David Vivancos on the end of knowledge, cognitive flourishing, resilient societies, and artificial democracy (AC Ep42) appeared first on Humans + AI.

In an AN first, Dave and Jeff take the show on the road to the Michigan state capital. Hosted by the world-class nerds of the Michigan Junior Classical League, the guys slush their way into Lansing to talk Ovid once more—specifically the crushing demise of "gym bro" Acis, who stood zero chance against that hulking, one-eyed colossus, the Cyclops. Here is your opportunity to master the geometry of emotion: do Polyphemus, Acis, and Galatea form a love Dorito, a rectangle of spite, or a dodecahedron of nostalgia? Join us for a unique, live format, featuring crowd participation with sharp questions and comments from bright Classical minds across Michigan. Plus, listen in for a chance to win the collected works of Aristotle from Hackett, edited by C.D.C. Reeve and Pavlos Kontos!

In this inspiring episode of the Eye Believe Podcast, we welcome author and advocate Rachel Sindaco, whose journey through Multiple Sclerosis (MS) and Ocular Melanoma (OM) reshaped her life in unimaginable ways—and ultimately saved it. Rachel maintains a remarkable positive outlook, openly sharing how she considers herself lucky to have MS. It was her MS diagnosis that led to increased medical monitoring, allowing her ocular melanoma to be caught early—a discovery that may have saved her life. Without MS, Rachel believes her cancer might have gone undetected until it was too late. Her book, From a Kick in the Head to a Kick in the Ass: My Involuntary Journey with Multiple Sclerosis and Ocular Melanoma, is a candid, often humorous, and deeply moving memoir about navigating serious illness, reframing adversity, and finding gratitude in the most unexpected places. This conversation is a powerful reminder that perspective matters, early detection saves lives, and even the hardest diagnoses can carry unexpected gifts.

Participantes: Josep-Anton Fernàndez (Institut Ramon Llull), Fiona Noble (University of Stirling), Carlos Pazos-Justo (Universidade do Minho), Santiago Pérez Isasi (Universidade de Lisboa), Sara María Torres Outón (Universidade de Santiago de Compostela), Susana Sotelo (Universidade de Santiago de Compostela)Moderadores: Santiago Fouz Hernández (Durham University), Esther Gimeno Ugalde (Universitat Pompeu Fabra).

Esta série de programas especiais será um espaço para dialogarmos sobre o mercado de trabalho existente para o/a profissional de cenografia em várias regiões brasileiras. Queremos conhecer sobre as diversas realidades existentes no país. Para isso, chamaremos alguns convidados e convidadas do Amazonas para compor essa “mesa” de diálogos.Gislaine Regina Pozzetti é Coordenadora do Curso de Bacharelado em Produção Audiovisual e Professora Adjunta do Curso de Teatro da Universidade do Estado do Amazonas - UEA. Doutora em Tecnologias da Inteligência e do Design Digital – PUC/SP, Mestra em Letras e Artes – UEA, Especialista em Arte Multimídia e Gestão da Educação – UFAM. Autora dos livros Revisitação do lendário através da escritura dramática, Inferência das Tecnologias nas narrativas teatrais. David Willians da Silva Costa, Brasileiro, Amazonense, Montador de Eventos e Cenotécnico do Teatro Amazonas. Com experiência em eventos relacionados na área artística e shows de grande e pequeno porte em Manaus, além de Festivais de Ópera, de Teatro, de Dança e de Música. Apoio Logístico e Transfer nos Festivais de Parintins. Suporte e apoio na elaboração de projetos de cenografia com também Coordenação e organização de equipes de montagem para eventos. Trabalha com diferentes materiais e técnicas e Adaptação de projetos a espaços diversos.Mizael Costa iniciou sua carreira profissional aos 16 anos, fazendo trabalhos de desenho para o Boi Bumbá Garanhão. Como escultor, trabalhou na construção cenográfica das esculturas do Hotel de Selva Ariaú Towers (2000-2001). Atuou no Carnaval de Manaus nas Escolas de Samba Reino Unido da Liberdade, Vitória Régia, Coroado, Sem Compromisso, Presidente Vargas e Vila da Barra. No Festival Amazonas de Ópera executou projetos de escultura para as montagens de “La Gioconda”, “Carmen”, “Tristão e Isolda”, “Acis e Galatea”. Jander Lemos é natural de Parintins – AM, formado em Arquitetura e Urbanismo com especialidade em Cenografia e Figurino pela Universidade de Belas Artes (SP). É CEO da Cenart Produções e Serviços, onde cria e executa projetos arquitetônicos de cenografia para eventos variados. Atua como cenógrafo na criação e execução de projetos natalinos da Secretaria de Estado de Cultura e Economia Criativa, Prefeitura de Manaus e empresas privadas. Seus trabalhos mais expressivos nos Festivais de Ópera foram na execução das cenografias das peças “Ópera dos três vinténs”, “Siegfried”, “O Crepúsculo dos Deuses”, “A Flauta Mágica”, dentre outros.

