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Rogan Kersh Is the New Academic Director of NYU Florence

Posted on September 30, 2024 by Maxine P

For Professor Rogan Kersh, becoming the academic director of NYU Florence and the vice chancellor for Global Programs is the culmination of a lifelong interest in world cultures—and a full-circle moment in his history with NYU.

From 2006 to 2012, Kersh was the associate dean of the NYU Robert F. Wagner Graduate School of Public Service. There, among his other responsibilities, he was involved in the early planning stages of NYU Abu Dhabi, which fueled his passion for enhancing students’ global outlooks. For the next decade, Kersh served as provost at his alma mater, Wake Forest University, where he helped expand overseas study programs and global cultural opportunities on campus. In the fall of 2022, he spent a semester at DIS Copenhagen, teaching a course and engaging closely with their leadership to better understand the changing state of global education.

Now that he’s back at NYU, Global Dimensions caught up with Kersh to discuss his return to the University and his goals for NYU Florence.

What drew you back to NYU and specifically to NYU Florence?

I’ve remained close to many cherished NYU colleagues, and it will be wonderful to renew those relationships. For an organization this large and multinational, it’s remarkable how important personal connections are. As for NYU Florence: if you’ve visited, you know.

In your new role, what are your key goals for the site?

NYU Florence is at once a first-class study away program and a convening site important to NYU and to the city of Florence. Sustaining that balance, attending both to academic excellence and community engagement, feels essential.

I plan on learning as fully as I can about existing curricula, courses, and programs, and hearing from faculty and staff about the opportunities they see to enhance this wonderful site. Then, I will focus on working with them to help realize those opportunities.

What do you recommend students studying away at NYU Florence take advantage of while they are there?

I’ve always been impressed with how well Florence wears its extraordinary history—so many remarkable figures and movements and moments, most superbly preserved—while remaining a dynamic modern ecosystem that is a global leader in sustainability and has developed a thriving start-up culture.

Students can exercise their passion in virtually any direction and take advantage of so much: superb dining, from haute cuisine to street food; natural beauty in an urban setting; engagement with local public service organizations; and cultural treasures both ancient and newly imagined. And of course there are architectural gems everywhere you wander.

Many NYU Florence students find themselves spending fewer weekends city-hopping and more immersed in their fascinating immediate surroundings, which speaks to the power of the experience they have.

Written by Kristin Maffei

NYU Faculty Conduct Research in 107 Countries and Counting

Posted on September 23, 2024 by Katie L

At NYU, research thrives across 15 schools and campuses and dozens of centers and programs—in New York and around the world. In fact, University faculty conducted research in 107 countries, as well as in Greenland and Antarctica, during the 2023–2024 academic year alone. From sustainability to inequality and human health to artificial intelligence, research at NYU spans disciplines and crosses borders—and the University’s profile is rapidly rising. Today, NYU ranks 15th among all universities on the National Science Foundation’s annual Higher Education Research and Development survey, with the biggest year-over-year surge in rankings of any top 50 school (as measured by research expenditures).

“NYU’s ascent as a leading research university helps set the stage for President Mills’ visionary strategic pathways, which includes a focus on global science and technology that will enable NYU to continue to thrive and drive impact,” affirms Stacie Bloom, chief research officer, vice chancellor, and vice provost for global research and innovation. “By fostering interdisciplinary collaboration, expanding global education opportunities, and investing in innovative research, President Mills has positioned NYU to be at the forefront of academic excellence and discovery. This holistic approach not only enhances NYU’s research capabilities but also cultivates a diverse and inclusive academic community that reflects the University’s values.”

Here are just a few of the projects positioning NYU to lead the world in global education and research.

