The Sandspur Volume 121 Issue 16

Volume 121 Issue 16 Thursday, February 19, 2015

New app replaces function of blue lights The smart phone app Rave Guardian launched on Monday, Feb. 9. page 3

Page 2 • NEWS

Thursday, February 19, 2015

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EXECUTIVE STAFF David Matteson Editor-in-Chief Ali Perry Managing Editor

Marcela Oliveira Production Manager

CONTENT STAFF

Lauren Waymire Head Content Editor Alexandra Mariano Head Copy Editor Nolan Brewer Webmaster Marta Lazowik Georyana Santos Web Assistants Kate Barnekow Sabrina Kent Copy Editors Micah Bradley Eric Hilton Raquel Leon Section Editor Micah Bradley Dani Del Pico Nicholas D’Alessandro Staff Writers Matt Boggs Production Assistant

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Copenhagen, Denmark A shooting in the Danish capital left two dead and others injured at a free speech debate in a café and separately at a synagogue. The Prime Minister of Denmark, Helle Thorning-Schmidt, said that the shooting was a “politically motivated act of terrorism” because of the presence of Swedish cartoonist Lars Vilks who has faced death threats over his depiction of the Muslim Prophet Muhammad in his cartoons. It has been suggested that the shooting is a result of agitation brought on by the Charlie Hebdo shootings and aftermath in Paris in January. The shooter was later killed by police after he opened fire on them.

Kiev, Ukraine Ukrainian Prime Minister Petro Poroshenko has ordered a ceasefire in the eastern city of Donetsk, a site for clashes between pro-Russian rebels and Ukrainian military forces since mid-2014 formally known as the War in Donbass. The fighting in the area was responsible for the closure of the airport in May of last year and the airspace above Donetsk has been closed since flight MH17 was downed. Reports of shelling and shots being fired were frequent up until the exact moment that the ceasefire was meant to take place, and scattered incidences past that were still reported, making many question how long this or-

der from the head of state will be followed.

Nova Scotia, Canada Canadian officials say they have foiled the plot of a Valentine’s Day mass shooting. The two behind the plot were Canadian male, aged 19, and an American female from Illinois, aged 23. Two other Canadian male suspects, ages 17 and 20, were also arrested. The 19-yearold killed himself when the police attempted to arrest him. The group had planned to go out into a public place, shoot as many individuals as possible, and then take their own lives. The police believe that the potential acts were not culturally motivated and are therefore not classifying

the situation as a possible terrorist attack.

Delhi, India Newly elected Chief Minister Arvind Kejriwal has vowed to rid the state of the corruption that it has been rife with for so long. The specific issue the politician wishes to address is that of “VIP culture” where senior politicians are granted extraordinary treatment, from financial means to being able to “glide through traffic in a gridlocked city.” He is confident that he will be able to accomplish these goals in just five years. Kejriwal and his party, the AAP, effectively kicked out the previous dominant party, the BJP, by taking 67 of 70 state seats available.

Page 3 • FEATURES

Thursday, February 19, 2015

App makes campus safety virtual The new Rave Guardian app will give students the safety of the “blue lights” on their cell phones.

Micah Bradley

Natalie Marie Smith Poet Natasha Tretheway read from her most recent collection, Thrall, at the event on Thursday, Feb. 12.

Festival continues celebration of contemporary lit

Staff Writer

Rollins has introduced a new mobile app called Rave Guardian to promote personal safety.

“It acts as the new ‘Blue Light’ emergency phone stations placed around campus; however, they are now more accessible and effective than ever, being located right in the hands of the Rollins community,” said Phillip Denizard ‘16, the SGA member overseeing the rollout of Rave Guardian.

Though the app will be a new form of security, the familiar blue lights will remain on campus accessible to everyone.

One downloaded on the device, the apps name will change from Rave Guardian to Rollins Guardian.

After downloading the app students create a “Safety Profile.” It is important that students register for the app using their

Rollins email addresses so that the app is properly linked with Rollins’ Campus Safety.

The app has several features that can be utilized by Rollins students. The “send a tip” option allows students to give tips to Campus Safety, either by text or picture. Students can also call Campus Safety or 9-1-1 through the app. There is also a “safety timer” feature. Students can invite other users to be their “guardian” through the app.

The safety timer allows students to set an approximate time of their arrival somewhere, and select a guardian. Once they reach their destination, the student can de-activate the timer.

If they do not deactivate it, their selected guardian will receive a notification along with the student’s location. Guardians can be friends or family invited through the app, or Campus Safety.

