That wearable fitness device on your wrist is measuring so much more than your exercise levels. Digital tools offer unprecedented opportunities in health research and healthcare but it can come at the cost of privacy. Six days of step counts are enough to identify you among a million other people – and the type of inferences that can be made from other everyday behaviors is growing rapidly.
Camille Nebeker, EdD, MS is Associate Professor of Behavioral Medicine in the Department of Family Medicine & Public Health at the UC San Diego School of Medicine. She discusses the ethical considerations of informed consent and potential harms and benefits of these technologies. She also shares ideas on how we can work together to create systems that define and encourage safe digital health research and practice.
Watch — The Digital Revolution: Ethical Implications for Research on Healthy Aging
“Mother Nature is not happy right now and she’s trying to tell us, in many ways,” says Kimberly Prather, Professor of Climate, Atmospheric Science, and Physical Oceanography at UC San Diego.
New weather patterns and events are causing concern but how do we know these changes are caused by human activity? Climate scientists are looking at trends over time to determine our impact on the planet.
Prather discusses recent CAICE studies aimed at advancing our understanding of how the oceans influence human and planetary health including novel experiments being conducted in a unique ocean-atmosphere simulator.
Watch — How Do We Know Humans are Impacting the Health of Our Planet? – Exploring Ethics
Starting in 1974, Kenneth Bowles – who at the time directed UC San Diego’s Computing Center – began to adapt the computer language Pascal for use on so-called “microcomputers,” precursors of today’s PCs. His primary interest at the time was a programming language that would allow students to work individually on projects without waiting their turn to do batch processing on the mainframe. But Bowles also foresaw the value of portable software that would allow programmers to write something once and run it anywhere. His solution was pseudo-code – p-code for short – an intermediate language to run on each machine and serve as a uniform translator.
Since most of his fellow computer-science faculty members were involved in more theoretical research, Bowles turned instead to students to fulfill his dream. He recruited one graduate student, Mark Overgaard, and a handful of undergraduates. At one point or another, more than 70 students were involved in the UCSD Pascal project, doing everything from writing code to shipping floppy disks to research centers around the world (for a token $15 royalty fee). In the early 1980s, the University of California sold rights to the technology to SofTech Systems, which tried but failed to convince IBM to adopt UCSD Pascal as the core operating system of its first personal computers. (Bill Gates’ MS-DOS won the IBM contract.)
Bowles gained world renown for initiating and leading this project that culminated in UCSD Pascal influencing many aspects of computing that are now ubiquitous, including modern PCs and Macs as well as Sun Microsystem’s Java language, which incorporates p-code.
Mark Overgaard and other alumni who worked on the ground-breaking language for what would later be called the personal computer gathered in recently to mark the 30th anniversary of the computer language and reminisce about the influence and legacy that Kenneth Bowles had on computing, teaching, and their lives and careers.
Watch — UCSD Pascal: Celebrating the Life and Work of Kenneth Bowles
La Jolla Symphony and Chorus’ December 2019 concert is comprised of three pieces that seem disparate at first glance: the premiere of Celeste Oram’s “a loose affiliation of alleluias,” Robert Schumann’s “Violin Concerto in D Minor,” and John Adams’ “Harmonium.” As LJS&C’s Music Director and Conductor Steven Schick points out, however different these compositions are stylistically – and they are very much so – they nevertheless share key thematic interests. Chief among these is an examination of how and where mystical introspection intersects with shared public experience.
Nee Commission recipient Celeste Oram’s piece blends the orchestra with improvising violin soloist Keir GoGwilt and three offstage singers dubbed “Teen Angels” in an inventive mélange of Renaissance-derived styles, popular song, postmodern modalities and other sources. “a loose affiliation…” also employs elements of theatre. What emerges is a contemplative work that simultaneously embraces both the intimate and the cosmic.
