The Late Night with AI performance was a part of the 麻豆原创 Celebrates the Arts festival 鈥� an annual two-week cross-disciplinary creative showcase at the Dr. Phillips Center for the Performing Arts in downtown Orlando 鈥� joining a slate of events designed to highlight cross-disciplinary creativity. From immersive simulations to futuristic stagecraft, 麻豆原创 demonstrated how emerging technologies like AI and digital twins are shaping the future of the arts and beyond.

As industries increasingly demand fluency in both technology and creative thinking, 麻豆原创 is ensuring its students aren鈥檛 just adapting to change 鈥� they鈥檙e anticipating it. Whether in engineering, the arts, healthcare or other fields, the ability to think critically, collaborate across disciplines, and leverage emerging tools is becoming essential.

鈥淲e鈥檙e giving students the tools to lead in a world where technology and creativity are no longer separate,鈥� says Jeff Moore, dean of the College of Arts and Humanities. 鈥淏y integrating advanced technologies into the arts, we鈥檙e enriching their creative education while simultaneously preparing them to thrive in a workforce that demands both technical fluency and human insight. 麻豆原创 graduates won鈥檛 just be ready for the future. They鈥檒l help shape it.鈥�

Developed through a collaboration between 麻豆原创鈥檚 School of Performing Arts and texts and technology doctoral program, the show originated in a Topics in Technical Theatre course focused on AI and performance. The production brought together undergraduate and graduate students from theatre, design and digital media in a fully original work that blurred the lines between art and technology. The result was part sketch comedy, part performance art and part real-time tech experiment.

Audiences encountered everything from a speed dating game powered by an AI chatbot, to a satirical musical theatre piece about AI-enhanced parenting, to an interactive game show that breaks down how AI processes language. Sam Sherrard, a third-year Bachelor of Fine Arts (BFA) in theatre design and technology student, brought her background in team-building and experiential programming into the creation of the game show-style segment. She built a sketch that used shapes and color to represent the AI concept of 鈥渢okens鈥� 鈥� the basic units of meaning in language models like ChatGPT.

鈥淥ne of the early conversations we had was, 鈥楬ow does AI work?鈥� 鈥� she says. 鈥淚鈥檓 creating a metaphor for that so our audiences can understand and interact with it.鈥�

By turning abstract AI mechanics into a game, Sherrard found a way to bridge education and entertainment while making something tactile and engaging. As someone currently taking an introductory computer science course, she could read Python, a widely used programming language, but didn鈥檛 yet have a full grasp of all the tools and functions available. That鈥檚 where AI came in. Using ChatGPT to fill in technical gaps, she discovered a new way to problem-solve without ever handing over the creative reins.

鈥淚t doesn鈥檛 give me the final answer 鈥� it just helps me start the process,鈥� she says. 鈥淚t still feels like my work, because I鈥檓 the one solving the problem.鈥�

Gil Bloom, a third-year BFA theatre design and technology student, led the creation of the show鈥檚 speed dating segment 鈥� an awkward interactive experience in which audience members attempted to flirt with a chatbot.

The idea was sparked by a text from his dad, who works for a company exploring the use of AI-powered call centers. Bloom tested one of the platforms, Bland AI, and was surprised by how smooth and fast the responses were.

The next day in rehearsal, surrounded by a room full of actors riffing on love, dating and tech, the idea clicked: take this customer service AI and turn it into an awkward, overly eager date. He built the segment around that concept, repurposing the AI鈥檚 quick-response capabilities to simulate a real-time, if deeply flawed, human interaction.

鈥淚鈥檓 forcing this tech to do something it鈥檚 not really supposed to do,鈥� Bloom says. 鈥淲hich is everything we do in theater.鈥�

The result was a stilted, glitchy exchange that became funnier the longer it dragged on. The chatbot stumbled, overshared and occasionally malfunctioned mid-sentence 鈥� like a date gone wrong.

Bloom, who comes from a tech-savvy background, designed the piece to strip away the mystery around AI by showing it at its most awkward and human-adjacent.

鈥淚t鈥檚 a machine that responds in real time and sounds like a person 鈥� that鈥檚 impressive,鈥� he says. 鈥淏ut what it says is often kind of dumb. I want people to laugh at that and also realize what AI actually is.鈥�

While some segments leaned into metaphor or narrative, Bloom鈥檚 used humor to peel back the curtain. That choice wasn鈥檛 just for laughs; it was a deliberate way to show how AI still falls short when it comes to nuance, emotion and real connection.

The course emerged from a growing need among faculty to help students navigate their creative futures in a world increasingly shaped by artificial intelligence. Assistant Professor of Theatre History and Dramaturgy Chlo毛 Edmonson says the idea started with concern but quickly evolved into curiosity.

鈥淲e were trying to figure out how to be the best educators we could 鈥� how to help students navigate this ever-changing technological landscape while holding true to our standards,鈥� she says.

When Edmonson and other faculty surveyed students in the department, they were surprised to find anxiety rather than enthusiasm. Many students said they were afraid AI would eventually replace them or ruin their creative careers.

鈥淚t surprised me,鈥� she says. 鈥淚 assumed I鈥檇 be the cautious one and they鈥檇 be eager to experiment 鈥� but they were concerned.鈥�

That fear, she says, was rooted more in headlines than hands-on experience. And that鈥檚 what the course aimed to shift: giving students the space to explore AI as a tool, a collaborator and a philosophical prompt.

鈥淭here鈥檚 a lot of noise around AI right now 鈥� both fascination and fear,鈥� Edmonson says. 鈥淭his class let students get past that and explore what it really means to collaborate with AI in a creative space.鈥�

The result was not only a technically complex show but a philosophical one, asking questions about authorship, originality, and the blurred lines between human and machine. It also reflected a much broader initiative at 麻豆原创: to break down the silos between disciplines and embrace a future where creativity and computation inform each other.

The university鈥檚 digital twins presentation 鈥� also part of 麻豆原创 Celebrates the Arts 鈥� highlighted how real-time data and virtual modeling are opening new possibilities in theater production.

A digital twin is a virtual replica of a physical space, powered by sensors and simulations. For theater practitioners, that means being able to digitally map a performance space before ever stepping inside it. Directors and design teams can test lighting, sound and staging choices in a simulated environment, and performers can visualize how movement and blocking will interact with set pieces and audience sightlines.

鈥淭he people performing at 麻豆原创 Celebrates the Arts have maybe been on that stage once 鈥� if at all,鈥� says Eileen Smith, program director for the 麻豆原创 Institute for Simulation and Training and director of the E2i Creative Studio, and Training and one of the panelists for the digital twins presentation. 鈥淏ut with a digital twin, they could step into a virtual version of the theater and understand how it works.鈥�

For student artists and touring companies alike, it鈥檚 a powerful tool to rehearse smarter, design faster and better understand the relationship between space and storytelling.

麻豆原创 is a place where engineering students collaborate with actors, where dramaturgs analyze algorithms and where no idea is too out-there if it advances understanding.

The (tech-focused) events at 麻豆原创 Celebrates the Arts weren鈥檛 just performances. They were a microcosm of a university that doesn鈥檛 just keep up with technological change, it helps define it. And as artificial intelligence continues to influence the way we live, work and create, 麻豆原创 students aren鈥檛 waiting to see how it unfolds. They鈥檙e stepping into the spotlight and showing the world how art and AI can evolve together.

This year’s call for proposals encouraged researchers to leverage technology to enhance arts-based health programs, improve accessibility and develop evidence-based practices that promote overall wellness, under the theme 鈥淚nnovative Synergy: Bridging Arts and Wellness with Technology.鈥� As technology continues to transform how we live, work and create, the opportunity to explore the connection between the arts and wellness through a technological lens has never been more promising.

The awards were founded by Central Florida鈥檚 Pabst Steinmetz Foundation to recognize teams building sustainable models for arts and wellness innovation. The teams involve collaboration between the聽College of Arts and Humanities, at least one internal university partner and a community organization, in order to promote cross-disciplinary collaboration and research.

鈥淧artnerships between 麻豆原创 and community always create magic and inspiration as they enrich our community鈥檚 capacity; the 2024 awardees/initiatives are no exception. We look forward to the impact each creates,鈥� says Margery Pabst Steinmetz, who co-founded the foundation with her husband Chuck Steinmetz.

The winners were selected for their significant potential to positively impact the community through a collaboration of arts, science, wellness and engagement in their research.

Scientific Proof of Music Therapy’s Impact on Alzheimer鈥檚 Disease

In collaboration with 麻豆原创鈥檚 Lake Nona Medical Center and 麻豆原创 Health Faculty Physician Practice at Lake Nona, this innovative research aims to investigate the effects of music therapy on individuals with Alzheimer鈥檚 disease by examining molecular changes in salivary exosomes. Exosomes are small extracellular vesicles released by cells that carry biomarkers reflecting brain health, making them an ideal tool for studying the molecular effects of music therapy in Alzheimer鈥檚. By analyzing biomarkers such as serotonin, dopamine, amyloid-beta and tau proteins, the study seeks to uncover how music therapy impacts mood, memory, and anxiety and potentially slows neurodegeneration in patients with Alzheimer鈥檚 .