J. Lawrence Aber, the Willner Family Professor of Psychology and Public Policy at the Steinhardt School of Culture, Education, and Human Development, and Hirokazu Yoshikawa, the Courtney Sale Ross Professor of Globalization and Education at NYU Steinhardt, co-led and co-found the Global TIES for Children Center at NYU, stewarding the center’s research for a decade. Their team conducts research in 14 conflict-affected countries, including Colombia, Peru, Lebanon, Jordan, Niger, and Bangladesh, to improve program and policy action that promotes children’s holistic learning and development. Effective this fall, Florencia Lopez Boo, has taken over duties as the director. Prior to her role at NYU, Lopez Boo spent 15 years evaluating, designing, and implementing early childhood development, social protection, and health programs with the Inter-American Development Bank.

Meredith Dank, a clinical associate professor and director of the Human Exploitation and Resilience program at the NYU Marron Institute of Urban Management, has led nearly two dozen human trafficking studies. Recently, she ran a randomized controlled trial in two regions of India to address the high risk of human trafficking among the country’s Denotified Tribes. The research aims to reduce trafficking by developing economic alternatives and new livelihoods for the tribal communities.

Donna Shelley conducts research on tobacco use treatment and tobacco control policies in public healthcare networks for underserved populations. The professor of public health policy and management, vice dean for research in the Department of Public Health Policy and Management, and founding codirector of the Global Center for Implementation Science at the NYU School of Global Public Health recently studied high smoking rates among people living with HIV/AIDS in Vietnam. Her research seeks to develop a scalable, culturally appropriate model for implementing evidence-based treatment for tobacco users in outpatient HIV clinics in Vietnam.

Joo H. Kim is an associate professor in the Department of Mechanical and Aerospace Engineering and affiliated faculty of NYU’s Center for Urban Science and Progress and the NYU-KAIST Global Innovation and Research Institute. In collaboration with Korea University, his research in South Korea uses advanced 3D fall-threshold algorithms and intelligent surrogate models to develop wearable robotic devices to prevent falls and enhance safety.

Written by Dana Guterman

Toward Health Equity Across the Globe: NYU Shanghai’s Brian Hall Named Highly Cited Researcher in the Field of Psychiatry and Psychology

Posted on April 22, 2024, modified on April 22, 2024 by Maxine P

Professor Brian Hall has always kept a busy schedule. The global health researcher and clinical psychologist began his career providing triage services at a free medical clinic in Ohio, then he took his work to a post-tsunami Japan in 2011. With a dedication to supporting underserved and disadvantaged populations, he’s worked with refugees in Jijiga, Ethiopia, and migrant domestic workers in Macao, China. Today, he’s the director of NYU Shanghai’s Center for Global Health Equity and a professor of global public health. He’s also coauthored more than 320 peer-reviewed publications, commentaries, and chapters on the most pressing global health issues of our time, leading to his distinctions as a 2022 and 2023 Highly Cited Researcher in the field of Psychiatry and Psychology by Clarivate’s Web of Science. “It really highlights that our work is timely, focused on key issues of global priority that demonstrate a real impact on the field,” he says. “It is an honor.”

Hall joined NYU Shanghai in 2020 to lead the development of the global public health curriculum and ultimately the Center for Global Health Equity, at a time when public health reentered the spotlight. Since then, he’s also developed and taught a student-driven NYU seminar course on global mental health, which, to the best of his knowledge, is the first of its kind in Asia. Today, he oversees the center in three core areas: education, training, and mentoring; service to the community; and research. “Global health is a convening discipline, bringing diverse scholars and students together to address issues related to population health and well-being. Our goal is to continue to cultivate this interdisciplinary research atmosphere and include learners at all levels,” Hall explains. “This is a field in which we can make a real difference in the lives of diverse populations in China, regionally, and around the world.”

A group of individuals stand in front of a decorative poster.

Hall and colleagues celebrate the successful trial of Step-by-Step, a digital mental health intervention, on Chinese university students.

At the center, Hall says, “We focus our efforts on finding opportunities to make the greatest public health impact.” Currently, that includes noncommunicable diseases, like cancer and mental health, urban health, climate change, and migration. Now Hall is focusing on digital mental health interventions. Working with the World Health Organization, he recently published an implementation trial to address the mental health of Chinese university students—a population of more than 9 million. Going forward, the center is coleading a 1.3 million euro grant to study the barriers of accessing mental health care that migrant populations in five countries experience.