Tras cinco años de ediciones virtuales, el 10º Congreso Internacional de Prevención y Gestión de Riesgos Laborales vuelve al formato presencial. Este evento se celebrará el 6 y 7 de agosto de 2025 en el Hotel Hodelpa Gran Almirante de Santiago de los Caballeros. Conversamos con Félix Eduardo García, presidente de GASA, directivo de ACIS y coordinador del Congreso, sobre los temas clave, las expectativas del sector y la importancia de este encuentro para la seguridad laboral en República Dominicana.

Title: The Duke of Chandos Track: Handel ; Acis and Galatea, HWV 49a, Act I: Happy We! Artist: The Sixteen, Harry Christophers, Grace Davidson & Jeremy Budd Publisher: ℗ 2019 The Sixteen Productions Ltd

Mark Lowther's personal recommendation for Handel's opera Acis and Galatea.

Antes y después de cada exposición, hay un trabajo de las galerías que a menudo pasa desapercibido, un trabajo cultural muy tapado por la faceta comercial. Para mostrar ese trabajo, Pedro Marín Boza ha escrito 'Galerías de arte: conceptos, historias y otras particularidades', editado por Cátedra. Está incluido en la colección Básicos de Arte que dirige una autoridad en la materia, Estrella de Diego. Algo que el autor quiere dejar claro desde el comienzo: las galerías de arte no solo venden, no solo cumplen una función comercial, marchante no es el único sinónimo de galerista.Este martes, el Ministerio de Cultura, ha anunciado la compra de Casa Gomis, obra de Antonio Bonet Castellana, por 7 millones 250 mil euros. El anuncio lo hacía el ministro Ernest Urtasun en la propia Casa Gomis, también conocida como La Ricarda, en El Prat de Llobregat, en Barcelona. Una obra singular de la modernidad arquitectónica en España en un paisaje natural. El Ministerio de Cultura hará de Casa Gomis un centro cultural en torno al arte y la naturaleza. El Cuarteto Casals, un prestigioso esemble de música de cámara que el próximo 20 de enero volverá a tocar esta pieza en el Teatro Real de Madrid. Hablamos de un concierto solidario: 'Stradivarius por la Dana' en el que se podrá escuchar el sonido, con sus matices, melodías, del Cuarteto Palatino, los Stradivarius de Patrimonio Nacional que hacía más de 25 años que no salían del Palacio Real.Y nos vamos con Martín Llade que viene con su sesión de música clásica y el disco de Galatea & Acis, 'La Pispersione'.Escuchar audio

[@ 4 min] It's a Tenor Double Header! We go inside the huddle with two singers making their North American debuts in lead roles. First up, Mexican-American tenor Galeano Salas, who is set to co-star in La Traviata in Detroit opposite FOS Emily Pogorelc. Then, we speak to baroque specialist Antonin Rondepierre, who sings a title role in Acis and Galatea at Opera Atelier. [@ 52 min] Plus, in the ‘Two Minute Drill'…Warning: Naked Nuns Roller Skating may induce nausea….And the New York Times critics may induce tantrums. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Presentamos exclusivamente en formato de audio podcast la grabación íntegra de nuestro segundo evento ya anual en colaboración con el congreso de ACIS (Association of Contemporary Iberian Studies), que tuvo lugar el día 6 de septiembre en Dublín, Irlanda. En nuestros canales de Instagram, X y YouTube @Pleibericos pueden verse resúmenes en vídeo de las cuatro presentaciones grabados posteriormente. Este audio recoge el evento original. Dado el carácter híbrido del evento, la calidad del sonido varía depenediendo de la fuente del mismo. Algunas presentaciones, por tanto, se escucharán de forma más nítida que otras. Los libros presentados en el evento e incluidos en esta grabación son: The Op-Ed Novel. A Literary History of Post-Franco Spain (Harvard UP, 2024). Autor: Bécquer Seguín. Cine en femenino del plural: Mujeres y prácticas creativas en el ámbito ibérico (Sindéresis, 2023). Editores: Jesús Ramé y Caterina Cucinotta. La forja del canon. Identidad nacional e Historia de la literatura española (1800-1939) (Ediciones de la Universidad de Murcia, 2024). Autor: Santiago Pérez Isasi. Contar o Caminho de Santiago. Literatura, discurso(s) e efeitos sociais na comunidade local ( Edições Colibri, 2022). Compiladores: Elias J. Torres Feijó, Álvaro Iriarte Sanromán e Felisa Rodríguez Prado.