This examination of the mystical and metaphysical continues (albeit in a different form) in Robert Schumann’s concerto. Schumann’s music often expresses his concern with spirituality and how one reconciles its demands with mundane daily life, something with which the composer himself struggled. His approach to this question became increasingly elliptical as his career progressed; indeed, the “Violin Concerto in D Minor” has been dubbed “enigmatic” and “mysterious.” Seemingly conventional in style, the concerto leads the listener through intricate layers of sound meant to engage the curious mind in spiritual inquiry while appealing to more casual listeners. Virtuoso violinist Keir GoGwilt returns to the stage as the featured soloist.
Upon the 1981 premiere of John Adams’ choral work “Harmonium” one prescient critic noted that “a major new talent has arrived.” Like Oram’s piece this work experiments with form by mixing styles, and like Schumann’s concerto it expresses a concern with spirituality, in this case by setting poems by John Donne and Emily Dickinson to music. In each section Adams’ subtle modulations gradually gather energy, resulting in near-celebratory climaxes; in the final movement, based on Dickinson’s sensual “Wild Nights,” following this exultation the music subsides into a long, quiet coda as it fades from our hearing. In its original usage this piece’s title, derived via French from the Latin “harmonia,” simply means “harmony,” and the composer uses constantly shifting tonal patterns to evoke what he called “always moving forward over vast stretches of imaginary terrain.” It’s not too great a leap to dub this a metaphysical journey, or to apply that term to the concert selections as a whole.
Watch — Oram, Schumann, Adams – La Jolla Symphony & Chorus
In the early hours of April 20, 1989, 28-year-old jogger Trisha Meili was assaulted and left for dead in Central Park. The ensuing media frenzy instigated a public outcry for swift justice. Within days of the attack five African-American teenagers implicated themselves, after hours of psychological pressure and aggressive interrogation. The teens were tried as adults and convicted despite inconsistent and inaccurate confessions, DNA evidence that excluded them, and no eyewitness accounts connecting them to the victim. The convictions were vacated in 2002 after incarcerated serial rapist Matias Reyes confessed to the crime and DNA tests confirmed his guilt. The men subsequently filed civil lawsuits against the City of New York, the police officers, and the prosecutors involved in their case. A settlement was reached in 2014 for $41 million.
The story of the Central Park Five has remained in the public consciousness, in part due to acclaimed documentaries on the subject and recent reminders of Donald Trump’s role in fanning public hysteria, and is an ideal subject for composer Anthony Davis. Davis has created several operas that address social and political issues in both a historical and contemporary context, with particular focus on events and figures in American history involving issues of race and social justice.
Davis’ first opera, “X,” examined the struggle of Malcolm X to redefine his identity in accordance with his spiritual beliefs. Subsequent operas included such diverse topics as the kidnapping of Patty Hearst (“Tania”), the 1870s trial of Standing Bear (“Wakonda’s Dream”), a rebellion aboard a slave ship and the trial that followed (“Amistad”), and the story of Adam’s apocryphal first wife as emblematic of the eternal conflict between the sexes (“Lilith”). Given his concern with America’s continuing racial and political struggles, his latest opera, “The Central Park Five,” is of a piece with Davis’ earlier works.
In conversation with UC San Diego Professor Emeritus Cecil Lytle, Davis recounts the origins of the opera, the challenges of writing for an ensemble, the use of jazz idioms in his work, his preference for smaller-scale intimate dramas, and the responsibilities an artist undertakes when dealing with historical events. He stresses that there will always be a place for socially-aware works that confront controversies head-on, and in this vein mentions his plan to create an opera focusing on the Tulsa Race Riot of 1921 (depicted in the first episode of HBO’s “Watchmen” series). As Davis noted in an earlier interview, “These pivotal events in our history offer windows into understanding who we are today and how we arrived at our present situation. The slogan, “Black Lives Matter” is not only an important political statement but it is also the central focus of my work as an artist and composer.”
Watch — The Central Park Five with Anthony Davis