Jin Han, Yang Feng, and Brian Hall seated in chairs in discussion

Jin Han, Yang Feng, and Hall in discussion at the inaugural Summit in Global Public Health held by NYU’s New York City and Shanghai campuses

Because the center is based at NYU Shanghai, Hall and his colleagues have access to a wealth of resources. “Shanghai is a living laboratory, and NYU Shanghai is a vibrant interdisciplinary research university,” he affirms. “So we can find world-leading researchers and promising pretenure faculty and fellows with whom we can discuss opportunities for collaboration across fields. I think this makes NYU Shanghai unique, as we think outside of our own narrow fields to find intersections where innovation can take place.”

Written by Dana Guterman

The Global Liberal Studies Course Taught Around the World

Posted on April 1, 2024, modified on April 1, 2024 by Maxine P

A group of students smile at the camera on a city sidewalk

Students in Cecilia Palmeiro’s “City as Text” class in Buenos Aires’ La Boca neighborhood. The class studies its traditional tenements—painted in different colors—in reading the history of Buenos Aires through its architecture. Photo credit: Daniel Espinoza

Global Liberal Studies (GLS) majors have the unique opportunity to take the course City As Text during the fall semester at most locations in NYU’s global network. The course, part of the GLS junior-year learning sequence, selects location-specific texts to immerse students in the setting where they’re living and learning. “Across all City As Text courses, emphasis is placed on the importance of primary sources. Students academically investigate their present geographic setting but also experience its profound intricacies on-site. The classroom work, alongside the field trips, is designed to facilitate the framing and contextualization of the study away experience,” says Philip Kain, the director of academic engagement and experiential learning and a clinical professor at Liberal Studies.

For example, at NYU Buenos Aires, readings and lectures are enhanced with visits from local government officials and activists. And, of course, excursions throughout the city to places like the Palace of the Argentine National Congress, Plaza de Mayo, and La Boca neighborhood, an artists’ haven that many 19th- and 20th-century European immigrants called home, provide further insight for students. “We produce a kind of knowledge that fosters reflection and analysis that exceeds the singularity of Buenos Aires and inspires their approach to other places,” says NYU Buenos Aires course instructor Cecelia Palmeiro, an expert on Argentine and Brazilian literature and gender issues, a researcher at the National Scientific and Technical Research Council, and the coordinator of the Interdisciplinary Center for Gender Studies and Policies at the National University of Tres de Febrero.

A group of students stand in front of a street mural featuring Argentinian soccer player Diego Maradona

Students in Cecilia Palmeiro’s “City as Text” in front of a mural of Argentinian soccer star Diego Maradona in Buenos Aries’ La Boca neighborhood. Photo credit: Daniel Espinoza.

This fall in Palmeiro’s class, students considered the past and present of Buenos Aires through the lenses of immigration, environmental concerns, art and its role in political protest, and reproductive health. “In order to obtain the critical tools necessary to make sense and produce academic knowledge out of this experience, students read ‘Neoliberal Reform and Landscape Change in Buenos Aires, Argentina’ by David Keeling and the classic ‘The Right to the City’ by David Harvey,” explains Palmeiro.

This approach is not singular to NYU Buenos Aires, however, as students at NYU London traveled to the city’s Brixton district to learn about the area’s musical history and shifting racial makeup. And at NYU Accra, students focused on how migration and religion shaped the Ghanaian capital, visiting places of worship to learn in context.

Architect Cecilia Alvis points to a colorful mural

Architect Cecilia Alvis with “City as Text” students in front of a mural on the Nicolás Avellaneda Bridge. Photo credit: Daniel Espinoza

NYU Paris students studied the potential impacts of the 2024 Summer Olympics, learning about the social and environmental impacts of the upcoming event, and in NYU Berlin, students contextualized their learning with the history and landmarks of the Weimar Republic, the Third Reich, and the Cold War. “City As Text has played a significant role in the GLS curriculum since its inception. Our aim was to create a course centered on active engagement at the study away locations with a global perspective as its foundation,” concludes Kain.