麻豆原创 School of Performing Arts Professor and violinist Ayako Yonetani lends her expertise in music therapy and performance, which is crucial for developing effective music therapy sessions. Under her guidance, the project will include live classical music, as familiar and emotionally significant compositions are known to elicit stronger therapeutic responses. Yonetani’s unique combination of skills in both the performing arts and the therapeutic applications of music will help bridge the gap between the arts and science, ensuring that the music therapy sessions are effective and tailored to the needs of Alzheimer’s patients.

鈥淢usic is more than just art and entertainment 鈥� it has the power to enhance brain function and well-being,鈥� Yonetani says. 鈥淎bout a decade ago, we discovered that Mozart鈥檚 music could boost frontal lobe function by 50%. While its benefits for Alzheimer鈥檚 patients have long been recognized, definitive proof has been challenging due to the difficulty of measuring brain function noninvasively.鈥�

This pioneering collaboration between our Pegasus String Quartet at the music department and the College of Medicine bridges music and the brain, using innovative saliva-based technology developed at 麻豆原创 to provide concrete evidence of its effects. I hope we continue to explore music鈥檚 remarkable influence and uncover new ways it can enrich our lives.鈥�

The research aims to enhance the quality of life for patients by utilizing personalized music therapy. The noninvasive nature of salivary exosome analysis makes it an accessible and scalable method that could be widely adopted in clinical settings. Caregivers, who often experience significant emotional and physical stress, will also benefit from the improvements in patients’ mood and cognitive function, as well as the structured and meaningful interactions facilitated by music therapy.

In addition to benefiting Alzheimer’s patients and their caregivers, this research holds significant implications for the healthcare and research communities. The study’s findings could pave the way for the incorporation of music therapy as a complementary treatment, providing valuable clinical evidence to support its use. By demonstrating how music therapy influences molecular biomarkers, this research has the potential to revolutionize diagnostic and monitoring tools for Alzheimer’s, with possible applications in other neurodegenerative diseases, such as Parkinson’s disease and various forms of dementia.

Ultimately, this research has the potential to establish music therapy as a scientifically supported and widely accessible treatment for Alzheimer’s, which could transform clinical practices and improve patient care.

This project involves researchers from the College of Arts and Humanities, Burnett School of Biomedical Sciences, College of Medicine, and the Department of Geriatrics and Palliative Medicine at the 麻豆原创 College of Medicine, including:

• Ayako Yonetani, School of Performing Arts
• Kiminobu Sugaya, Burnett School of Biomedical Sciences, College of Medicine
• Mariana Dangiolo, geriatrics and palliative medicine, College of Medicine
• Amoy Fraser, director of clinical and aerospace health research, College of Medicine

Immerse, Rehearse, Perform: An Innovative VR Experience for Overcoming Stage Fright

This project, developed by the CREATE team at 麻豆原创, aims to address performance anxiety 鈥� specifically public speaking anxiety 鈥� in schools. Utilizing immersive virtual reality (VR) technology, the initiative enables users to practice public speaking in a virtual classroom environment. The primary focus is on secondary and high school students, but the VR experience can be beneficial for anyone preparing for public speaking, including professionals such as ministers, motivational speakers, singers and individuals preparing for presentations.

“Our project will combine new technologies in the use of virtual reality and the creation of digital assets in order to produce a complete, interactive, and immersive experience that can assist a user in practicing skills to help overcome anxiety, nervousness, and fear in public speaking and presentations,鈥� says Stella Sung, Director of 麻豆原创 CREATE.

While existing VR applications assist with performance anxiety during job interviews and public speaking events, this project enhances the experience further. Users can customize their VR practice sessions to simulate a range of disruptions 鈥� such as student chatter, tone shifts or camera jitters 鈥� and receive simulated audience feedback, providing a more realistic practice environment. This VR tool allows users to rehearse their material repeatedly in various conditions, offering the flexibility to practice at any time and in the comfort of their own homes.

The Boys and Girls Club of Central Florida has expressed a need for technology that can help students overcome performance anxiety and build their confidence. By partnering with 麻豆原创 CREATE, the students now have access to advanced VR tools, along with opportunities for personal growth and development. The project is designed to be scalable, with the potential to reach schools, community centers, places of worship and other 麻豆原创 organizations throughout Central Florida.

This project goes beyond skill-building as exposure to VR technology sparks interest in STEM fields and promotes digital literacy within the community, encouraging lifelong learning. It also has the potential to evolve into a commercially available application, expanding its reach and offering a valuable tool for public speaking in various fields.

This project includes researchers from 麻豆原创 Create, E2i Creative Studio (iST), and Boys & Girls Club of Central Florida:

• Stella Sung, 麻豆原创 CREATE, School of Visual Arts and Design, College of Arts and Humanities
• Ronald Hargrove, 麻豆原创 CREATE, School of Visual Arts and Design, College of Arts and Humanities
• Maria Murillo, 麻豆原创 CREATE, School of Visual Arts and Design, College of Arts and Humanities
• Eileen Smith, E2i Creative Studio, Institute for Simulation and Training, Pegasus Research Center
• Michael Carney, E2i Creative Studio, Institute for Simulation and Training, Pegasus Research Center
• Maria Harrington, Nicholson School of Communication and Media, College of Sciences
• Tasha Banks Robinson, Parramore Club, Boys & Girls Club of Central Florida

The 麻豆原创 School of Visual Arts and Design opens each academic year by showcasing an external professional artist in the gallery. These exhibitions enrich the educational experience by exposing students to varying artistic practices, innovative techniques and industry insights directly from established artists and professionals. External artists contribute to the vibrancy of the program through workshops, lectures, exhibitions and collaborative projects, inspiring students to push boundaries and explore new artistic possibilities. It injects fresh perspectives, fosters creative dialogue and expands students鈥� artistic horizons. Their presence enhances learning and strengthens the College of Arts and Humanities鈥� reputation as a hub of creativity and excellence in visual arts education, preparing students to thrive in a dynamic artistic landscape.

鈥淐lary鈥檚 work contains significant content of physical forms representing and openly processing trauma that viewers will engage with and relate to,鈥� says Associate Lecturer and 麻豆原创 Art Gallery Director Shannon Lindsey. 鈥淗is incredible level of craftsmanship and tedious hand-cut paper works have a visceral effect where we can visually connect to his hand on the materials. The salon-style installation includes hundreds of individual works and commands your attention but also invites you to look closely at each hand-cut detail.鈥�

The 麻豆原创 Art Gallery hosts a call for exhibition proposals every two years, providing an opportunity for visual artists and curators to submit their proposals. Out of 145 submissions, Clary鈥檚 proposal was one of four selected by the 麻豆原创 Art Gallery committee.

鈥淲e are passionate about bringing professional artists from outside of Central Florida to 麻豆原创 to expose our university and greater Orlando community to artists they do not have access to regularly. I encourage the artists to embrace the unique physical space of the gallery and consider different layouts of their work,鈥� Lindsey says. 鈥淚n addition to benefiting gallery audiences, this experience provides an opportunity for visual artists to further experiment with their presentations and gain insight into how viewers experience and respond to the work. I frame these exhibitions as a meeting place where the professional artists, students, faculty, staff and greater community members can come together and have a shared impactful experience through visual art.鈥�

In this Q&A, we interviewed Clary to learn more about the inspiration behind the exhibition.

Can you describe the inspiration behind the title Memento Morididdle? What themes or motifs are explored in this work?
I explore the ideas and history of 鈥淢emento Mori鈥� and 鈥淢emento Vivere;鈥� remember, you鈥檒l die, so remember to live, combined with that of Victorian sitting rooms, where one gathers and exhibits their achievements.

In February of 2013, I lost both of my parents to smoking-related cancers. I began to think a lot about my mortality and my highly traumatic childhood. I see this body of work as a collection of traumas, healed over time yet still visible. I pay homage to how they have shaped me as a person and an artist.

What techniques or materials did you primarily use to create the installations? How do these choices contribute to the overall experience for viewers?
I am primarily a hand-cut paper and collage artist who uses found frames to encapsulate each paper sculpture. Paper is a unique material, common and every day, fragile yet resilient, much like the human psyche. Each frame is sourced from antique stores, thrift shops and flea markets. At some point, they held a cherished memory of a loved one or an experience but have been abandoned and forgotten. I seek to re-imbue them with new life and a new purpose.

Could you walk us through conceptualizing and creating one of the installations featured in the exhibition?
Each piece is unique and comes about in different ways. I work consistently, creating four to eight pieces a day. Thinking about the work that goes into a massive installation can become daunting and overwhelming. But dividing it up every day over a year allows me to build an enormous body of work and keep it fresh.