“The goal of using the app in our program wasn’t to make

Campus Safety’s job easier. The sole purpose was to provide another tool to our community to increase their safety and to facilitate communications with our department.” Said Kenneth Miller, Director of Campus Safety.

The app is primarily for safety related issues, and any requests for escorts or non-safety related issues should still be addressed by calling the Campus Safety office.

There are other campuses that use the Rave Guardian App. Some of these are The College of William and Mary, American University, and University of North Carolina Chapel Hill.

The app will be free to Rollins students; the cost of the app was incorporated into Campus Safety’s budget.

Students have been able to use the app since Monday, February 9th, when SGA held a media launch, and is available for download on iOS and Andriod.

` Poet Laureate Natasha Trethewey visited Rollins last week as part of Winter With the Writers.

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Last week, United States Poet Laureate Natasha Trethewey visited campus as part of Winter With the Writers. She wrote Native Guard, a Pulitzer Prize winning collection of poetry. For her Master Class, the interns for the literary festival asked her questions about her process of writing, publishing, and craft.

She read from her poems to illustrate her points. Later, there was a well-attended reading in which Trethewey read from Thrall, her most recent collection that focuses on art, race, and her relationship with her father. A book signing followed the reading.

Next week two writers, Malena Mörling and Katie Farris, both known for their original works and translations of poetry, will visit. Malena Mörling is a poet and translator of Swedish poetry. She is known for her two collections of original poetry, Ocean Avenue and Astoria. She has collaborated with Jonas Ellerstrom on a collection of Swedish poetry translated into English,

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called The Star By My Head.

Katie Farris wrote a book of short stories, Boysgirls, which also includes beautiful illustrations. She, with Ilya Kaminsky, translated the works of Guy Jean, a French Canadian poet, into a volume called Mourning Ploughs the Winter.

“In boysgirls, Farris makes an art of taking myths we all love and using them to tell a new story. Throughout the book, there are hints and allusions to Daedalus and Icarus, Narcissus, and even Cyclopes. The real beauty of boysgirls is that it shows us how to read the stories we all know and love anew and, once again, experience that glowing passion of an excellent first read,” said Mario Ferrucci, a Winter With the Writers Intern.

Both writers will be on campus on Thursday, February 19th.

Mörling’s Master Class will take place at SunTrust Auditorium at 2pm. Following, Farris’ Master Class will be at 4pm in Bush Auditorium. At 7pm in Bush Auditorium, both will read from their works, followed by a Q&A and book signing.

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Micah Bradley

Page 4 • FEATURES

Sarah Bryant

Thursday, February 19, 2015

Writer

David Charles, chair of the Department of Theatre and Dance at Rollins College, likes to pursue projects that push him out of his comfort zone. “Machinal,” he says, “as an expressionistic piece, certainly fits that bill.”

Machinal, written by American playwright Sophie Treadwell, is based on the true story of an executed murderer, Ruth Snyder. The character Helen, based on Snyder, is a woman trapped within the mechanics of society.

She dislikes her job, her husband, and later has an affair which begins her downward spiral.

“There aren’t many contemporary examples of American Expressionism, so this certainly required a leap of faith,” says Charles. “I also knew that I wanted to explore and incorporate dance and stylized movement into this piece, which certainly isn’t my forte.” It is the forte of Rollins student Amy Sullivan, the choreographer for Machinal. The stylized movements and lyrical dance in the closing act evoke another level of emotion on top of the pain and passion already present. Every movement—a step, a glance, a gasp, a kiss—is subtly highlighted in such a way that captivates the audience.

In addition to choreography, the set design, composed by Rollins student Rebecca Kleinman, strengthens the overall effect of the workings of a machine.

The set is full of harsh lines and skewed angles, like the inside of a clock.

Annie Trombo, head of the

production’s costume design also helps in creating the perfect scene. For the third-year student, this is only her second show at Rollins. Her greatest challenge?

Time. “There are so many creative options with this job that sometimes you’ll get a great idea, but you don’t have time to produce that costume and get the other costumes done as well.” As Trombo says, “balance is key.”

Like Charles, this show was also out of Trombo’s comfort zone, but she accepted the challenge and strove to convey messages to the audience through her costume designs. “The concept for my designs was the image of a delicate bird making home in a large unnatural clock,” Trombo says. “I want the audience to see how uncomfortable Helen feels in her environment and at times in her own skin.” Each costume is designed with clues to tell the audience a little about each character. For a relatively large cast, 19 dedicated actors, the differences in designs had to be apparent enough to notice, but still subtle accents to the characters. “The costume is the portrayal of the character before that character speaks,” Trombo says. “For example, Helen is in work clothes similar to the rest of the cast with the exception of a small rose on her sweater. That contrast says something about her isolation.”