Logi nav tikai mājas acis uz pasauli. Logi ir estētiska bauda, dizaina elements un arī vērtīgs risinājums gaismas un siltuma ziņā. Kā pareizi izvēlēties logus un kas jāzina, tos uzstādot, skaidrojam raidījumā Kā labāk dzīvot. Saprast to, kas jāzina par logiem, palīdz Latvijas logu un durvju ražotāju asociācijas pārstāvis Ivars Buls, SIA "REHAU" valdes priekšsēdētājs, Latvijas logu un durvju ražotāju asociācijas valdes loceklis Aldis Sirmačs un Patērētāju tiesību aizsardzības centra Preču un pakalpojumu uzraudzības departamenta Būvizstrādājumu, elektroiekārtu un energoefektivitātes uzraudzības daļas vadītājs /departamenta direktora vietnieks Ivars Jorniņš.  

rWotD Episode 2707: Gråt Fader Berg och spela Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Tuesday, 1 October 2024 is Gråt Fader Berg och spela.Gråt Fader Berg och spela (Cry, Father Berg, and Play) is No. 12 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Elegi över Slagsmålet på Gröna Lund" ("Elegy on the Battle at Gröna Lund [Tavern]"). It is a lament over a pub brawl, caused by Fredman's drinking a soldier's beer and dancing with someone else's girlfriend. Set to the melody from the aria "The flocks shall leave the mountains" in George Frideric Handel's opera Acis and Galatea, it is the best-known of his poems describing the consequences of brandy-drinking. Bellman used the contrast between the romantic associations of the melody and the brutal reality of heavy drinking to humorous effect.This recording reflects the Wikipedia text as of 00:32 UTC on Tuesday, 1 October 2024.For the full current version of the article, see Gråt Fader Berg och spela on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

une in now to dive into Presley Jackson's incredible Polaroid project! Diagnosed at just 13, Presley has been unstoppable in sharing his journey these last few years, with the unwavering support of his amazing mom, Stephanie. His outlook in the face of #ocularmelanoma, his plaque treatment with Dr. Shields, and his transition into adulthood is nothing short of inspiring. Don't miss this video, and get ready for an exciting YouTube and Podcast channel launch later this week! A massive thank you to everyone who supports, organizes fundraisers, and participates in the Lookin' For A Cure For Ocular Melanoma 5k races! We can't achieve our goals without you, and we value every contribution! Please think about making a donation today to help ACIS continue to fund patient care, research, and educational programs like The Eye Believe Podcast. #ChildhoodCancerAwarenessMonth A special shoutout to Castle Biosciences, Inc. for sponsoring the podcast platforms!

TWiV discusses WHO declaration of Mpox as a public health emergency of international concern, Sweden reports first case of clade 1b outside of Africa, can household pets be productively infected with monkeypox virus, widespread exposure to SARS-CoV-2 in wildlife communities, and modulation of plant defenses by insect salivary GAPDH benefits viral transmission. Hosts: Vincent Racaniello, Dickson Despommier, Alan Dove, Rich Condit, and Kathy Spindler Subscribe (free): Apple Podcasts, Google Podcasts, RSS, email Become a patron of TWiV! Links for this episode MicrobeTV Discord Server Mpox outbreak is PHEIC (WHO) Tecovirimat not great against monkeypox virus clade I (NIH) Case of Mpox Clade I in Sweden (PHAS) Mpox and pets in USA (Emerg Inf Dis) SARS-CoV-2 widespread in wildlife communities (Nat Comm) Salivary GAPDH benefits plant virus transmission (Nat Comm) Letters read on TWiV 1143 Timestamps by Jolene. Thanks! Weekly Picks Dickson – NASA Confirms Evidence That Liquid Water Flows on Today's Mars Kathy – TBP for PCR internal control Rich –  xmACIS2 compares the data in the ACIS database to that in GHCN-Daily Alan – Larry, the world's most highly cited cat Vincent – The Viral Paleontologist Who Unearths Pathogens' Deep Histories Listener Pick Ryan – Mpox emergencies AP News one and two Rona – Up in smoke David – Ode to Joy (YouTube, TikTok) Intro music is by Ronald Jenkees Send your virology questions and comments to twiv@microbe.tv Content in this podcast should not be construed as medical advice.

Acis ir sarežģīta sistēma, kura prasa uzmanību. Kā parūpēties par to, lai acis ne tikai redz, bet arī saredz, un kā saglabāt acu veselību ilgtermiņā, spriedīsim raidījumā Kā labāk dzīvot kopā ar oftalmoloģi Andu Balgalvi un "Pasaules optikas" galveno optometristi Kristu Cauni-Bērziņu.

Tra il 3 e il 6 luglio si terrà il convegno dell'ACIS (Australasian Centre for Italian Studies), che riunisce italianisti ed italianiste che operano in Australia e Nuova Zelanda. Ne parliamo con Francesco Ricatti.

durée : 01:28:14 - En pistes ! du vendredi 31 mai 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour terminer la semaine, Emilie et Rodolphe vous proposent Les sonates du Rosaire de Biber, un extrait de l'opéra Acis et Galatea de Haendel, le Divertissement à la Hongroise de Schubert, le ballet Appalachian Spring de Copland ainsi que le Capriccio à la Turque de Ferit Tüzün. En pistes !