Everything starts with the found frame. How ornate is it? What history or story does it have to tell? How does the wear and tear show its age and life? Once the frame is chosen, the wallpaper will be selected. This can take some time because the paper needs to enhance and work with the chosen style of frame. Color layers are picked next, usually a combination of five going from light to dark. This step is the most exciting as it determines the mood of the work. I then mount the wallpaper to a base layer of illustration board or drywall. If it’s drywall, I will use a hammer and hand to distress the surface, creating the opening. If the surface is an illustration board, I map the opening in pencil and then use a Fiskars ergonomic craft knife to cut out the design. From there, it’s a lot of patience and intuition. I never have a roadmap when I begin. I start with the first layer of paper, laid underneath the initial opening, and then I trace out the shape slightly smaller than the opening. I use that first layer to inform the second, subdividing each subsequent layer until I run out of space between 15 and 20 layers. I then laminate each layer using archival clear glue or illustration board spacers between each layer to assemble the piece. They are then mounted from behind to complete the work.

How does your background or previous work influence the pieces in Memento Morididdle?
I’ve been cutting paper since 2007, but even then, I was a chromophile through and through. Color has always been central to my work. I think it’s because I had such a rough childhood and always saw things as drab, dark and hopeless. My work seeks to acknowledge those traumas and provide hope for those who have been through similar experiences. These 鈥渂eautifully scarifications鈥� remind us that wounds heal, life moves forward, and if we were brave enough, so could we.

Are there specific messages or narratives you hope viewers take away from experiencing your installations?
I want the viewer to come away with a sense of awe and hopefulness. These installations are meant to be overwhelming and all-encompassing, as are the emotions they are mimicking. At the same time, I want the viewer to question the modality of creation. From afar, my work looks laser cut, but once they get up close and personal, they realize the work’s subtle imperfections and handmade quality. In a sense, it’s like viewing the world around us. Everyone at a glance looks as if they know what they鈥檙e doing and put together; it鈥檚 only when we get close that we realize how imperfect we really are and that we are all just trying to get through life the best way we know how.

What challenges or rewards did you encounter while preparing for this exhibition?
I think the constant challenge is not getting stuck in the traumas of the past. My parents passed away 10 years ago, even though it feels like yesterday. I must remind myself that this work isn’t about the sadness and the grief; it’s about growth, healing, forgiveness and hope to enjoy the life I’ve built for myself. The reward is how it touches so many viewers. Once they uncover the narrative behind the work, their collective traumas start to seep out, and there is a palpable connection.

Can you discuss any references that influenced the creation of your artworks in this exhibition?
I’m always looking at everything. When my parents got sick, I was fascinated with the mesmerizing electron microscope images of cancer cells. It was elegant in its construction but deadly in its actuality. How could something so beautiful be so destructive? I read [Charlotte Perkins Gilman鈥檚] The Yellow Wallpaper and was overwhelmed with the narrative and symbolism. I’m very much engaged with contemporary art. I am fascinated by artists such as Sarah Sze, Julie Mehretu, Daniel Zeller, Mars-1, Swoon, Felix Gonzalez鈥揟orres, Pip and Pop, Mia Pearlman and so many others.

How does your work challenge traditional notions of art or exhibition spaces? What effect do you aim to achieve in your installations?
I like to think of my work as organic and ever-changing. You’ll never see one of my installations the same way twice. It grows and morphs to fit whatever space is offered for its gestation. Paper is a material that all artists have a unique connection to, whether they use it as a substrate for wet or dry media, as a collage element, as a sculptural element, etc. To use it as a primary medium challenges the viewer’s notion of what can be considered a “fine art” medium. I hope my installations provide an access point to the arts by using humble everyday material to create fantastical experiences.

Are there any specific stories or anecdotes behind the creation of certain pieces in Memento Morididdle that you’d like to share?
There are over 380 works in this installation, and everyone tells a story, specific or otherwise. Every piece reminds me of my late mother and father, the silent struggles they were forced to endure, how they affected me as a child, and how my reactions to those situations molded me into the person I am today. It is a collection of memories and non-memories that speaks to resilience and our ability to survive.

How does your journey or experiences influence the conceptualization and execution of your art installations?
Without my journey, I don’t think this work would be possible. I often get asked if I could change my trauma. Would I? My rational side says, of course, but without my past, I wouldn’t have my present or future. This resonates within the work and the process of its creation. This, in turn, imbues it with life, allowing it to live on its own and in the minds of my viewers.

痴颈蝉颈迟听 at the 麻豆原创 Art Gallery from Sept. 12 to Oct. 11. Join us for the opening reception on Sept.12 and attend the artist talk during the closing reception on Oct. 11 for more insights into Clary’s work.

Program Director: Stephanie Wheeler, associate professor of writing and rhetoric, director of undergraduate studies for the College of Arts and Humanities

Instructor of the Taylor Swift class: Emily Proulx, associate instructor of writing and rhetoric

When is the class offered?
The class themed around Taylor Swift will be offered again in Fall 2024. Topics for future semesters are to be determined. Students may take this course twice with a different topic covered for the each class.

How many students are typically in a class?
40

Prerequisites: Composition II (ENC 1102)

From the Program Director

Stephanie Wheeler

How would you describe this course?
A lot of people have a limited understanding of the 鈥渢heories of rhetoric鈥� because, frankly, it doesn鈥檛 sound interesting. We learn from what we enjoy. So, every semester we offer an engaging topic as a gateway into rhetoric. We鈥檝e themed this class around fantasy football, hip-hop, podcasting and Lady Gaga. People are talking about Taylor Swift and we thought it was time to make space for her. The conversations around her music and her life provide us a great runway to develop better written and oral persuasive skills.

What鈥檚 the coursework like?
The discussions might delve into Taylor Swift鈥檚 music, videos, interviews and what鈥檚 being said about her on social media. She鈥檚 at the center of public discourse almost daily 鈥� politics, complex issues, even her visibility at football games. By digging into all of it, students learn concepts of rhetoric and how to apply them 鈥� and they enjoy it.

Do students need to be Taylor Swift fans?
It isn鈥檛 a requirement. Whether you鈥檙e a fan or not, you need to be open to different ideas and critiques, and you need to be willing confront uncomfortable truths. One student in my Lady Gaga class a few years ago was not a fan, but he came to understand what he鈥檇 been missing in Gaga鈥檚 work. He still sends me updates about her.

What should be the key takeaway(s) from the course?
If you want to make positive change in the world, you need to know how to move ideas effectively. You do that by understanding rhetorical strategies and appeals in everyday conversations. The takeaway, then, is being a better communicator.

How can a course like this prepare students for a variety of careers?
I tell students if you鈥檙e undecided about a major, give writing and rhetoric a closer look 鈥� or use it as part of a double major. Good rhetorical skills lend themselves to any profession. We鈥檝e had graduates go into fields like law, psychology, entrepreneurship, Disney Imagineering, and the Peace Corps. They do well because they鈥檝e learned how to think critically through different angles of messages and also shape their own. Think about it: Writing has a place in all parts of our lives, even our Taylor Swift lives.

From the Student

Emma Drauer, junior, writing and rhetoric major

Did you take this class because of your interest Rhetoric in Pop Culture or because of your interest in Taylor Swift?
It鈥檚 a mix for me. As a writing and rhetoric major, I鈥檝e enjoyed learning in unique classes 鈥� disability rhetoric and marketing your writing have been among my favorites. But this is the first time I鈥檝e taken a course with such personal appeal. I like Taylor Swift and her music, and because of that the class motivates me to think more deeply about her work, the conversations around her and the relevance in an academic sense.

What has surprised you about the class?
I expected to discuss Taylor鈥檚 speeches and interviews, and not her music so much. So, I was surprised when our first assignment focused on the visual rhetoric of her music videos and live performances. We even analyzed how her clothes help tell a story. That was a great way to introduce a few concepts of rhetoric alongside the assigned reading.

Describe a typical day in a rhetoric class that analyzes Taylor Swift.
Our instructor, Emily Proulx, usually starts the day by showing memes to spur thought. The memes summarize what people have posted on social media: 鈥淪he sings too many songs about her exes鈥� or 鈥淚 want to watch football instead of Taylor Swift in a luxury box鈥� or 鈥淲hy did she have to announce her new album at the Grammys?鈥� Comments like that help us recognize the difference between being persuasive and being opinionated.

Tell us a concept you鈥檝e learned.
I鈥檇 heard about parasocial relationships, which is basically a one-sided relationship. It鈥檚 what we have with public figures. To Taylor Swift鈥檚 credit, she writes so authentically that we develop this strong sense of knowing her, when we don鈥檛. People who criticize her are doing the same thing. Either way, the parasocial relationship can immediately weaken any rhetorical appeals.

What has been most challenging about the class?
Keeping my papers academic, with a meaningful thesis. I have to catch myself ranting or from falling into the parasocial mode in my writing. It鈥檚 easy to casually refer to 鈥淭aylor.鈥� I鈥檓 learning to be better about properly citing sources.