And the beauty in insolation. A recurring theme in Machinal is the idea of peace, wanting space, and longing to be alone.

In addition to costumes, student Alexandra Feliciano, head of the production’s make-up and hair design, utilizes unusual de-

signs to create perspective and a color pallet to induce more emotion on the stage.

Though the stage is not lacking in emotion. Rachel Comeau, a Theatre Arts major with an emphasis in performance, brings the emotion to the stage through her highly evocative portrayal of Helen. “I feel Machinal says a lot of things,” Comeau says. “After looking through Helen’s eyes these past weeks, I believe the primary message is the importance of finding freedom within the chaos.”

In some scenes, it is hard to believe that Helen will find any peace or freedom. “Helen reflects the worst possible outcome of not finding this freedom. Without freedom, her only choice is to be swallowed by the machine of life,” Comeau says. It is easy to believe Comeau’s interpretation of Helen; even in scenes where other characters emotionally engulf and overwhelm her, and it is clear her thoughts are panicked and stricken, she holds steadfast to her innermost longing for happiness.

“The most difficult part of playing Helen is finding elements of hope and light,” Comeau says.

“Textually, there seems to be little room for happiness, but I don’t want the audience to lose Helen too soon.”

Through research, Comeau learned about the era the play was written in, the trial of the character Helen was based on, Ruth Snyder, and the life of the playwright Sophie Treadwell.

She then slowly developed Helen’s character, making sure that her actions and choices reflected

Helen’s objective.

“Throughout this process it has been a challenge trying to find her joy,” Comeau says. “Even if it’s just one breath in between subway stops, those tiny moments of peace are the only thing that keeps her moving.” The objective can become emotionally difficult when you want to save the character. “I fight every run to save her,” Comeau says, “but in the end she always ends up saving me. I can only hope she will save the audience as well.”

The audience will not be disappointed. Together with the rest of the outstanding cast, Comeau will embody one young woman’s story. The audience will leave the theater pondering the eternal questions that society asks about passion, desire, and hope. Charles hopes that those themes, among others, will grant the audience a provocative night at the theater.

“The young woman’s journey in this play is complex, full of light and laughter as well as great pain and tragedy,” Charles says. “The expressionistic style of the production truly invites the audience to see the world from Helen’s perspective. I’m hopeful that the audience will find empathy with this woman who ultimately must take extreme action in order to find any chance of peace.”

And in the kind words of Comeau, “I try to play Helen as honestly as I can. I try to let her live.”

Fortunately for the audience, Helen will live through several productions of Machinal, now playing at the Annie Russell Theater.

Show Times: Feb. 18-20 at 8pm & Feb. 21 at 2pm & 8pm

Page 5 • FEATURES

EXPRESSIONIST WONDER

Thursday, February 19, 2015

Page 6 • FEATURES

Thursday, February 19, 2015

Uber sheds light on public transportation issues

Microsoft

Microsoft prototypes hologram technology Microsoft is planning to introduce ‘Hololens, new hologram technology with the next Windows update.

Carter Richard

Writer

When I looked up the latest information release about Microsoft’s Windows 10 operating system, I had to double-check and make sure it was not an early April Fool’s gag.

The headline read: “Windows 10 brings high-definition holograms to life in your world.”

What? Surely this has got to be a joke, like how everyone thought Amazon was joking last year when they said they wanted to deliver packages via airborne drone. But, like the Prime Air service, this is a surprisingly real thing that could be in consumers’ hands before the end of the year.

Simply put, Microsoft wants to turn your world into the next iPad. The video trailer they have released describes the “next-generation” of computing—one that projects your computer’s programs all around you in a virtual environment. Their aptly-dubbed “Hololens” is essentially a pair of specialized glasses (and according to Patrick Moorhead at Forbes, they are surprisingly comfortable).

Using gesture-based controls, the user can manipulate programs in their virtual workspace. Such a technology would be an incredible boon for engineers, artists, and scientists.

NASA is even mapping the technology for virtual walk-arounds on the surface of Mars. But Microsoft is quick to point out the recreational ability of their software.

Some of the more intuitive usage in their trailer included a virtual TV screen that can be resized/moved at your leisure, Skype calls that can share your surroundings, and even video

games that can be mapped onto your coffee table.