Jāni Ozoliņu pamanīju Instagram, jo uzmanību piesaistīja viņa neparastās ilustrācijas. Tajās viņš viegli uztveramā veidā parāda idejas, kas saistītas ar biznesu, radošumu vai personīgo izaugsmi. Viņa darbi ir ieguvuši lielu popularitāti, mēneša ietvaros sasniedzot miljoniem cilvēku. Jānis ir veidojis ilustrācijas biznesa un izaugsmes sfērās tādiem atpazīstamiem autoriem, kā Naval Ravikant un The Diary Of A CEO podkāsta veidotājam Steven Bartlett un citiem. Domāju, ka Jāņa pieredzes stāsts varētu iedvesmot citus, kuri meklē savu profesionālo ceļu un vairāk brīvības.Vairāk informācijas sarunas lapā.SARUNAS PIETURPUNKTI:4:19 Ko nozīmē “darīt lietas internetā un pelnīt ar to naudu”11:46 Par pārcelšanos uz Spāniju13:47 Stāsts no bērnības, kas akcentē Jāņa domāšanas veidu.16:49 Funktieris dzīvei, ko iedeva mīlestība uz kalnu riteņbraukšanu22:46 “Muļķi mēs galīgi nebijām, galva uz pleciem ir” – kā jauni čaļi bez pieredzenes nokļuva IT biznesā28:02 Kad nauda vairs nav motivācija - meklējumi, mēģinot aizpildīt tukšuma sajūtu darba vidē33:40 Kāds dzinulis uzveda uz pašattīstības ceļa39:11 “Beidz lasīt ziņas. Ja pasaulē kaut kas gana svarīgs notiks, tu par to dzirdēsi.”44:42 Četri dažādi biznesi, ko Jānis pamēģināja, pirms atrada to, par ko deg acis 52:24 “Tu nevari vienkārši sēdēt krēslā un izdomāt savu perfekto plānu. Tev ir jāmēģina.”58:52 Brīdis, kad tiek pārrautas visas saites ar korporatīvo vidi un stabilu atalgojumu1:03:07 Cik svarīgi ir būt jaukam, atbalstīt citus un sniegt atgriezenisko saiti1:06:35 Pirmais personīgais lielais darījums un spēja paprasīt par to adekvātu samaksu1:11:51 No kā sastāv ilustrāciju veidošana no koncepta līdz rezultātam1:15:33 “Es biju sava mērķauditorija”1:17:16 “Veido reputāciju un iespējas nāks pie tevis” – cik svarīgi ir atrast to, kas patīk un sanāk1:19:54 Kā atšķiras ienākumu un ieguldītā darba attiecība, salīdzinot darbu korporatīvajā vidē un personīgajā biznesā1:25:16 Izslēgt perfekcionismu – drosme uztaisīt apmācību kursu angļu valodā, nepārvaldot šo valodu ideāli1:30:32 Pārcelties uz Spāniju ar ģimeni un bērniem. Cik pūles un birokrātijas džungļu tas prasīja 1:37:44 “Internets tev dod iespēju sasniegt miljoniem cilvēku. Tas potenciāls ir vājprātīgs”

In a branch of music where research plays such a central role, how can there be such a disconnection between research and performance? How can we create cooperation between both fields? These themes, according to Rebekah Ahrendt, are central in "EarlyMuse", a research action funded by the European Cooperation in Science and Technology (COST). Listen to her describe her ideal world in this final episode of the 4th season of the Early Music Podcast! CREDITSguest Rebekah Ahrendt, Utrecht University interview & editing Darina Abloginaproduction REMAdesign Doretta RinaldimusicString Quartet No. 7 in F Major, Op. 59 No. 1, "Razumovsky": III. Adagio molto e mesto, Ludwig van Beethovenperformed by Quatuor ÉbèneBeethoven around the World, Erato 2019The White Rose, Florence Beatrice Priceperformed by Reginald Mobley and AgaveAmerican Orignals: A New World, A New Canon, Acis 2021

What's the situation of inclusion in the Early Music sector? In this episode, countertenor Reginald Mobley puts the issues of race, gender, and more generally, identity under the spotlight. He talks about the challenges and discrimination he faced as an Afro-American singer, and opens our eyes to the progress that still needs to be made to make the sector more inclusive. CREDITSguest Reginald Mobley, countertenorinterview & editing Darina Abloginaproduction REMAdesign Doretta RinaldimusicMusic for a while, Henry Purcellperformed by Reginald Mobley and Brandon Acker2022The White Rose, Florence Beatrice Priceperformed by Reginald Mobley and AgaveAmerican Orignals: A New World, A New Canon, Acis 2021

Check out Credit Risk Transfer's (CRT) latest CRTcast episode to learn about the how the markets evolved and changed throughout 2023 from both a STACR® and ACIS® perspective.