Your most important takeaway?
If we want to influence people, then we need to articulate our thoughts carefully. Look at Taylor Swift. Nearly everything she does or says will be criticized by someone. How does she respond? I鈥檓 sure she鈥檚 mindful of her rhetorical strategies. We can learn a lot from her.

In its 鈥渙pening run鈥� this semester, the fund pairs students in theatre studies in creative drama from the聽College of Arts and Humanities (CAH)聽with students from the College of Nursing聽as they provide interactive theatrical programming for patients at Nemours Children鈥檚 Health.

鈥淲e are so grateful to the Goulds for establishing this program,鈥� says聽Associate Professor and Theatre for Young Audiences Director聽Elizabeth Horn 鈥�10MFA. 鈥淭his experience is not only something that will benefit our students as they go forward in their careers but, more importantly, is also an experience that is vitally important to these children and their healing processes.鈥�

The Goulds鈥� generosity has provided five years of funding for this program; like-minded community members can also.

The Goulds鈥� gift to 麻豆原创 is the latest in their generous history of giving to the university. Even though no one in the immediate family attended 麻豆原创, the Goulds have previously established nursing scholarships and supported the theatre department; they have also given generously to the聽麻豆原创 Flying Horse Editions, a collaborative research studio for visual artists.

Norman Gould, the family鈥檚 patriarch, died in 2018.

鈥淢y father instilled within us integrity and humility,鈥� Jeffrey Gould says. His kind, compassionate and generous nature also lives on through Jeffrey and Bruce.

The ability to bring alternative theatrical productions to audiences who might not otherwise be able to attend them has long been a goal of Horn and was fully embraced by聽Associate Professor Maureen Covelli, a longtime faculty member in the College of Nursing.

鈥淚 told professor Horn鈥檚 students that as nurses, we are 鈥榓ctors鈥� in the sense that we always put on our best face, no matter what stresses we are under, and we are happy to assist in this program however we can,鈥� says Covelli.

This semester鈥檚 production, Wonderland, incorporates elements from Lewis Carroll鈥檚 classic story聽Alice in Wonderland, Horn says. She will take responses and impressions from the children and incorporate them into an original play that alum Sage Tokach ’22MFA and Gabby Lawlor, a graduate student in the Theatre for Young Audiences聽program, will develop for next semester鈥檚 students to perform.

Jordan Simon, a senior in the 聽stage management BFA program, was excited to participate in the program through the Creative Space for Drama class in CAH. She created a drama lesson plan that uses creative exercises to enhance students鈥� imagination using themes of fantasy and curiosity with 鈥渄ifferent creatures and environments.鈥�

鈥淚鈥檝e been doing theatre since I was 12 or so,鈥� says Simon, who always loved theatre for young audiences but had not experienced theatre performances geared toward children with serious illnesses or in a clinical setting.

鈥淚t was a little difficult because there are a lot of theatre games that can be very involved when you鈥檙e in person,鈥� she says. 鈥淲e had to make sure that the message could still reach them through Zoom.鈥�

One of the games that Simon and her group use in a virtual setting is Imagination Walk, where the children close their eyes and 鈥渨e take them on this long, really descriptive scene and lead them into their own Wonderland world,鈥� says Simon. At the end of the exercise, Simon invites the children to pantomime the things that they 鈥渟aw,鈥� and act them out over Zoom using whatever body or facial expressions they choose.

Horn鈥檚 graduate students developed digital scavenger hunts for the children with different QR codes posted around the pediatric areas that, when scanned, will take the children to a student-created video led by the Mad Hatter or Alice. They also assembled 鈥渢reasure boxes鈥� that include puzzles and craft activities approved by an occupational therapist as suitable activities for school-age children.

The process of developing the program has been invigorating to Horn and Covelli who believe it鈥檚 not only about bringing a new program to a new audience, but the effect of the program on each student.

鈥淎s educators, we know that what we do impacts our students, but we also know that the change happens one student at a time,鈥� Horn says. 鈥淚n this program, we know that one student can have a huge impact on not only a sick child, but also in the way they view their own place in the world. And that is truly life changing.鈥�

The donors also hope their gift makes a lasting, life-changing impact.

鈥淲e are honored to establish this fund in honor of our mother, who has not only been an advocate for nursing her entire life but has also understood the joy and fulfillment that the theatre arts can bring,鈥� says Jeffrey Gould. 鈥淚t is our hope that theJeanette M. Gould Traveling Theater Fund聽will serve as an enhancement to the excellent care that nurses bring to hospitalized children.鈥�

Here she shares the importance of integrating science and the arts, as well as her research on using virtual and augmented reality in the classical concert setting.

Transcript

Stella Sung: We have the opportunity to be totally creative. Totally creative. And 麻豆原创 has an opportunity to be a part of that in a really big way.

James Evans:聽Hello and welcome back to another episode of Knights Do That! We are interviewing Dr. Stella Sung on the show today. Dr. Sung is a renowned composer, Pegasus Professor, Trustee Chair Professor, and Director of CREATE at 麻豆原创. Her work at 麻豆原创 spans decades and her academic career is non-linear to say the least. Starting as a聽music聽professor in the聽School of Performing Arts, Dr. Sung now brings her expertise to the School of Visual Arts and Design, where she works to inspire future generations of animators and empowers them to use music and sound to elevate their storytelling.

We’re going to discuss what it means to hold these titles, the importance of integrating science and the arts, and her research regarding using virtual and augmented reality in the classical concert setting.

Thank you Dr. Sung for being here today. How are you?

Stella Sung: Thank you. It’s great to be here with you. It’s

James Evans: It’s fantastic.

How did you develop your passion for music? That’s such an important part of your identity and what you provide to 麻豆原创 and your community. Did you always know that you wanted to be a composer?

Stella Sung: I started as a kid taking piano lessons, so actually I’m trained as a classical pianist.

My undergraduate degree is from the University of Michigan in Ann Arbor and is in piano performance. And then I kind of veered a little bit off to doing a master’s degree in composition. I thought it was just going to be something to explore and, you know, just kind of do. And so I have a master’s from UF in that.

And then I still felt like I could be a good pianist and make a career out of that. So I went to the University of Texas at Austin and did my doctorate in piano. But you know, life has interesting paths for us and some that we know and we don’t know. And I started working more and more as a composer.

And got a lot of inspiration and encouragement in that way, just getting things published from major publishers that I never thought I would ever have that kind of opportunity. The signs were there that I should just kind of keep writing music and I kept getting commissions and working with wonderful artists and and orchestra.

Ensemble soloists. I had an opportunity to write a piece for Yoyo Ma, who was, you know, a world-famous cellist, right?

And that was kind of a really sort of marvelous opportunity to say, 鈥淗ey, this is, this is neat to connect to these world class artists doing the work that I do.鈥�

I didn’t really start off as being a composer at all.

It took me a while to think of myself because I wasn’t planning to do that. You know, when I started writing music, I would always feel that it came naturally, it came easily. It was work, but it was sort of, I got into that zone of creativity where, you know, you kind of lose track of time and all that.

And I got to that place when I was a pianist as well, but not in the same way. And I think the turning point for me was I was awarded a fellowship at the McDowell Colony, which is in New Hampshire. And lots of well-known artists of various different kinds have gone to the McDowell Colony to do their thing. And so, it’s a beautiful place. It was set up by an American composer named Edward McDowell, and I think it’s like 400 acres. Just this beautiful New Hampshire area and every artist has their own studio. A little studio, very simple. Piano and restroom area and a little couch or something, and then a table. And that’s about it. And so it’s a very simple sort of thing.

And at that time, I didn’t have a cellphone. There were no TV or anything. So you’re just out there doing your art, right? And all the cabins, all the studios are separated pretty far away from each other. And in fact, you know, artists are asked not to bother other people. You’re kind of just doing your thing. And then we meet for meal at the main house and that sort of thing. So there is some socialization.

I had a residency for a month in beautiful September, October, where the leaves are so fantastically changing and beautiful. And I took a project there and a set of three songs that was going to write on poetry by Robert Frost. And it was just this turning point where started writing this music, finished the piece in a couple of weeks. and I thought, this is really what I want to do. This is really who I think I can be and make an impact and make a make a difference with this work.

And so I think that was really kind of like the turning point that I said, 鈥淥K, aha.鈥� You know, it’s one of those aha moments, right? Where I thought, 鈥淵ep. OK, I can call myself a composer:

James Evans: That’s amazing. And now you’re a composer that also does a lot of work with documentaries.

You’ve been credited as a composer on several award-winning documentaries. Can you, A, explain that experience to me, but also explain your perception both on yourself and the work you do as a storyteller

Stella Sung: Yeah. So I’ve actually been really fortunate to hooked up with wonderful filmmakers One is Dr. Lisa Mills. And so I’ve been fortunate to work with her on her documentaries and also Aaron Hose. And Aaron is a graduate from our school. And I think at the time working actually in communications or in instructional research or something. And so I wrote music for his documentary film called Voices in the Clouds. So I’ve always had an interest in visual things that connect to the arts and to the visual film or so on. I think it’s probably, because my mom is an artist, as a painter. I always had paintings and visual things all around the house. So I’ve always been aware of that and I’ve always liked including multimedia stuff in my work as a composer. So film kind of just was natural.