But what is most exciting about Windows 10 is the support for user-created apps and programs. Because of how the OS is constructed, any program that runs in Windows 10 can also run in hologram form. Already, there are dozens of ideas floating around on the internet that make brilliant usage of a pro-

“

Microsoft has been working secretly on this project for years, and they are not ready to divulge too many secrets about its inner workings

posed holographic reality. Some of the more unique ideas include different interior design set-ups for multiple roommates at once, virtual versions of TV shows that let the viewer walk around the set, and my personal favorite, a computer-generated “the floor is lava” game wherein the floor would actually look like lava.

Thank goodness for computers slowly dissolving any need for my imagination.

Microsoft has been working secretly on this project for years, and they are not ready to divulge too many secrets about its inner workings. It seems they are not

going to get away from competition that easily, though—Google has only just recently scrapped their Glass program in favor of a startup named Magic Leap, which is also designed for holographic projection.

In the next few months, we are likely to see many companies jump onto the bandwago, but this actually may be the best thing for consumers. Most past attempts at “virtual reality” devices have existed without competition and, as a result, fell into stagnation and bankruptcy. With multiple investments into the technology, we could certainly expect more consistent updates and drives to achieve superiority. Couple that with the growing base of independent software programmers and creative user ideas, and what you have is a whole lot of potential for a technological revolution.

But to be clear, Microsoft doesn’t expect everyone to own a Hololens. For those who do, they will likely only use it for select hours in the day. It is designed as a low-risk step into this new technology, and will likely find its niche as a productivity tool.

It will probably be many years before we see a Tony Stark-esque hologram computer in everybody’s home, and probably even longer before the device is small enough for constant use.

Still though, even the modern cell phone started out as a brick.

In the meantime, it is exciting to see this newest innovation and wonder whereabouts it will take us.

Microsoft will be releasing more information about their new technology at Build, the software developer’s conference running from April 29th to May 1st later this year.

Alternative transportation serivce Uber might be hiding issues with Orlando’s lack of public transportation.

Danielle Del Pico

Staff Writer

The official website tagline for Uber reads “Get a taxi, private car, or rideshare from your mobile phone.” Uber is the new black sheep of Orlando. It has recently generated buzz regarding its conventionality as well as having its overall safety called into question. In a city where everything feels miles and miles away, Uber seems like the logical solution to get around for those who don’t have cars. Winter Park’s Sunrail station was built in May 2014; however, there are obvious limitations as to where the commuter train can travel. At the moment, it only travels locations that run North and South.

Perhaps in years to come with new additions and improvements, the Sunrail will be much more predominant presence and used method of transportation than it currently is. Uber is an immediate fix to many people’s transportation woes. Think of it, a personal driver at your finger tips!

In December 2014, The Orlando Sentinel reported that the city initiated new ordinances that would permit companies like Uber and a similar app, Lyft, to operate in Orlando legally beginning on February 1st. These ordinances were set in motion to make these companies charge rates in congruence with the standard taxi rate already set in place.

There was generally opposition from drivers of Uber and Lyft, remarking that the sole reason for this imposition was to drive customers away from using their services as their primary means of transportation. There was also the major issue of safety -- as it stands Uber and Lyft drivers can be anyone willing to get behind the wheel. The ride sharing companies currently subject their drivers to background checks, but the city wants more details to be certain of the safety of the community. In major U.S. cities like New York and Los Angeles,

these apps are a cheap alternative to conventional modes of public transportation. Uber has even extended across the globe, present in parts of the world such as Europe, the Middle East, and Asia.

There is buzz amongst Rollins students about Uber and

“

In a city where everything feels miles and miles away, Uber seems like the logical solution to get around for those who don’t have cars

how it would help make adhering to their busy work and school schedules easier. Jessica Kaufman ‘15, an English major, has a strong opinion on the transportation options in Orlando, “I think that with the upcoming I-4 disaster of a construction project, Orlando needs any and all help when it comes to public transportation as getting around town is going to take forever. I find it disappointing that all this money was spent for the Sunrail, but Orlando lacks services to get people from the stops to where they need to go. Uber seems to work in many cities across the country so I really don’t understand why the city would want to eliminate it as an option. As a commuter I’d love to use the Sunrail instead of wasting an hour to get from school to home in the evenings, but I would need Uber or a bus that is reliable and not scary to make that happen.” Overall, is Orlando allowing Uber to operate truly a question of transportation safety, functionality, or just heavy competition for the already established modes of public transportation?