Pleibéricos - Presentación de estudios ibéricos online. Para marcar el inicio de nuestro cuarto año en activo y nuestro evento 25, el 6 de septiembre de 2023 celebramos nuestro primer evento híbrido en el marco del Congreso Anual (44) de ACIS (Association of Contemporary Iberian Studies) en Oporto. Libros presentados: Memory, Transition, and Transnationalism in Iberia (Cambridge Scholars, 2023). Editores: Mark Gant, Susana Rocha Relvas and Siân Edwards. Matilde de la Torre. Sex, Socialism and Suffrage in Republican Spain (MHRA 2022). Autora: Deborah Madden. Leyendas negras, marcas blancas. La malsana obsesión con la imagen de España en el mundo (Contexto, 2022). Autor: Sebastiaan Faber. Novedades de la serie ‘Constelaciones‘ (Comares, 2022-23). Conversación con la editora de la serie: Cristina Moreiras Menor. Encounters with Jazz on Television in Cold War Era Portugal 1954–1974 (Routledge, 2022). Autor: Pedro Cravinho.

Kate Molleson shares stories of Handel's music at summer soirees across the British Isles When he arrived in London in 1712, German-born George Frideric Handel was already one of Europe's most exciting musical minds. Over the next decades he would not only carve a living for himself, but transform British musical life, from the opera stage to the choir stalls, and hardwire his legacy into our culture. This week, Kate Molleson tells the stories of five summer soirees from across his life in the British Isles – golden evenings of 18th-century music making, and some of his most eventful performances. Music Featured: Water Music (Suite 2: i. Allegro) Water Music (Suite 2: ii. Hornpipe) Water Music (Suite 1: excerpt) Water Music (Suite 3) Qual nave smarrita (from Radamisto) Water Music (Suite 1: excerpt) Acis and Galatea (Overture) Chandos Te Deum (excerpt) Chandos Anthem No 4 ‘O sing unto the Lord a new song' Acis and Galatea, Act II: Nos 25-29 Keyboard Suite in E major ‘The Harmonious Blacksmith', HWV430 (Air & Variations) Esther, Act I, Scene 4: Tune your harps to cheerful strains; Praise the Lord Organ Concerto in B-flat major, Op 4 No 2 Jubilate Deo in D major ‘Utrecht', HWV279 Athalia, Act II Scene 2: My vengeance awakes me L'Allegro, il penseroso ed il moderato: As steals the morn Alexander's Feast, Part I (excerpt) Messiah, Part 2 (excerpt) Messiah, Part 3: Amen Hornpipe compos'd for Vauxhall Acis and Galatea: Hush ye pretty warbling quire Semele: Where'er you walk Concerto Grosso in F major, Op 3 No 4b Zadok the Priest Music for the Royal Fireworks (excerpt) Presented by Kate Molleson Produced by Amelia Parker for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for George Frideric Handel (1685-1759) https://www.bbc.co.uk/programmes/m001q14p And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

🎯 Acceso de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ te encontrarás una serie de módulos con distintos vídeos y recursos que te ayudarán progresivamente a llevar la evaluación formativa a tu aula: 🎯Módulo 0. ¿Cómo aplicar la LOMLOE y la psicología cognitiva a tu evaluación de situaciones de aprendizaje y unidades de programación? 🕹Módulo 1. Creación y utilización de instrumentos de evaluación: Rúbricas, listas de cotejo, base de orientación, dianas de autoevaluación y mucho más. 🧩Módulo 2. Evaluación formadora. Metacognición, autoevaluación y coevaluación como llevarlo de forma práctica. 🧸Módulo 3. Alternativas a la corrección escrita. Evaluación sumativa cómo poner menos notas y que tu alumnado aprenda más. 🧶Módulo 4. Evaluación e inclusión (Todo lo que necesitas saber sobre el DUA, NEAE, ACIS…) ♣Módulo 5. Todo sobre el feedback y feedforward. Cómo retroalimentar para que tu alumnado aprenda mejor. 🪅Módulo 6. Evaluando situaciones de aprendizaje y unidades de programación ⛳Módulo 7. Evaluando el aprendizaje cooperativo y proyectos. ❤️Módulo 8. Evaluando emociones. 😺Módulo 9. Evaluación en oposiciones. Dedicado específicamente para diferenciarte en un punto complicado. 🤯Módulo 10. Evaluación en educación infantil. 🏃Módulo 11. Evaluación en educación física. 📝Módulo 12: Libros de evaluación resumidos 🧑‍🏫Módulo 13: Experiencias de docentes que Evalúan formativamente y no ponen muchas notas. ♥Aprovecha la oferta acceso de por vida: https://preparadoredufis.com/cursos/formacion-de-evaluacion-formativa-con-menos-notas-se-aprende-mas/ PreparadorEduFis