And I think the challenge of writing music for documentaries particularly is really interesting because you’re helping to tell the story that’s already being told through the documentary subjects. The music has to support the action or the words or the mood but not interfere. We’re not there to create the big, landscape or the big score for these action types of things. It’s much more subtle in documentary films. I really enjoy that though. I really find that’s it’s a great way to get to know different subjects learn some new things. And I still love writing for (that) medium.

James Evans: I’m going to switch gears a little bit because I could talk about this forever,but I, I also want to get into this idea, not even this idea. I just want to understand, you’ve been with 麻豆原创 for quite a while, for several years, many moons. And I want to walk through that. I want to understand, what was 麻豆原创 at the time? What do you think of it now? That progression that we’ve had what are your thoughts on 麻豆原创鈥檚 journey and your entanglement with it, right? As somebody who’s been here for quite a while, you’ve seen us grow exponentially. And I’m sure that that’s an interesting, insightful perspective. And I’m very curious about your thoughts.

Stella Sung: Yeah, so I, started out at 麻豆原创 as a fill-in for professors in the music department who were going on sabbaticals.

James Evans: Mm-hmm.

Stella Sung: And I, at the time, I was finishing up my degree at the University of Texas at Austin. So I was, I’d done all the coursework and was ready to look for a job. But I was still working on my dissertation, just had to do my lecture and recitals. And I got a call from a pianist who I had studied privately with at the time, Gary Wolfe, and he was in the music department, and he was going on sabbatical. So I got a call and he said, 鈥淥h, will you be interested in teaching?鈥� So, of course, (I say), 鈥淪ure, that’d be great.鈥� And then they also said, 鈥淲ell, and our music theory teacher and our class piano teacher, they’re going on sabbatical in the spring, so can you teach music theory and can you teach piano class?鈥� I said, 鈥淪ure.鈥� You know, I mean, when you’re young, you’ll just go for all the opportunities, right?

When I first got to 麻豆原创 we were about 18,000. And there was like one, two fraternity houses. There was a McDonald’s and a Pizza Hut, and that was about it around, And there was really not a whole lot and University Boulevard was just like two lanes. Alafaya was a two-lane, rough, paved road. And I thought, 鈥淥h, I don’t know where I’m going, but I’m going to come out here and teach.鈥� So that’s where I started, and then everybody came back from sabbatical. And so, I went to Paris to work with a composer that I had studied with at Austin, and he was an American but lived in Paris, and I had always wanted to go to Europe and live in Europe, so I was able to do that.

And then I got a call and they said, 鈥淲ell, one of our musicology teachers is going to become an associate dean.鈥� And so the music theory teacher said, 鈥淲ell, I’ll do musicology, but I need somebody to help teach music theory.鈥� So I came back as a visiting instructor.

James Evans: Mm-hmm.

Stella Sung: And it became a tenure-earning line. I applied for the job. It was a competitive search. But I ultimately ended up with the job and I’ve been here at 麻豆原创 ever since. It’s been a wonderful place. I will have to say one of the great things about 麻豆原创 is it allowed, and it still allows, lots of room for exploration. It’s not tied to 鈥� it’s not a 200-year-old university where all these, you know, traditions and so on are just sort of stuck there. And I, think for me, 麻豆原创 was a perfect fit because I always like exploring new things. I always like to look at what else can we do. And so, I was in the music department and it was a great run while I was there. I did end up moving my tenure and professorship to, at the time, digital media. Partly because I wanted to explore some new things. And partly because it felt like it was a necessary change. So, again, you know, where life takes you to different paths and you just never really know.

And so I started working with our animation unit and fell in love about all of our animation students and the whole idea of marrying music to animation. And that was just a perfect fit for me.

James Evans: Yeah, absolutely. And now you’re the director of CREATE, which conducts multidisciplinary research around science and the arts. Can you give us more insight into that experience being the director, but also the work you’re doing there? What kind of impacts does that have?

Stella Sung: Sure. So create stands for the Center for Research and Education in Arts, Technology and Entertainment. And we are located at 麻豆原创 Downtown. We’ve been there for about 17 years. So we’ve actually been there before 麻豆原创 Downtown was established, but 麻豆原创 had a building down there and so we were part of that.

We have our offices downtown. And I was asked to take over, create about 17 years ago. And at the time I really didn’t know what it was, but I knew it was down. So part of our emphasis has been to become a sort of outreach unit for our college and for 麻豆原创 so that we can connect to the community, we can connect to our partners downtown and around in the city.

We do a lot of community outreach, and we were doing after school programs. We do summer camps, so we’re working with kids and high school students primarily to have a way for 麻豆原创 folks to have a connection to the community where they might not normally have that. Because, you know, when we’re on our campus, we’re sort of in our little bubble world on the campus.

I think that it’s a good thing to be able to reach out to the community and find ways to connect to the community. Now what we do in our programming has been to use. And technology to try to train and give skills to students and members of our community to bring them another aspect of what art and technology can do in enriching your lives and to look at how art and technology can be sort of married together. Not so much separated, you know, we always sort of think of science and we always think of art, right? And, and they’re sort of like separate things. In my view, they’re actually much more closely related.

We do a similar process with sciences. It’s sometimes we’re experimenting, you know, sciences. I love working with scientists because I think their brains are kind of, they are exploratory. And we do that in the arts. We don’t know exactly what we’re going to end up with, but we had that same process.

So what we do at CREATE is to try to bring that concept into reality. For example, now we are working with high school students in animation and teaching animation. Well, animation involves math, it involves sciences, it involves geometry, it involves computer technology and then it also involves arts. It’s a visual language. It’s a storytelling language. So you know, that’s a beautiful medium to illustrate how science and art and technology all come together.

James Evans: Yeah. And what lessons have you learned over the past 17 years of working at CREATE? I mean, you’ve surely seen it grown. You’ve surely seen 麻豆原创 Downtown become a thing.

Stella Sung: Yeah.

James Evans: Probably before we even having conversations about it. Right,

Stella Sung: Right.

James Evans: What lessons, what takeaways do you have from that experience and what are you looking to do in the future with that?

Stella Sung: iI’s an amazing opportunity, an amazing time to grasp all the things that are coming up. The technology, the ability to find new technologies and put those and use those in the arts, it’s absolutely tremendous. I’ve been doing work with VR and AR and with my colleagues in digital media actually. And I think that one of the projects that I’ve been doing is trying to find ways where VR and mixed reality can be used in a live concert setting. To have this opportunity and to be located downtown, where there’s a lot of stuff happening, where there’s community efforts, there are businesses like Electronic Arts, which is located now in downtown, and to be in that kind of mix it just is a really great time for 麻豆原创 to be a part of all of that. It’s very exciting actually. It really is. I mean, we do a lot of great things on campus, but we also have things that are on that cutting edge when we’re not just siloed in our own areas here, but that we can actually be connecting to businesses and organizations outside of 麻豆原创.

James Evans: Can you walk us through that idea of partnership? How does that happen? How does partnership, how does collaboration, how does community engagement happen at CREATE? And, taking those things to the next level?

Stella Sung: One of our main emphasis is partnerships. And we’ve built a lot of great partnerships with Orlando Science Center, for example.

And in fact, we just had a meeting here recently. Their Otronicon event, which has been going on for, I think, 15 years now (started in 2006). They’re rebranding it as Spark Fest and they want actually to involve more 麻豆原创 people. So I’ve been trying to sort of be a little catalyst to connecting them to as many 麻豆原创 folks as we can.

It’s about a three, four day event and it brings anywhere from 12 to 13,000 people into the science center. it’s a wonderful opportunity for 麻豆原创 to showcase all of our great initiatives that we have, the projects that we have, the departments we have. medical school, nursing, school engineering computer sciences, all these great things that can come down together.

So partnership is really important for us. A few years ago, CREATE received a Disney grant, one of those nice Disney grants in partnership with our local community organization called Page 15. And they work with kids and young adults in developing literacy skills. So they do poetry, writing, reading, all those kinds of literacy skills.

So we did a partnership and hosted several summer camps with Page 15. So again, you know, finding other ways where 麻豆原创 can be a part of the lives of these people that we don’t necessarily normally reach out to. Part of our mission is to be able to say, 鈥淗ey, 麻豆原创 is a place that you could be a part of, and we want to be a part of your life.鈥�

And that’s what’s so wonderful about the work that we do. I think at CREATE we’re just we’re really about trying to bridge, to make bridges happen.

One of our current projects is we’re working with Continuing Education. And the state of Florida has now mandated that there’s a financial component that must be taught in all of the high schools, and that’ll start next fall. So, our instructional designer, Tracy Morrison, has been working on developing online courses. And so she’s working with Continuing Ed to deliver that content. So that’s another aspect. What we’re doing is, trying to find ways where we can help teachers teach students about financial literacy.

