The John F. Kennedy Center for the Performing Arts (formally known as the John F. Kennedy Memorial Center for the Performing Arts, and commonly referred to as the Kennedy Center) is the United States National Cultural Center, located on the Potomac River in Washington, D.C. It was named in 1964 as a memorial to assassinated President John F. Kennedy. Opened on September 8, 1971, the center hosts many different genres of performance art, such as theater, dance, orchestras, jazz, pop, and folk music.Authorized by the 1958 National Cultural Center Act of Congress, which requires that its programming be sustained through private funds, the center represents a public–private partnership. Its activities include educational and outreach initiatives, almost entirely funded through ticket sales and gifts from individuals, corporations, and private foundations.The original building, designed by architect Edward Durell Stone, was constructed by Philadelphia contractor John McShain, and is administered as a bureau of the Smithsonian Institution. An earlier design proposal called for a more curvy, spaceship-inspired building similar to how the Watergate complex appears today. An extension to the Durell Stone Building was designed by Steven Holl and opened in 2019. The center receives annual federal funding to pay for building maintenance and operation.C...C.C.C.
It has been known for millennia that music can bring joy and ease suffering. An increasing number of researchers from different disciplines are studying the possible mechanisms for music-based interventions (MBIs) and working to establish the effectiveness of these interventions in alleviating the symptoms of neurological, psychiatric, cardiovascular, and other disorders. Developments in this field were discussed at a workshop, Music as Medicine: The Science and Clinical Practice, in December, 2023,1 co-chaired by Francis Collins and Renée Fleming and organised collaboratively by the US National Institutes of Health (NIH), the National Endowment for the Arts (NEA), the Kennedy Center for the Performing Arts, and the Renée Fleming Foundation.
Introduction: Memory impairments affecting encoding, acquisition, and retrieval of information after moderate-to-severe traumatic brain injury (TBI) have debilitating and enduring functional consequences. The interventional research reviewed primarily focused on mild to severe memory impairments in episodic and prospective memory. As memory is a common focus of cognitive rehabilitation, clinicians should understand and use the latest evidence. Therefore, the INCOG (“International Cognitive”) 2014 clinical practice guidelines were updated. Methods: An expert panel of clinicians/researchers reviewed evidence published since 2014 and developed updated recommendations for intervention for memory impairments post-TBI, a decision-making algorithm, and an audit tool for review of clinical practice. Results: The interventional research approaches for episodic and prospective memory from 2014 are synthesized into 8 recommendations (6 updated and 2 new). Six recommendations are based on level A evidence and 2 on level B. In summary, they include the efficacy of choosing individual or multiple internal compensatory strategies, which can be delivered in a structured or individualized program. Of the external compensatory strategies, which should be the primary strategy for severe memory impairment, electronic reminder systems such as smartphone technology are preferred, with technological advances increasing their viability over traditional systems. Furthermore, microprompting personal digital assistant technology is recommended to cue completion of complex tasks. Memory strategies should be taught using instruction that considers the individual's functional and contextual needs while constraining errors. Memory rehabilitation programs can be delivered in an individualized or mixed format using group instruction. Computer cognitive training should be conducted with therapist guidance. Limited evidence exists to suggest that acetylcholinesterase inhibitors improve memory, so trials should include measures to assess impact. The use of transcranial direct current stimulation (tDCS) is not recommended for memory rehabilitation. Conclusion: These recommendations for memory rehabilitation post-TBI reflect the current evidence and highlight the limitations of group instruction with heterogeneous populations of TBI. Further research is needed on the role of medications and tDCS to enhance memory.
The nanoscale organization of proteins within synapses is critical for maintaining and regulating synaptic transmission and plasticity. Here, we use cryogenic electron tomography to directly visualize the three-dimensional architecture and supramolecular organization of pre-cleft-postsynaptic components in their near-native cellular context in both synaptosomes from rat hippocampi and synapses from rat primary cultured neurons. High-resolution electron microscopy and quantitative analyses revealed that postsynaptic density (PSD) is composed of membrane-associated nanoblocks of various sizes, which are in close relationship with potential presynaptic release sites through adhesion molecules spanning the synaptic cleft, as well as with post-synaptic receptors. Subtomogram averaging from synaptosomes showed two distinct types of postsynaptic membrane proteins at resolutions of 24 Å and 26 Å respectively. Furthermore, our data reveal that majority of potential release sites and ∼50% subtomogram averaged receptor-like particles are located within the boundary of PSD nanoblocks, while PSD nanoblocks might be redundant for neurotransmission. The results of this study provide a more comprehensive understanding of synaptic ultrastructure and suggest that PSD is composed of clustering of various nanoblocks, which likely underlies the dynamic nature of PSD to modulate synaptic strength.
Field trips to museums and performing arts centers are not a frequent activity for most students, so how do cultural organizations learn to make the most of these limited but potentially valuable "gateway experiences" toward increased arts participation? This cross-sectional study examines the engagement of students during a performance at a performing arts center with data collected over three seasons of performances across art forms, grade levels, and student populations (students who attend Title I schools, English learners, and students with disabilities) under the umbrella of Positive Youth Development theory. The findings of regression analyses and analyses of variance feature three aspects that may optimize positive engagement in the arts experience for students: prior attendance to performances, lessons in the art form, and preparation prior to the performance. However, when the data is disaggregated by priority populations, not all the factors predict higher positive engagement in a statistically significant way. The feature that may have a consistent incidence across all populations, and exclusively for students with disabilities, is preparation prior to the performance. These results present practical implications for audience recruitment, accessibility supports, and learning design for diverse learners.