Repurposed from NYU News

On Art and Diasporic Aesthetics: The Art Scenes of Berlin and New York City

Posted on February 5, 2024 by Maxine P

Kulturbrauerei complex on a day with blue sky

One of NYU Berlin’s academic centers is located in the Kulturbrauerei complex, pictured here.

Cecilia Bien, a Global Research Initiative Fellow in Berlin, discusses the differences and similarities between two cosmopolitan art scenes, Berlin’s and New York City’s, as well as her thoughts on what makes art considered art with Nina Katchadourian, a clinical professor on the NYU Gallatin School of Individualized Study faculty.

Their conversation has been condensed for clarity.

Cecilia: I’m interested in what is not yet framed as art. I’m interested in attitudes, the impulse. I am thinking about how to show “marginal” work in a contemporary context without the feeling of it being used for representation or shown in a way that has to be overexplained.

Nina: When you compare Berlin to New York City, what are the differences or similarities you see in fashion, style, or haircuts, for example, or how people walk down the street?

Cecilia: Reference to club culture doesn’t happen the same way in New York City as it does here. Fashion in Berlin subscribes way less to trends in favor of individuality—even if it’s ugly. I find that refreshing because maybe it means that the hierarchy of taste is always being questioned.

There are different codes here. A lot of the styles in Berlin seem to be more lived. I also see how subcultures can complicate expectations of diasporas. On the flip side, I feel like a lot of what gets absorbed by the cultural industry in Berlin is appropriated from what’s been happening for a while in New York City.

Nina: We’ve talked in a lot of different contexts about when something from the periphery gets absorbed into the mainstream. I think you have a good antenna for this and that it’s deeply interesting to you. How can you tell when something like this is happening?

Cecilia: Recently, I’ve been focusing on when and why certain tastes change. When an incisive political message gets diluted, the aesthetics attached to it become normalized. I think about what the term “diasporic aesthetics” means to people who understand things through representation. Diaspora is so layered and complex, but it seems to be becoming a euphemism for a certain kind of woke taste different enough from the norm but only with a certain kind of difference being accepted. It cannot feel bourgeois, but it must be digestible though not necessarily understood, and it must be appreciated without being deemed “trashy.” When I hear such aesthetics embraced as “beautiful,” I wonder what makes them so and which cultural tides had to change or switch course for them to be considered that way.

Nina: I’ve always known you as someone who thinks from two positions: a maker and a critical analyst of systems and institutions. When you think from those two positions, does one enhance the other? I know you’ve recently done some work as a curator. Do you think curating is a type of making?

Cecilia: I think it can be because it’s a way to conceptualize the making of an idea. I guess curating is also the making of an exhibition or the making of an argument. That said, making an exhibition about a so-called diasporic group does not count, for me, as the making of an argument. For example, I am no longer an Asian American outside of America. At least, this is how I feel I am perceived here. There are countless versions and political positions and reasons why people move from place to place, so how can you group them all by a prescribed cultural background? It’s quite superficial and certainly not enough to base a concept on.

Nina: What are some examples of an exhibition addressing a “vague diaspora,” and when do you think it works and when do you think it doesn’t?

Cecilia: A lot of times these exhibitions are accompanied by super research-based texts, which I often have a hard time with even though I also write some myself. Sometimes, I’m not sure what the relationship should be to the artwork, like whether it should exist in parallel as a complementary work or whether it should walk the viewer through, because a lot of times it is hard or impossible to place the work in an art historical context or within a canonical framework, which is what many viewers going to a museum or institution might expect. And still, the curatorial choices for non-Western art are also often from a Western-educated lens.

So these rather heavy-handed texts might be trying to contextualize the works in a new temporality but often come off as dry justifications of why the work is allowed to be there. There’s something slightly insecure in the overcompensation, and it feels a little like it’s not completely sure of what it should be doing.

