The Cameraman

In this novel segment titled The Cameraman, a fictionalized version of silent film icon Buster Keaton grapples with his newfound role at big picture studio MGM, which has stripped him of his creative influence. For the first time in his career, Buster must operate with little authority in what was the beginning of the Hollywood studio system. This excerpt’s narrative present takes place in New York City in 1928 during the filming of The Cameraman, with flashbacks to Los Angeles in 1927, prior to the filming. The close third-person narrator examines what it means for Buster to be famous, to be an artist, and what happens when public and private identities are conflated.

THE EFFECTIVENESS OF POINT-OF-VIEW VIDEO MODELING IN TEACHING SOCIAL INITIATION SKILLS TO CHILDREN WITH AUTISM SPECTRUM DISORDERS

Deficits in social communication and interaction have been identified as distinguishing impairments for individuals with an autism spectrum disorder (ASD). As a pivotal skill, the successful development of social communication and interaction in individuals with ASD is a lifelong objective. Point-of-view video modeling has the potential to address these deficits. This type of video involves filming the completion of a targeted skill or behavior from a first-person perspective. By presenting only what a person might see from his or her viewpoint, it has been identified to be more effective in limiting irrelevant stimuli by providing a clear frame of reference to facilitate imitation. The current study investigated the use of point-of-view video modeling in teaching social initiations (e.g., greetings). Using a multiple baseline across participants design, five kindergarten participants were taught social initiations using point-of-view video modeling and video priming. Immediately before and after viewing the entire point-of-view video model, the participants were evaluated on their social initiations with a trained, typically developing peer serving as a communication partner. Specifically, the social initiations involved participants’ abilities to shift their attention toward the peer who entered the classroom, maintain attention toward the peer, and engage in an appropriate social initiation (e.g., hi, hello). Both generalization and maintenance were tested. Overall, the data suggest point-of-view video modeling is an effective intervention for increasing social initiations in young students with ASD. However, retraining was necessary for acquisition of skills in the classroom environment. Generalization in novel environments and with a novel communication partner, and generalization to other social initiation skills was limited. Additionally, maintenance of gained social initiation skills only occurred in the intervention room. Despite the limitations of the study and variable results, there are a number of implications moving forward for both practitioners and future researchers examining point-of-view modeling and its potential impact on the social initiation skills of individuals with ASD.

Silk Butterflies

The first section of this unfinished novel, titled Silk Butterflies is a diptych about a woman named Sarah, and her desire to acquire ancestral truth regarding her identity to negate the pain she feels from losing her unborn child. Her story, told in a guarded, first person point-of-view is paralleled with Ling’s story, an unconventional, ninety-two year old Shanghainese woman who, against her desires, had her feet bound in China during the early 1920’s. Ling’s story is also told from a lyrical first-person perspective that focuses especially on sensory details, and delves into the sacrifices we make to attain standards of beauty, and the loss Ling has never recovered from. As this historical fiction progresses, their stories overlap in an unexpected way, as both Sarah and Ling attempt to revitalize forgotten histories, including how Sarah’s grandparents fled to Shanghai in the 1930’s to escape Nazi persecution during World War II.

Doubt, for narrator and orchestra

Doubt is a single-movement composition of roughly twelve minutes for narrator and orchestra (woodwinds, horns, and trumpets in pairs, timpani, percussion, strings). The piece explores the controversial issue of capital punishment. The text was compiled from resources found on the websites of Death Penalty Information Center (http://www.deathpenaltyinfo.org) and Anti-Death Penalty Information (http://www.antideathpenalty.org), as well as excerpts from the Bible. Doubt was conceived of as a dramatic work in which a narrator recites factual information in a direct and unemotional manner and the orchestra provides a response to the mixed emotions elicited by the text. The list of dates and case summaries presented in the middle section of the piece seemed most powerful and effective when recited in a natural speaking voice, which is why I chose not to set the text as song. Also, I chose the orchestral medium rather than a chamber setting because the nature of the topic demanded a larger range of colors and combinations, as well as a louder, fuller sound. Much of the music was composed while deciding which texts to include. Thus the music influenced the choice of text as much as the text suggested the musical setting. The four formal divisions of the piece are delineated primarily by the text. The first section is an orchestral introduction representing various emotional perspectives suggested by the texts. The narrator begins the second section with a Biblical verse over sparse orchestration. The third and main section of the piece begins with a new melody in the low strings that is closely related to the harmonic organization of the piece. The narrator lists dates of convictions, executions, exonerations and facts related to doubtful cases. The third section and the narration conclude with another brief passage from the Bible. The fourth section is a dramatic orchestral coda, bringing back the opening harmonies of juxtaposed perfect fifths. The final chord is full of tension and discord, reflecting the oppositions inherent in the topic of capital punishment: life vs. death, sympathy vs. reproach, pain vs. hope, but above all, doubt about guilt vs. innocence.