Page 7• ARTS & ENTERTAINMENT

Thursday, February 19, 2015

Feminist art finds home at ‘The Space’ Alumna’s show, ‘Housewifes,’ shares narratives of female arists.

Ariana Simpson

Writer

It was sometime in September. Leah Sandler, recent Rollins graduate, sat in her living room engrossed with the thoughts of how many tremendously talented artists she knew who were making work that was engaged in an interesting dialogue with each other. So why not show that work in a domestic space and allow it to be in conversation with the space?

Inspired by the Yik Yak gender controversy last fall, Sandler designed her upcoming show “Housewifes” to showcase gender discriminations. Sandler credits her main inspiration to one misogynistic yak, which stated, “Women are why we are here, so f**k women.”

Sandler states, “I thought that the person that wrote [that] probably didn’t intend to have it be so existentially questioning. It made me think more about that conveyed connection to birth and motherhood, roles associated with women and femininity, and kind of made me want to do a show that examines each of these different artist perspectives of women and their individual experiences as somebody who’s in an ‘other’ and alienated group.”

“Housewifes” will be a twonight women-led show, with diversity ranging from narratives about being an immigrant, to LGBTQ voices speaking about oppression and alienation, as well as stories and tales of womanhood with a definite presence of intersectionality, keeping in mind that the most popular presence is the privileged white feminist.

Sandler remarks she “noticed there was this momentum of people creating really great feminist work in Orlando,” she added, “that this work that receives exposure in commercial galleries and gets sold locally is work that in different ways stereotypes women while using images of women that aren’t critical.”

As a response, Sandler sought to have a show of women artists that were hypersensitive to these ideas. These artists’

works question the male gaze, and asks, “Why is feminist art not more popular or canonized?”

Sandler says about the underlying issue, “The whole system ignores art done by women; such as crafts and decorative arts.”

Sandler began organizing “Housewifes”her final semester.

Many of the artists involved are Rollins students, and the show is sponsored by The Lucy Cross Center for Women and Their Allies. All of the equipment is from the visual resource center with advisement from Dr. Kim Dennis and support from the faculty.

The space the show will be held in is called “The Space,” a do-it-yourself venue on top of Anthony’s Pizza at the corner of Mills and Colonial. Sandler notes, “When you walk up those stairs and you walk into the front room it feels—there’s a very special aura to the building and you can almost feel the history of it, even before it was the space. It has such unique architecture.”

The specific goal of “Housewifes” is not to sell art or share a specific person’s work. The show’s focus is on expressing the individual narratives of the artists taking part. The show will include video art, new media, digital photographs and more traditional pieces such as paintings that use bleach, sculptural works, two-dimensional printmaking, visual journal spreads and an interactive performance piece.

As for Sandler’s work, one piece will be an installation in the bathroom titled “How to Tame a Rabbit” with the inspiration drawing from her pet rabbit, Buffalo. This body of work came to be the coalescence of all of these “weird personal autobiographical experiences,” and thinking of her position as a woman in society.

The show takes place on Friday, Feb. 20th at 7pm and goes on until “whenever.” On Saturday the 21st the show will also start at 7pm but will end at 9pm.

There is another all-women art show, “Agencies,” that follows directly after the Saturday opening, which was organized separately but follows a similar feminist dialogue.

Leah Sandler

Angelica Millan

Betsy Johnson

Lin VanderVliet

Lucinda Rex

Page 8 • ARTS & ENTERTAINMENT

Thursday, February 19, 2015

best director richard linklater Linklater’s masterful direction of a unique concept was a joy to watch. His direction was certainly the best of the year. The only wrench in this is Alejandro Inarritu’s win at the Director’s Guild Awards. My money, however, is still on Linklater.

best supporting actor jk simmons JK Simmons was incredible in Whiplash, an engaging performance by a talented man. He is sure to win this one.

best picture

birdman

Over the past nine years the films that won Best Picture at the Producer’s Guild Awards went on to win at the Academy Awards. The odds are in its favor, this dark comedy is the top contender for the big award this year.

best actor eddie redmayne Redmayne gave the best performance of the year, utterly transforming into Stephen Hawking before our very eyes.

Along with his many other award show wins, Redmayne will take it.

Nicholas D’Alessandro Writer

best actress julianne moore Moore’s performance in the smaller film, Still Alice, has given her countless accolades for her performance as a woman who loses her ability to speak. No doubt about this win.

best supporting actress patricia arquette Certainly the most complex character in Boyhood, Arquette handles the struggles of motherhood effortlessly. She is the clear winner.

