Escape Velocity Dance Company Presents: Emerge

Escape Velocity is a student run dance company that provides students the opportunity to choreograph for, dance in, and/or produce performances for the Ursinus College community throughout the year. This program, Emerge, consists of ten individual pieces. Firelight was choreographed by Elizabeth Kandler and performed by Elizabeth Kandler, Kalina Witkowska, and Alexa Alessandrini. Always was choreographed by Kathryn Bjorklund and performed by Bailey Hann, Sarah Bell, Kathryn Bjorklund, Jackie Henigan, Megan DePaul and Rileigh Klein. Movement was choreographed by Kalina Witkowska and performed by Angelina Mazza, Elizabeth Kandler, Samirah Deshields, Taylor Tobin and Kalina Witkowska. Everybody was choreographed by Mo’Dayna Hercules and performed by Mo’Dayna Hercules and Azari. Bruises was choreographed by Jackie Henigan and Raeann Risko and performed by Raeann Risko, Jackie Henigan, Bailey Hann, Sarah Bell, Carly Rodriguez, Rileigh Klein, Elizabeth Kandler and Maia Michalashvili. Childhood Theme Song Mashup was choreographed by the Escape Velocity Executive Board and performed by Amanda Paul, Emmy Selfridge, Gabby DeMelfi, Jess Doorly, Mariah Lesh, Carly Rodriguez, Angelina Mazza, Mary Fuchs, Shira Levin, Raeann Risko, Jackie Henigan, Rileigh Klein and Megan D. Cannon in D was choreographed by Chelsea Stitt and performed by Jackie Henigan, Raeann Risko, Kathryn Bjorklund and Elizabeth Kandler. One with the Wind was choreographed by Kevin Harris II and performed by Kalina Witkowska. When I was Older was choreographed by Shira Levin and performed by Jackie Henigan, Taylor Tobin and Raeann Risko. Closing Time was choreographed by Jackie Henigan and performed by Angelina Mazza, Megan DePaul, Rileigh Klein, Raeann Risko, Kathryn Bjorklund, Jackie Henigan and Elizabeth Kandler.https://digitalcommons.ursinus.edu/dance_videos/1000/thumbnail.jp

No Escape

The initial idea for the film came from an inspiring performance of Chaplin's Easy Street (1917) accompanied by Donald MacKenzie, resident organist at the Odeon Leicester Square, which led me into researches of early cinema (c1895-1907), a period described by Tom Gunning as the ‘cinema of attractions’. James Lastra points out that during this time competition between cinemas was based on the success of various sound strategies all emphasising the ‘liveness’ of the film experience and films were made to motivate particular types of sound accompaniment. Particularly intriguing was the use of live sound effects performed by a skilled troupe from behind the film screen to produce ‘realistic’ sound effects. This is translated in No Escape into the manipulation of on-screen diegetic sound, also inspired by Pierre Schaeffer's musique concrète and his notions of the sound object and reduced listening. The interaction between the live piano and the onscreen sound is crucial to No Escape as is that of the piano and images, which exist alone together for long stretches. The visual content and structure of the film draws on the city symphonies of Walter Ruttman and especially Dziga Vertov whose formal experimentation, startling juxtaposition of images and very rapid editing is important to No Escape’s non-narrative and at times complex montage of British rural and urban vistas. Vertov’s Man with a Movie Camera (1929) is by and partially about the man with the camera as is No Escape, the title of which refers to the idea that though we may travel to get away from something, there is no escape from the inner life. This is represented by the piano music, which varies but within fairly restricted limits. It does respond or drive image choice and editing but the overall sense should be that one cannot escape and these responses are temporary and fleeting Extrapolating from Tom Gunning's cinema of attractions, James Beattie's concept of ‘documentary display’ - a poetic, sensual and subjective approach which encourages listening and looking rather than cognitive understanding - underpins the aesthetic of No Escape, as is a belief in the supremacy of sound and of film as a performative event

Narrow escape: how ionizing photons escape from disc galaxies

In this paper we calculate the escape fraction ($f_{\rm esc}$) of ionizing photons from starburst galaxies. Using 2-D axisymmetric hydrodynamic simulations, we study superbubbles created by overlapping supernovae in OB associations. We calculate the escape fraction of ionizing photons from the center of the disk along different angles through the superbubble and the gas disk. After convolving with the luminosity function of OB associations, we show that the ionizing photons escape within a cone of $\sim 40 ^\circ$, consistent with observations of nearby galaxies. The evolution of the escape fraction with time shows that it falls initially as cold gas is accumulated in a dense shell. After the shell crosses a few scale heights and fragments, the escape fraction through the polar regions rises again. The angle-averaged escape fraction cannot exceed $\sim [1- \cos (1 \, {\rm radian})] = 0.5$ from geometrical considerations (using the emission cone opening angle). We calculate the dependence of the time- and angle-averaged escape fraction on the mid-plane disk gas density (in the range $n_0=0.15-50$ cm $^{-3}$) and the disk scale height (between $z_0=10-600$ pc). We find that the escape fraction is related to the disk parameters (the mid-plane disk density and scale height) roughly so that $f_{\rm esc}^\alpha n_0^2 z_0^3$ (with $\alpha\approx 2.2$) is a constant. For disks with a given WNM temperature, massive disks have lower escape fraction than low mass galaxies. For Milky Way ISM parameters, we find $f_{\rm esc}\sim 5\%$, and it increases to $\approx 10\%$ for a galaxy ten times less massive. We discuss the possible effects of clumpiness of the ISM on the estimate of the escape fraction and the implications of our results for the reionization of the universe.Comment: accepted for publication in MNRAS, 19 pages, 18 figure