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Synopsis Back in Bach's day, there were churchmen aghast at the thought that composers were trying to sneak flashy opera music into Sunday services. Church music was meant to be simple, austere, and, well , not “operatic.” So what would they have made of the three “church parables” – mini-operas, really, composed in the 20th century by the great English composer Benjamin Britten? The third of these, The Prodigal Son, debuted on today's date in 1968 at St. Bartholomew's Church in Orford, England. All three impart Christian values and were meant for church performance – scored for a handful of soloists, modest choir, and a small ensemble that would fit in front of and on either side of a church altar where church music was normally performed. But operas they are, and Britten himself let the “o” word slip when he commented in a 1967 interview that he was (quote), “doing another church opera to go with the other two, Curlew River and The Burning Fiery Furnace, to make a kind of trilogy.'” Britten took these mini-operas seriously, and dedicated The Prodigal Son to his new friend, the Soviet composer Dmitri Shostakovich, who in turn would dedicate his 14th Symphony to Britten. Music Played in Today's Program Benjamin Britten (1913 - 1976) The Prodigal Son Peter Pears, tenor; John Shirley-Quirk, baritone; Robert Tear, tenor; Bryan Drake, baritone; English Opera Group Orchestra; Benjamin Britten, conductor. Decca 425713 On This Day Births 1904 - German-born American musical composer Frederick Loewe, in Berlin; 1913 - Soviet composer Tikhon Khrennikov, in Elets (Julian date: May 28); 1960 - English composer Mark Anthony Turnage, in Grays, Essex; Deaths 1899 - French composer Ernest Chausson, age 44, after a bicycle accident near Limay; 1918 - Italian opera composer and librettist Arrigo Boito, age 76, in Milan; 1934 - British composer Frederick Delius, age 72, in Grez-sur-Loing, France; 1964 - American composer Louis Gruenberg, age 75, in Los Angeles; Premieres 1732 - Handel: opera "Acis and Galetea" (in an English/Italian version), in London at the King's Theater in the Haymarket, at the request of Princess Anne (Gregorian date: June 21); 1865 - Wagner: opera "Tristan and Isolde," in Munich at the Hoftheater, conducted by Hans von Bülow; 1921 - Stravinsky: "Symphonies of Wind Instruments" (in memory of Claude Debussy), in London at Queen's Hall, with Serge Kousevitzky conducting; Three days earlier, on June 7, 1921, Stravinsky had attended the British premiere of the concert version of his ballet score "The Rite of Spring," also at Queen's Hall, with Eugene Goossens conducting; 1939 - Bliss: Piano Concerto (with Solomon the soloist) and Vaughan Williams: "Five Variants of Dives and Lazarus," at Carnegie Hall by the New York Philharmonic, with Sir Adrian Boult conducting; These works (Along with Bax's Seventh Symphony, which premiered the previous day) were all commissioned by the British Council as part of the British Exhibition at 1939 World's Fair; 1941 - Poulenc: first public performance of Concerto for Organ, Strings and Timpani, in Paris; 1968 - Britten: church opera "The Prodigal Son," in Orford Church, near Aldeburgh. Links and Resources On Britten

Welcome to The Sports Docs Podcast! On each episode we chat about the most recent developments in sports medicine and dissect through all the noise so you know which literature should actually impact your practice. On today's episode we're focusing on patellofemoral cartilage defects with Dr. Cassandra Lee, an orthopaedic sports medicine surgeon, team physician for the UC Davis Aggies and Sacramento Republic FC, and chief of the sports medicine service at UC Davis. Dr. Lee has published on and spoken a lot about cartilage – both at the basic science level as well as clinical application – so we're excited to have her join the discussion today.  We have some great articles for you that contribute well to our conversation on the surgical treatment of patellofemoral cartilage disease. As always, links to all of the papers that we discuss on this show can be found on our podcast website. The first article is a systematic review published just this month in OJSM titled “Cartilage Restoration for Isolated Patellar Chondral Defects.” Ronak Patel and his colleagues at the Illinois Center for Orthopaedic Research and Education summarized the results and complication rates of various patellar cartilage restoration techniques. They concluded that osteochondral autograft transplantation and autologous chondrocyte implantation were the most studied procedures for isolated patellar chondral defects. The article also touches upon newer techniques such as augmented microfracture, but the authors state that there is wide variability in indications and techniques that must be clarified in future higher-level studies.  Then, from the upcoming June issue of Arthroscopy this year, we review a retrospective cohort study titled “Utilization of Autologous Chondrocyte Implantation in the Knee Is Increasing While Reoperation Rates Are Decreasing Despite Increasing Preoperative Comorbidities.” Drew Lansdown and his team at UCSF observed a significant increase in the use of ACI since 2017 with a significant decrease in the rate of 90-day and 2-year reoperations for ACIs performed after 2017. Older age and tobacco use were predictors of increased risk of conversion to arthroplasty. Male sex was associated with decreased risk of reoperation. We are joined today by Dr. Cassandra Lee, a board-certified fellowship-trained orthopedic sports medicine surgeon and Chief of the Sports Medicine service at UC Davis. Dr. Lee obtained her medical degree from Boston University. She completed her residency training at Wake Forest University and sports medicine fellowship at Washington University in St. Louis, serving as team physician for the Washington University Bears, St. Louis Rams, and St. Louis Blues. Dr. Lee was a 2017 Lars Petersen Travelling Fellow for the International Cartilage Regeneration and Joint Preservation Society and a 2022 American Orthopaedic Society for Sports Medicine / Asian-Pacific Knee, Arthroscopy and Sports Medicine Society Traveling Fellow.  She currently serves as team physician for collegiate and professional teams including the UC Davis Aggies and the Sacramento Republic FC. Her research interests are in modulation of post-traumatic osteoarthritis, currently funded by an NIH R01 and Department of Defense grants. 