At the moment, I work at an archive that is a collection of people globally reacting to and rejecting the canon and art history, a global network which came to be called Fluxus. In Prague Milan Knížák’s Aktual Walk considers everything between how to wear a garment and walk down the street to how to interact provocatively. This kind of work is impossible to pin down as an art object, as something that can be placed in a museum, or something understood purely by looking.

So it’s interesting to try to give these works significance without placing them in categories structured by a hierarchical order. Every day, we deal with questions of how to contextualize collective action outside of art history, how to show what is not necessarily called art, as art, and whether we should do it at all when most of what was created was ephemeral and meant for impermanence. But I still want to curate a show with Knížák’s drawings and sketches and correspondences between the artists in the collection as a way to show the very attitude that we’re talking about right now.

Repurposed and edited with permission by the NYU Berlin blog

Cecilia Bien

Cecilia Bien writes and organizes programs in Berlin, for artists as well as para-institutions such as SAVVY Contemporary and Archivio Conz, a Fluxus archive. Previously working in applied art and fashion contexts in New York City, she came to Berlin to complete studies in art and cultural theory, recenter her critique of dominant narratives, and understand her own subjectivity outside of an identity politic tied to living in the US. Her current practice concerns diasporic aesthetics and situating play, chance, and community coming from the periphery in the context of art.

Nina Katchadourian

Nina Katchadourian is an interdisciplinary artist whose work includes video, performance, sound, sculpture, photography and public projects. Her video Accent Elimination was included at the 2015 Venice Biennale in the Armenian pavilion, which won the Golden Lion for Best National Participation. In 2016 Katchadourian created Dust Gathering, an audio tour on the subject of dust, for the Museum of Modern Art. A traveling solo museum survey of her work entitled Curiouser opened in March 2017 at the Blanton Museum of Art and toured to the Cantor Art Center at Stanford University in fall 2017. It will conclude at the BYU Museum in Provo, Utah in March 2018. An accompanying monograph, also entitled Curiouser and edited by curator Veronica Roberts, is available from Tower Books. Katchadourian’s work is public and private collections including The Metropolitan Museum of Art, Blanton Museum of Art, Morgan Library, San Francisco Museum of Modern Art, Margulies Collection, and Saatchi Gallery. She has won grants and awards from the New York Foundation for the Arts, the Anonymous Was a Woman Foundation, the Tiffany Foundation, the American-Scandinavian Foundation, and the Nancy Graves Foundation. Katchadourian lives and works in Brooklyn and she is a clinical professor on the faculty of NYU Gallatin. She is represented by Catharine Clark Gallery, San Francisco, and Pace Gallery, New York.

Akkasah: Illuminating History Through Photography

Posted on December 11, 2023 by Maxine P

This summer, Akkasah, the photography archive at NYU Abu Dhabi’s al Mawrid Arab Center for the Study of Art, released 1,500 digitized photographs from across the Middle East, with some photographs dating back to the 19th century. Located within the NYU Abu Dhabi Library, this remarkable collection houses a treasure trove of images that chronicle the history, culture, and transformation of the Middle East and beyond.

An example from the archive: Taken in 1949 by Ibrahim Omara, this image of Egyptian actresses Aziza Helmy and Laily Fawzy in the back of a car is available in the Samir Farid Collection.
Reference ID: ref34_000002

Origins of the Archive

This fascinating collection of the photographic heritage of the Middle East was established in 2014 by Professor Shamoon Zamir, who still serves as its director. “When I joined NYU Abu Dhabi, I very much wanted to make some kind of contribution to work in the region,” says Professor Zamir. After noticing a lack of Middle Eastern photography archives, he designed Akkasah to be completely accessible, both online and in person.

Akkasah acquires photos from donations, family albums, studios, and even flea markets. They also work with people who allow Akkasah to digitally archive their collections while they retain the physical copies of their photographs.

Once collected, each photo is individually cataloged with any available metadata, such as the subject matter and location. Although most archives catalog their collections folder by folder, Akkasah catalogs each photograph. It’s a time-consuming process, but the extensive metadata and easy searchability put Akkasah in a class of its own.