James Evans: That’s really interesting. So it’s not just about empowering students, obviously that’s, the crux of it. That’s the core of it. It’s also about empowering their instructors, empowering the community or, or our campus partners or our corporate partners to be able to engage with us in that mission.

That’s fascinating. I love it. So along that same thought, research and professorship and all of the wonderful things you’re doing, you’re also a Pegasus Professor and a trustee professor. cCn you give us the insight into that? What do those things mean and what do they mean for you?

Stella Sung: Sure. Well, I guess as professors are generally senior professors here at 麻豆原创, it’s a wonderful award and one, I think , (that) carries responsibility, as well as the trustees chair award.

But the Pegasus Professor award is I think one that we value highly because mostly it’s awarded to professors who have shown that they’ve reached a certain pinnacle in their careers and also have reached either recognition nationally or internationally for their work.

For research in my area, for example, is creative activities. But you know, we have several professors who are throughout the university in, various different fields. So those professorships are really meaningful and, again, carry responsibility. I look at the Pegasus Professorships as a responsibility to maintain a level of excellence, to be a role model for showing that. We keep working hard, keep your eye on the goals, work with our students, work with our staff and our colleagues, and try to make sure that we are pushing 麻豆原创 and our goals forward. So that’s one aspect of what I believe the Pegasus Professorships do.

The trustees chair professorships don’t always come up. I’m very honored to have received that now twice and It carries with it a financial award part to one’s personal finances, but also part to the unit that you are in. So, that award can be used towards furthering a research project in my case, maybe creative projects or as I actually use our funds for CREATE and using it in various different ways to support our work.

Those two particular awards, I think, the university gives out to try to recognize professors that you know have reached a certain distinguished area in their work.

James Evans: It’s really important that we’re looking at the university, we’re looking at our faculty and empowering them, finding ways to give back to them and give them the resources and give them the recognition needed to continue to do the amazing things that they do. What kind of projects have you been able to do or further down been able to invest in, to create?

Stella Sung: Yeah. So the trustee’s professorship, but that’s the one we’re kind of talking about right now. [It] allows us a certain amount of financial support and people can use it in various different ways. And what I’ve been doing is, I used some of my money to support 麻豆原创 Celebrates the Arts, which is a wonderful yearly event that we have downtown. Bringing the arts to downtown and giving opportunities for the orchestra, chorus, band, performing arts to be in the Dr. Phillips Center. And now in the new Steinmetz Hall. So for example, this past spring, we did my large-scale orchestra work called Oceania, and I was able to invite professors from 麻豆原创, our biology professors from 麻豆原创, Dr. (Kate) Mansfield and Dr. Linda Walters, to be a part of the panel as well as a senior scientist from the New England Aquarium Scott Krause. And so I had these scientists with me and also the filmmaker that did a film that went with my piece. So I was able to bring us all together and have a panel and where we discussed the problems of ocean noise pollution, which is what my piece is a little bit about and also the work that our scientists are doing. So for example Dr. (Kate) Mansfield who is a turtle specialist talked about her work with turtles and Dr. (Linda) Walters, who is our oyster specialist, she talked about oyster reefs and why those are important for us. And so we gave the audience a chance to say, 鈥淲hat else?鈥� Not only [what] 麻豆原创 professors do, but what are the concerns, the greater concerns for our environment? So I used part of my funding to invite these people over on the totally opposite spectrum. The next next project that we’re looking at is working with Keith Harrison, who is in the DeVos School. And he is very good friends with Reggie Saunders. So Mr. Saunders is the VP for Jordan, Nike brand. They’re all into kind of hip-hop artists. And so next year is the sort of 50th anniversary of hip-hop. So we would like to bring Mr. Saunders in as a guest speaker, and sort of figure out how we can marry hip-hop and sports, because there’s actually quite a big connection there.

So that’s another way that I plan to use some of our funding.

James Evans: That’s amazing. I want to give you the space and the time to kind of throw in a Celebrates the Arts ad here. OK. Because I think that’s great and I think Celebrates the Arts is one of 麻豆原创鈥檚 traditions that doesn’t get as much recognition as, you know, Spirit Splash, right? That’s a huge one everybody talks about. Lots of our athletic events gets a lot of attention. You know, Celebrate the Arts provides these opportunities not only for our performers to do their work and do their jobs and give back to their community, it also allows for these amazing collaborations and connections.

So I want to give you the space right here and now to kind of put in the middle of the podcast an ad about Celebrate the Arts, tell the audience about it, what are you excited about? And give us the information on it.

Stella Sung: Yeah. Happy to do that. It’s an amazing event that happens over a course of two weeks. It’s sort of the brainchild of our dean, Jeff Moore, who is a percussionist, a musician, but he put together this idea of having the Celebrates the Arts where we bring all of the arts, performing arts as well as visual arts, together to do this celebration. We go downtown and we set up our things.We set up our exhibits. We do the performances. There’s an amazing array of performances from the school of music and theater. So we have theater, we have orchestra, band, chorus, jazz band, all parts of the performing arts, and then we have our visual arts. So our artists, our painters will bring their paintings and they go on display. And then we also have our animation units. So our animation students and units get to show their films. So we also have screen.

It’s a huge array of things that you can go down and participate in. Most are very inexpensive tickets. And some are free and it’s a great place to bring family down to have a day or evening of enjoying a wonderful event.

This past spring, they did Shrek the Musical and it was great. It was in the Disney Hall. It was great. And then they did my orchestra piece as well as showcase other parts of the orchestra with Beethoven Symphony No. 6. And some animation that was done to that piece by our animation students.

And this is really a wonderful way to showcase all these things that 麻豆原创 does. And I hope that as we move along, more people will come out more people from the community will come out and enjoy it and get to know some of the things that 麻豆原创 is able to offer. It’s an amazing event. I hope that we can bring as many people down as possible.

James Evans: It absolutely is. I got to see Shrek last year and it was fantastic. Really.

Stella Sung: And these are student performers, they are Broadway-quality performers. I mean, they’re learning their craft, they’re learning their art. But in that process they really come to the top. It’s so impressive. It really is. And to see these young people giving their absolute 100% plus to performing is just a thrill.

James Evans: Absolutely right. Do we have a set month or set date already for this upcoming spring, or is that still in conversation?

Stella Sung: We do. I don’t remember the dates, but it’s usually in April. OK,

James Evans: Awesome. I’m really curious, are you looking into the future to be able to incorporate more of the STEAM and the connections, not only with your research, right?

I could very easily see in the next five to 10 years having a performance that includes VR, AR, MR into a Celebrates the Arts performance. Is that where you’re looking to do, where you kind of planning on going with that over, the course of the next few years?

Stella Sung: Yeah, so I, my personal belief is, technology is going to drive the future of the arts. I really believe that. I’ve already done some of this with my operas, which had digital projections, 3d animation in the digital set where the animation actually made the set come alive. And in Oceania we did a little bit of an experiment where I had a VR headsets, as well as the HoloLens, two headsets being used during the performance. So this was kind of a trial to see.

But my belief is that this is going to drive the next interactivity for live performances. It’ll take a little while, but I believe that our young people, and I believe the next generation of people, want to be engaged, want to be actively a part of any performance.

I can envision people bringing their own headsets, right? Being able to experience that either in MR or AR or VR and hearing the live music, seeing the live music and experiencing it in a different way. So with VR, of course, your headset is, you don’t see the things around you, but you can hear, you can hear the stuff going around you in the mixed reality. In the HoloLens, too, you can see everything that’s going on and. Basically holograms are being put forth for you. So this is a really cool thing because for example, what we did was in Oceania, we I worked with some of my colleagues in digital media, John Murray, Dr. Murray, and his students, and we developed a prototype. For example, whales that were swimming around in the, if you will, swimming around in the concert hall. But they were large life size. So as you’re sitting there, you’re hearing and seeing the orchestra, right? But you’re also seeing the superimposed layer of digital assets. And it just completely gives you a different experience of interactivity.

I truly believe that this is going to be the future for live performances and engaging people in a different way using technology.

James Evans: I couldn’t agree more. I’ve had the chance to talk to Peter (Weishar, director of 麻豆原创鈥檚 themed experience program) and his work with the themed experience program, and getting those students ready for the real world and providing a whole new a program that’s focused in on themed experiences. And most people, again, think theme parks, right? Which makes sense, but it’s well beyond that. It’s in your everyday life. And I’m so curious to see how technology is going to start to move. I mean, it already is in our everyday lives, but products like a HoloLens too, as people begin to use them for performances or for experiences regularly, right?

Like we already had Google try their smart glasses a couple years ago, right? So we’re obviously moving in that direction and I’m so intrigued by how we can not only set up spaces, per Peter’s episode, and create rooms and spaces and entire experiences built for human use. And providing and telling that story through the environment that you’re in, but also then bringing in a whole new environment, a virtual environment, right? That adds onto that.