Synopsis Each January, Martin Luther King Day is observed on the third Monday of the month, and in 2009, MLK day fell on January 19th. To celebrate, the director of the Boston Children's Chorus commissioned and premiered a new work from the American composer Trevor Weston. Rather than set words spoken by King, Weston took a different course: “[Dr. King's] speeches speak to … the beauty of living in a society where the truth of equality is actually realized and often demonstrate a broad historical perspective,” says Weston, “so I celebrated King by using texts from the African Saint Augustine and the African-American poet Paul Laurence Dunbar.” From Saint Augustine's “Confessions,” Weston includes the line, “O Truth, you give hearing to all who consult you … you answer clearly, but all men do not hear you,” and from a Dunbar work entitled “The Poet,” this line: “He sang of life, serenely sweet/With now and then a deeper note.” Musically, Weston echoes works both medieval and modern, specifically the 12th century composer Hildegard von Bingen and the 20th century composer Morton Feldman, with a variation on the spiritual “Wade in the Water” tossed in for good measure. The result is a haunting, inward-looking choral work that Weston entitled “Truth Tones.” Music Played in Today's Program Trevor Weston "Truth Tones" Trinity Youth Chorus; Julian Wachner, conductor. Acis 72290

A Cure in Sight is joined by Dr. Marlana Orloff, MD, for a brief but highly informative discussion on liver-directed therapies when navigating metastatic disease. Dr. Marlana Orloff is an associate professor of medicine and medical oncologist at Thomas Jefferson University Hospital – Sidney Kimmel Cancer Center in Philadelphia, PA. In this discussion, Dr. Orloff shares a few slides (you can find those attached at the link below!) talking about the different types of LDT (liver directed therapies) and how they are used, how effective they are proving in certain cases, and also takes about 10 minutes at the end to answer questions! Get ready for a wild ride but it's so exciting to see there really are SO many options out there for treatment of this disease.  All we want for Christmas is a cure omies–let's be sure to share and ask our communities for donations to ACIS to help create that reality for as many patients as possible! ANNOUNCEMENTS: Steps for Sight Registration is coming! Subscribe to the newsletter to stay in the know! Newsletter link   Email contact@acureinsight.org for questions regarding any upcoming events! ********* Be sure to follow us on Facebook, Twitter, Linked In, or  Instagram @acureinsight, for more stories, tips, research news, and ideas to help you navigate this journey with OM! *A Cure in Sight is a 501c3 organization. All donations made can help fund our podcast to educate patients, fund research, aid patients, and more! Donate $10 $15 $20 today to help A Cure in Sight in their quest to find a cure. Contribute via  PAYPAL OR VENMO or reach out directly to contact@acureinsight.org  The Eye Believe Podcast is brought to you by Castle Biosciences. Castle Biosciences is a leading diagnostics company improving health through innovative tests that guide patient care. The Company aims to transform disease management by keeping people first: patients, clinicians, employees and investors.  This podcast was hosted by Danet Peterson and produced by Page Fronczek.

Join fellow omie, Anne Osborn, as she helps patients navigate "What we can expect of our friends after an OM diagnosis."   Welcome our friend Anne Osborn helping us to understand What we can expect of our friends after an OM diagnosis. Anne Osborn, Author, as a teen grew up in the shadows of OM when her mother died of OM. Forty years later, she was diagnosed with OM, Class 2.   Anne spent her career in human services, trained as a psychotherapist. Her specialties include initially being a children's therapist specializing in needs impacting the ability to learn in education. Simultaneously she began leading an emergency team for law enforcement and fire personnel over nearly three decades, ‘when bad things happen to them, we go in'.   Managing her stress was with long distance, both in running and bicycling. Though now, as a Master Gardener time is spent in Nature. Her passion outside of family and friends includes travel, writing and being of service. Her  book, Coping with Ocular Melanoma: A Toolbox is published with proceeds going to ACIS.

Mike Reynolds and Christian Valencia, vice president of CRT Investments and Capital Markets, and Jeff Shue, senior director of CRT Investments and Capital Marketing, discuss the current state of the market and what to expect in the upcoming quarter.