The long Oscar season will finally come to a close on February 22. With the Academy Awards on Sunday, prediction lists will be everywhere and after watching all the nominated films and all the award shows, I have my own list of predictions.

best adapted screenplay whiplash Adapted from a short film by the same director/writer, Whiplash takes a short indie film screenplay and makes it a tense dialogue and music driven masterpiece. Among the other contenders it is easily the strongest.

best cinematography birdman The best aspect of this film, beyond the screenplay, is its innovative, flowing cinematography. It handles the story beautifully and gives the film the feel of one continuous shot.

Legendary organist leads Bach Festival Society Esteban Meneses Writer Juilliard’s Paul Jacobs played a tremendous organ recital at Knowles Memorial Chapel.

A singularly striking young organist and Grammy Award winner, Paul Jacobs possesses a demonic control over the ‘King of Instruments’—nicknamed so for its gargantuan set of keyboards, pedals and intimidating towers of pipes—matched only by the instrument’s booming sonic power.

The 80th anniversary of the Bach Festival Society continued last Friday evening with a full house at Rollins’ eminent Knowles Memorial Chapel—in 1997 it was added to the National Register of Historic Places— gathered to hear Jacobs’ much anticipated organ recital. Jacobs, 38, whom The New Yorker described as “the deceptively cherubic-looking chair of the Juilliard organ department,” was

appointed head organist in his hometown of Washington, Pennsylvania, at the tender age of 15.

He has held the chairmanship of the highly prestigious music school’s organ department since 2004.

The great organ at Knowles Chapel dates back to the early 1930’s, and has since been refurbished into an “all-electric, four-manual movable console, which provides many features previously unavailable,” according to Rollins’ website. “These pipes are producing more glorious music than ever before.”

Glorious indeed were the sounds, befitting the great organ masterpieces of J.S. Bach: Jacobs performed the Prelude and Fugue in D Major (BWV 532), and in A minor (BWV 543).

Following an introduction that presents the basic material, these pieces progress through a complicated harmonic foundation that leads to the fugue, in which many voices overlap and reverberate across the performance

space.

Jacobs’ pedal work was exquisite—during the heavier passages for both feet he would hold on to the edges of his seat—and his transition from one keyboard to the other was smooth, effectively producing a simultaneous panoply of sound that only the great pipe organ can possibly create.

The many organ stops—the knobs that select a particular set of pipes of varying length and tone—allowed Jacobs to evoke widely contrasting moods. From the toy-like tinkering of Mozart’s brief Andante in F Major, to the terrifying diminished-chord opening of French composer Alexander Guilmant’s Organ Sonata No. 1 in D Minor, Jacobs spanned the register and timbral qualities of the organ.

At times, the pipes can produce a celestial tone for delicate melodies; or a nasal, oboe-like tone; or a reedy, almost menacing middle-register bellows; or an all-encompassing cluster of

sound, in which the notes seem to keep piling up as the organist reaches a climax point of awesome resonance.

Unfortunately the organist decided to drop a programmed Max Reger (1873-1916) piece, which would have been the most modern, although the aforementioned Bach BWV 543 was an appropriate substitute, in spirit of the wonderful 80-year Bach celebration we have here in Winter Park.

The Guilmant sonata, in three contrasting movements, was the most well-rounded selection. Introduced by Jacobs as essentially a self-contained symphony for organ, it progresses from clamorous dynamic levels for full-blown pipes, to a soothing choral-like pastoral, to an intensely dramatic finale: a “toccata on steroids,” according to the program notes by Adjunct Professor of Organ George Atwell.

Jacobs is a fiendishly precise organist and also a charismatic advocate of music appreciation;

besides introducing the program in an approachable way, he encouraged his audience to take the experience of the recital a step further by looking into the music and its context. Whether by reading the program notes, researching and listening to other pieces at home, or making this timeless music a part of your everyday life, in whatever way you can fit it in, the experience does not have to end when the last note is played on the great organ.

This spirit of ever-increasing discovery and intellectual curiosity, which Jacobs conjured, is perfect in keeping with the standards of Rollins College, this great liberal arts institution that fosters such similar humanistic values.

The festival continues on February 20 with ‘Concertos by Candlelight: Mendelssohn, Beethoven, and Mozart,’ featuring renowned soloist Nadja Salerno-Sonnenberg on violin. Visit www.bachfestivalflorida.org for more details.