I think that’s fascinating. As we’re moving in two directions as a university. Where we’re telling a story with the physical environment that’s here and we’re also telling a story with the rest of our senses.

What else are you seeing that’s not in the physical environment? What are you feeling that’s not in the physical environment? So I guess it’s not the rest of your senses, but it’s a second level. It’s more, what’s going on? And I think that’s fascinating.

Stella Sung: It is, it is. And you know, and I’ll make a plug for 麻豆原创, too, because we are blessed that we have all these wonderful technology areas here, in Orlando, businesses and companies that are here in Orlando. And it’s a great way to interface with those companies. We’re blessed with fantastic faculty and students who want to push that envelope. Who want to take that step and go forward in looking at ways in where we could create that third dimension between, audience and presenter.

Theme-park experience, for example, is really cool because in a theme park we have the theme-park reality. That is you’re in the park, but somebody else presented that reality to you. So the theme park makers are the sort of presenters, if you will. And then when you go to the theme park, you’re like the audience, but you step out of your audience mode and become interactive. And so you’ve created a third dimension, if you will, of an experience. So theme parks do this so well because they really know how to capture our imagination and our participation in a really active way, where we’re not really thinking about what we were. And we’re not really thinking about who made that necessarily, although Disney, of course, brands everything, right?

But it doesn’t matter because you’re so engrossed in it that you, you become something else. You go to a different experience and that’s why people love theme parks you get to a different place.

James Evans: Related to this, but not entirely to theme parks. I want to pick your brain about something. There’s a phrase, a word, whatever you want to call it, that I’ve been hearing recently, and I think you’re going to 聽have some good insight into this. Orlando is working towards becoming Meta City. Capital of the metaverse. We want to be the home, the hub of where the metaverse grows and shapes and forms and builds, and your work and your research.

And a lot of 麻豆原创鈥檚 work and research is at the crux of that development, right? How are we combining the human experience to this entirely new place that’s completely virtual? How are we bridging that gap where it’s not entirely virtual and people can move in and progress into that?

What are your thoughts on Orlando becoming and wanting to be Meta City, wanting to be capital of the metaverse? I just want to hear your thoughts on that.

Stella Sung: I personally think it can happen. I really do. I mean, Orlando is a place that is moving forward. It’s growing rapidly. It’s attracting new businesses, it’s attracting new companies, it’s attracting technology.

You know, our medical school, our nursing school, these things are involved with the human factors. They’re all growing. They’re busting at the seams, basically. So we have the opportunity to do this. We have the opportunity to be totally creative. Totally creative. And 麻豆原创 has an opportunity to be a part of that in a really big way.

We’ve got it. We can do it. We have all the resources here to make that metaverse, you know, to be that hub, if you will, to attract our young people to attract the creatives as well as the technical people, as well as the engineers.

All these kinds of things combined, we’ve got the hugest, the greatest ability to do it. We just need to do it, we just need to step forward and we need creative people to think about it and be a part of it. We’ve got business who are ready to fund it. So I think we’ve got all kinds of possibilities and I would love to be a part of that.

James Evans: I’ve had the fortune of talking to several researchers and just being exposed to many more. And I’m constantly seeing work that’s pushing the edge of academia, pushing us forward in some very innovative and creative ways. And I just sit there in awe.

Stella Sung: I’m learning a part of it too.

James Evans: Exactly. You know, despite me being an accounting major and there’s not a lot of research going on in accounting, I don’t think, to see and be exposed to how much our academic units and our faculty are pushing forward their fields and pushing forward this region. It’s fascinating.

Stella Sung: It is. It’s a great time to be here and it’s a great time to be at 麻豆原创 and we’ve got a huge a wonderful, wonderful future ahead of us. Our old slogan was Reach for the Stars, and I think we’re getting there.

James Evans: Oh, absolutely. What advice would you give to someone who wants to do what you do or even just succeed like you have?

Stella Sung: Just do the best work you possibly can every day.

The best thing that I try to do is when I come to work, when I work with our students, give 100%. That’s all you can actually do really, I think, is do your best work. Always keep a level of excellence in your forefront. Everything isn’t always going to be perfect, but you be flexible and learn and be ready to explore.

James Evans: I, as a student, engage and respond best to the teachers and the professors that are most engaged back, right? Are you doing something great that’s inspiring? How are you sharing it with your students and then pushing them, right? You were saying, 鈥淭his is where I’m headed. This is what’s going on. This is what we’re doing. How are you going to be a part of that?鈥� I think presenting that challenge to students of, can you beat me? Can you match me? Can you put your energy in and provide something back? And can you do it for your community? I think those are really great questions that we need to be asking our students.

Stella Sung: Well, and it’s true that one of the greatest joys is when the student succeeds and exceeds the master. I have some wonderful students who have gone on to great careers who are out, out in LA as composers and they’re doing really, really well. They’re writing music for Netflix. They’re writing music for major commercials for the Super Bowl. I mean, these kinds of things that I didn’t do, and I’m glad that they are. It makes me really proud that I kind of helped in guiding them through their career paths. And that’s our job and that’s our passion is to say, 鈥淥K, you know, I can show you what I know, but now you show me what you know.鈥�

James Evans: I know that’s what I want when I become a parent, when I become a teacher, when I become somebody who’s a mentor to others. I want them to be able to stand on my shoulders and push farther than I ever even had the ability to dream of, right?

Stella Sung: Yes.

James Evans: That’s the goal.

Stella Sung: That is absolutely the goal.

James Evans: So last question. What’s one thing you are still hoping to do?

Stella Sung: Oh gosh, there’s still a lot out there that I’m hoping to do, but I think we’ve actually really covered this already I really want to explore how can we make the live concert, the live classical concert experience, more engaging, more interactive, more interesting.

One of the things that I really would love to see before I retire or whenever is seeing that technology married, seeing that technology being used in the concert hall and seeing the success of that and making sure that there’s still a future for live classical concerts.

James Evans: I want to thank you. I mean, this has been an amazing conversation. You’ve really given me some insight that I had no clue about, and you’ve explained so much more than I even had anticipated for the episode. It’s really been a pleasure.

Stella Sung: Well, thank you, James. It’s great to be here with you and thank you for your thoughtful and interesting questions.

James Evans: I want to reiterate my thanks to Dr. Sung for being on the show today. Her work and story shows that we can all be mentors, leaders, and life-long learners. As the world continues to be increasingly more digital, we have to reimagine how we tell stories and give future generations the tools to do so. We can also all take away a lesson of personal excellence. It’s no small feat to be a well-published and awarded composer.

Speaking of personal excellence, our next episode will be with Chris Clifford 鈥�21, a 麻豆原创 alum who was our first student be offered the highly selective Gates-Cambridge Scholarship 鈥� but actually turned it down to follow another prestigious path. Chris now studies and researches at MIT as he is working to cure diabetes, and he shares why this is the best way for him to make a difference.

As always, if you’re doing something cool, whether that’s at 麻豆原创 or somewhere you took 麻豆原创 that we should know about, send us an email at socialmedia@ucf.edu and maybe we’ll see you on an episode in the future. Go Knights. Charge on!

Chris Clifford: My motto that I live by is always strive to be the dumbest person in the room. I think that is an amazing way to grow. A lot of people are scared of being in an environment like that, but I pursue environments like that because, if you’re the dumbest person in the room, there’s only one trajectory really.

In February 2022, guests at the campus dedication event for 麻豆原创 Downtown and Valencia College Downtown were invited to help Stanley to begin painting the mural titled Elevation inside Dr. Phillips Academic Commons鈥� east wing. Later that month, Stanley completed the mural, which depicts a graduate soaring, with diploma in hand, over Creative Village on their way to make their mark on the world.

鈥淭he inspiration behind the piece聽comes from the opportunity that education provides for people to reach new heights and forge a new path in life,鈥� says Stanley, who earned a bachelor鈥檚 in emerging media with a track in graphic design. 鈥淚 strove for the composition to be visually dynamic and provide an interesting perspective into the layout and goals of the downtown campus. The artwork is intended to uplift viewers and remind them of their goals and potential.鈥�

Here he shares more about his work and journey as an artist.

How long have you been an artist?
I would have to聽say I have been an artist from an early age. In grade school I was trying to make or do creative assignments beyond what was required of the class. Specifically, I remember being in kindergarten and having to make large paper goldfish out of newspaper cut-outs, you know, the two semi-circles flipped and overlapped as the general shape. But I wanted to do something more creative and had the teacher鈥檚 assistant helping me draw the outline of a giant marlin instead. The long paper nose of the fish immediately聽ripped off, as one would expect of聽kindergarteners.

How did you know you wanted to be a visual artist?
Visual arts are always something I鈥檝e gravitated towards. Creativity has many outlets but for me it was the calming and imaginative doodles I would draw nonstop in class and Sunday school that would help refine the skill of creative thought and consider how I could use it towards a career.