A Cure in Sight is joined by Presley Jackson and his mom, Stephanie to discuss coming of age with a rare cancer diagnosis. This month is #childhoodcancerawarenessmonth and there are few more brave than kids tackling a cancer diagnosis. Please consider sharing this episode and or starting a fundraiser for ACIS on your page to help us ensure patients have the resources they need, as well as funds for future research for #ocularmelanoma All #pediatriccancer is rare. In the #ocularmelanoma world, it's even more rare to be born with OM or to experience a diagnosis in childhood. Presley Jackson was diagnosed at 13 years old. We wanted to share what he wrote in honor of #nationalbraveday and #childhoodcancerawareness "If I had to recount a time I faced a challenge or setback I would think back to November of 2018 when I started the battle with the biggest challenge I have and probably will ever face. This challenge would be my battle with the super rare cancer called ocular melanoma. The cancer and the treatment I received to fight this cancer would ultimately destroy the vision in my right eye rendering me practically blind. This would be my first major setback, because it impacted the biggest part of my life, baseball. I have played baseball since I was 5 years old. It is my pride and joy, and really my life. I love baseball. So when I returned to baseball in the spring of 2019 it was not the same as before. The cancer had ruined both my depth perception and my reaction time. This made playing baseball exceptionally hard and practically banned me from pitching. Slowly but surely, with hours of practice and work I would make my way back to the mound and back to the standard of playing I was at before my diagnosis. I continue to raise my standards still to this day and continue to push my limits and defy the odds. I may not be the best pitcher, but I give it everything I have got. Other setbacks would come in my everyday life. I have now become very light sensitive and fragile in a way. I get severe ocular migraines that affect the vision in my good eye as well. My cancer and subsequent radiation treatment took everything my body had, so normal illnesses like Covid, the flu and even the common cold are much worse on me. I also have to deal with hundreds of doctors appointments, scans and travel for treatment. This causes me to miss a lot of school and a lot of normal kid life. Through everything this challenge has thrown at me, I continue to live my life to the fullest and have even learned some very valuable lessons from it. I learned that no one is promised tomorrow, so you have to make every single moment count. I started a project called the Polaroid Project to help me capture these memories. The second lesson I learned is that family is everything. Having the full support of my family has enabled me to fully believe that anything is possible. Which brings me to my final and most important lesson, nothing is truly impossible." Presley Jackson Ponce September 21st, 2022 Thank you Presley for your bravery and honesty in sharing your story. ANNOUNCEMENTS: Eye Believe Survivorship Seminar in Nashville, Tennessee October 14-15. REGISTER HERE! (Welcome reception for in person attendees on October 13, 6:00 PM) (Virtual and in person options.) Lookin' For a Cure TEXAS 5K Walk for Ocular Melanoma  NOVEMBER 5, 2022; 8 AM  Register here and be sure to bring friends and family to walk with us! (Virtual option available) Lookin' For a Cure LA 5K Walk for Ocular Melanoma in memory of Laurie Walters   NOVEMBER 12, 2022 REGISTER here and feel free to bring friends and family along! (virtual options available)    Email contact@acureinsight.org for questions regarding any upcoming events! ********* Be sure to follow us on Facebook, Twitter, Linked In, or  Instagram @acureinsight, for more stories, tips, research news, and ideas to help you navigate this journey with OM! *A Cure in Sight is a 501c3 organization. All donations made can help fund our podcast to educate patients, fund research, aid patients, and more! Donate $10 $15 $20 today to help A Cure in Sight in their quest to find a cure. Contribute via  PAYPAL OR VENMO or reach out directly to contact@acureinsight.org  The Eye Believe Podcast is brought to you by Castle Biosciences. Castle Biosciences is a leading diagnostics company improving health through innovative tests that guide patient care. The Company aims to transform disease management by keeping people first: patients, clinicians, employees and investors.  This podcast was hosted by Danet Peterson and produced by Page Fronczek.

Acis et Galatée (Acis and Galatea) is an opera by Jean-Baptiste Lully. Unlike most of his operas, which are designated tragédies en musique, Lully called this work a pastorale-héroïque, because it was on a pastoral theme and had only three acts (plus a prologue) compared to the usual five. Otherwise, there is little musically or dramatically to distinguish it from Lully's tragédies.Purchase the music (without talk) at:Lully: Acis and Galatea (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Mallory Harding, mezzo-soprano, and Artistic Director of New Moon Opera joins the show to discussBiographyChicago-based mezzo-soprano Mallory Harding most recently performed with Haymarket Opera in their filmed production of Acis and Galatea, and previously covered the role of Maxualinda and sang in the chorus in their production of The Dragon of Wantley by John Frederick Lampe.  As a founding member and the Artistic Director of New Moon Opera, Mallory has appeared as Zita in Gianni Schicchi, Armelinde in Pauline Viardot's Cendrillon, Croûte-au-Pot in Mesdames de la Halle by Offenbach, Dinah in Trouble in Tahiti, and Hansel in Hansel and Gretel.Ms. Harding performed with Evanston Chamber Opera in the world premiere of Joseph's Gift by Francis Lynch as Alto Narrator and was hailed as "simply fanastic" (Aaron Hunt, Chicago Theatre Review).  She frequently performs with Vox 3 Collective and has sung the roles of Line and Agathe in their Chicago premiere of Carl Nielsen's Maskerade, in addition to appearing in numerous Vox 3 cabarets and recitals all over the city of Chicago.  She also is the alto section leader and cantor at St. Francis Xavier Catholic Church in Wilmette.Mallory Harding received her Master of Music degree from the University of Missouri-Columbia in 2012, where she performed the roles of Tisbe in La Cenerentola and Valencienne in The Merry Widow.Visit Creative Peacemeal Podcast on social media, browse podcast swag, and continue the creative conversations via the blog!Website https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/RedBubble Merch Shop: CPPodcast.redbubble.com

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org