How did 麻豆原创 prepare you to be an artist?
麻豆原创 prepared me to be an artist by introducing me to the technical side of the drawing world, teaching me skills like how to properly scale your drawing to be more accurate and define the area you are working in so the artwork stays within the canvas. In a general sense 麻豆原创 showed me project management, communication, and introduced me to industry professionals and mentors while challenging me to elevate myself and my art to a professional level.

What is the most challenging aspect of being an artist?
The summer sun and rain are certainly the most physically challenging part of my art process as a muralist. The most mentally challenging part is exploring the initial concept and refining an image that resonates not only with the client but also their audience. I think [my ability to] lean into that challenge, [which] comes from my background as a graphic designer, [and] being able to pivot and adapt styles and content into a new direction gives a value to the process the customer appreciates.

How do you keep challenging yourself? What inspires your art?
Usually my project or walls will have inherent challenges or a uniqueness that requires some thought to solve. A perfect example is that I鈥檓 currently painting on spherical soccer balls for the Man of the Match trophies for the Orlando City Soccer Club. I was able to find inspiration in the familiar 3D orb sketches of M.C. Esher to create dynamic poses of soccer players that jump off the canvas. Taking time to look at famous works in museums and galleries is a great resource and a well of inspiration for me.

What else are you passionate about?
I have an adventurous spirit. Whether it’s going on a hike, scuba diving or paddle boarding, being out in the wild is always something that recharges my energy and leaves me feeling both exhausted and refreshed.

Where can we see your other work?
In 2021 I was invited to the Paint Memphis Mural Festival in Memphis, Tennessee; the Dixieland Mural Project in Lakeland, Florida; the Inverness Festival of the Arts (mural installation) in Inverness, Florida.; and the legacy public art program Horse Fever in Ocala, Florida. I have also completed several projects for Heineken and Orlando City Soccer this year, and was recently selected to be a part of the 2022 Corridor Billboard Project in Orlando and the Sam Flax Wall Mural Festival in downtown Orlando.

This year’s festival featured both in-person and virtual events that provided 麻豆原创 students a chance to showcase their incredible talent and ingenuity.

鈥淚 think the play is really special because it shows that any child can find something unique about themselves even if it鈥檚 small, and the show deals with emotional regulation and the power of emotions,鈥� says Tokach, who earned a bachelor鈥檚 degree in acting and directing before coming to 麻豆原创. 鈥淚t gives kids a chance to see so many different emotions expressed on stage and know that it鈥檚 OK to express themselves.鈥�

While young audiences and their parents will have a chance to see this for themselves at the April 10 showing of The Grumpiest Boy in the World at 麻豆原创 Celebrates the Arts, these same concepts are constantly considered throughout the world of TYA.

鈥淭here is so much research about why the arts are important in childhood and I know just growing up in a small town it was just really rare to have a chance to express myself in that way or in any activities other than sports,鈥� says Tokach, who is from Abilene, Kansas. 鈥淪o I wanted to be able to provide that for other kids.鈥�

For decades, studies have shown that the arts help boost academic performance, social skills, critical and creative thinking, emotional intelligence, self-esteem, and graduation rates. According to a 2016 survey by the Americans for the Arts organization, about 90% of adults consider the arts as a part of a well-rounded education from elementary through high school, and TYA plays a crucial role in sparking an interest that can benefit children for life.

A Key Partnership

In the United States there are 19 bachelor鈥檚 programs, eight master鈥檚 programs and just six MFA programs in TYA. 麻豆原创鈥檚 MFA program, which takes three years to complete and typically accepts cohorts of about six students every other year, is the only one that has a partnership with a local professional theatre.

麻豆原创’s TYA MFA program is one of six the nation and the only one that has a partnership with a local professional theatre.

鈥淥rlando Rep is Florida鈥檚 premiere professional theatre for young audiences and its history goes back to the 1920s as the Orlando Little Theatre,鈥� says Elizabeth Brendel Horn 鈥�10MFA, an assistant professor and graduate of 麻豆原创鈥檚 TYA program. 鈥淭he organization has been through multiple iterations and names throughout the years and it was through the partnership [with 麻豆原创] that it became the Orlando Repertory Theatre 鈥� and specifically a professional theatre for young audiences. It鈥檚 very formation is a prime example of how the partnership has shaped both institutions and how it鈥檚 mutually beneficial.鈥�

Since 麻豆原创鈥檚 TYA program launched in 2004, the nearly 35 graduates have all played multiple roles at the Orlando Rep, some 鈥� such as senior director of education Jennifer Adams 鈥�11MFA and prop master Tara Kromer 鈥�15MFA聽鈥� even landed positions after graduation.

Knights have also left a mark on the Rep through experimental productions of their own creation. In 2020, the Rep premiered its first play for very young audiences, infants to 5-year-olds, with When Pigs Fly created by Maria Katsadouros 鈥�18MFA. It is an interactive multisensory experience that follows a pig named Avery and his friends on the farm as they explore what it means to fly through the elements of play, discovery and whimsical movement. This innovative work is also part of the reason why Katsadouros is now the theatre and dance resource instructor for Orange County Public Schools.

鈥淢aria started her play in her first semester in my puppetry course where she was terrified to design and build her own puppet, but she made a pig and I saw how every class after that the story grew and it eventually became her thesis,鈥� says Vandy Wood, theatre associate professor and coordinator for the TYA program. 鈥淭he curriculum is very effective in stimulating the students鈥� ideas and it鈥檚 designed to support their interest in what they鈥檙e developing.鈥�

Training Teaching Artists

Many other TYA grads have gone on to work for school districts and theatre companies across the nation.

鈥淥ne of the strengths that I鈥檝e heard about our program is that the students are well-trained visually,鈥� Woods says. 鈥淲e really work hard to give them well-rounded professional theatre training in addition to the academic and teaching focus. I know one of our recent graduates is running a new program in Naples at a high school and he鈥檚 laughing because he鈥檚 having to design and build the sets, in addition to writing the music, and directing 鈥� all things we train our students to become professionals in.鈥�

During Brendel Horn鈥檚 undergraduate studies, she says she didn鈥檛 realize that TYA was a field she could earn a master鈥檚 in, so her time at 麻豆原创 really allowed her to see all that field could encompass.

鈥淢any of our graduates do go on to teach full-time and all will have to teach at some point,鈥� Brendel Horn says. 鈥淒uring their first semester they have to take Methods of Teaching Drama, so I鈥檓 really grateful they have that course. In some ways, it鈥檚 a very specific degree, but it鈥檚 also a degree we believe our students can apply in varying theatre careers, and in careers with the theme park industry, museums, schools, libraries, and more.鈥�

Expanding TYA鈥檚 Reach

When Tokach came to 麻豆原创 in 2019, she knew from touring experiences with a children鈥檚 theatre company that she wanted to become an educational director. But what she鈥檚 learned through the program is that role looks different at every organization.

鈥淭his program has opened my mind to so many possibilities within the field,鈥� she says. 鈥淚 think this program has taught me a different way of looking at the world. When grappling with different questions and it鈥檚 not really about finding the right answer to anything, it鈥檚 about working collaboratively with your peers and kids, listening to their perspectives, and finding a way that we can all look at the world in a way that can help everyone.鈥�

For The Grumpiest Boy in the World, Tokach and her team worked with United Cerebral Palsy to take the production live to four local schools, as well as record the play so other local UCP schools could view it. Through this process, she completed a workshop centered around accessibility and considers those lessons crucial for expanding TYA鈥檚 reach.

Arts funding across the nation has been dwindling through the years, with total public funding for the National Endowment for the Arts decreasing by 16% the past 20 years when adjusted for inflation, according to Grantmakers in the Arts. Faculty at 麻豆原创 are finding that the interest and respect for TYA are growing. This year, more people have applied to the program than usual. Typically, the program has an assistantship or fellowship lined up for each student, but they鈥檙e planning to deviate from this tradition and extend their offers of admission to applicants who are willing to join the program without one.

鈥淚t鈥檚 hard to say why we had such a strong pool of applicants, but I think part of it is people going back to school during the pandemic, as well as our reputation,鈥� says Julia Listengarten, artistic director and professor of theatre. 鈥淥ur program provides a very strong combination of theoretical and practical courses, such as design and directing, our partnership with the Rep, as well as opportunities to engage in arts-based community projects, so there are many benefits for students outside of 麻豆原创-based teaching opportunities that students receive through their assistantships.鈥�

This year, 鈥� a summer festival that launched in 2018 and is dedicated to developing works by emerging playwrights 鈥� is featuring its first TYA production with Sombra Del Sol (Shade of the Sun), which TYA student Ralph Krumins has developed with Ximena Gonzalez, music master鈥檚 student Daniela Monzon Villegas and Bianca Alamo 鈥�20MFA.

鈥淭his is one more example of how the culture of the is incorporating theatre for young audiences in more of its programming 鈥� and our MFA students are leading the way,鈥� Brendel Horn says.