Scholarly Impact

With its diverse collection of roughly 40,000 images spanning the late 1800s to the present, Akkasah provides a unique window into the past. Anthropologists, historians, and social scientists from around the world have access to this invaluable resource, offering insights into education, religion, fashion, and more.

“There are both amazing surprises and expected things in there,” says Professor Zamir. Some subjects provoke questions, for instance, two women kissing in a Cairo photobooth in the 1940s.

Beyond its role as a scholarly resource, Akkasah opens its doors to students and the wider community by hosting exhibitions, seminars, and lectures. They have taught workshops on skills such as archiving and constructing photo books. And anyone can browse the archive in person or online.

“Anyone, academic or nonacademic, can make an appointment and see whatever they want to see,” says Professor Zamir. “In fact, we very much welcome it.”

Professional Development Opportunities

For students who want to learn even more about archiving, Akkasah offers paid internships. Undergraduates can gain valuable experience in photography, digitization, and curation.

A studio portrait of a seated woman wearing a dark dress

An example from the archive: This studio portrait of a seated woman comes from the Kadikoy Foto Aile in Turkey and is available in the Ozge Calafato Collection.
Reference ID: ref263

Emily Broad, a Raleigh, North Carolina, native who graduated from NYU Abu Dhabi in 2022 with a degree in Art and Art History, is one former intern. “Akkasah is one of the reasons why I applied to NYU Abu Dhabi,” says Emily. “I was able to develop my interest in photography not only as a practice but also as an academic discipline.”

As part of a summer research project, she cataloged a collection from the granddaughter of Butti Bin Bishr who worked closely with Sheikh Zayed, the United Arab Emirates’ founder. “I spent the whole summer talking with her and going through each image, dating them and writing descriptions. That was a unique experience because I got to work with someone who was high-level in the UAE as well as form a relationship with her through the archival work.”

Building on the skills she learned, Emily went on to do an internship at the Metropolitan Museum of Art and is now pursuing her PhD in Visual and Cultural Studies at the University of Rochester.

A Cultural Reservoir

Perhaps one of the archive’s most important roles is the preservation of cultural heritage. It documents traditions, customs, and art forms, helping safeguard the rich cultural tapestry of the Middle East. Anyone can stop in to reconstruct narratives, explore societal changes, and gain insights into the past.

Emily encourages students to take advantage of the unique resource. “Akkasah gives you a different look at the region than what people are used to, especially if you’re an American student,” she says. “I feel like we have preconceived notions about the Arab world that working with Akkasah really changed for me.”

Written by Kelsey Rexroat

NYU Tel Aviv Welcomes a Simulation That Prepares Students for the Next Global Public Health Emergency

Posted on June 14, 2023 by Katie L

In a humanitarian crisis, the World Health Organization’s Strategic Health Operations Centre (SHOC) in Geneva, Switzerland, leads the response and offers coordination, information, monitoring, and other critical services and resources to the international community. At NYU Tel Aviv, Dr. Inon Schenker provides a unique opportunity for students to gain experiential understanding of SHOC through the War on Epidemics simulation. First launched by Dr. Schenker at Ben-Gurion University of the Negev, the simulation has been a training ground for hundreds of students at Israeli universities. Now at NYU Tel Aviv, the War on Epidemics is part of the course Epidemiology for Global Health, though Schenker welcomes any students eager to participate.

Realistic Scenarios Bridge Theory and Practice

In a room modeled on the SHOC’s setup, students work together to develop real-time responses to an unfolding crisis. This year’s simulation was based on the 2004 tsunami that devastated over a dozen countries in Southeast Asia. Students were briefed with real footage, then charged to consider emerging issues like sanitation, care for the injured, information communications, and the potential for the displaced populations to experience health risks such as infectious diseases, mental health conditions, and trauma. As the simulation progressed, the team was notified that a group of 1,000 young people were trapped on a mountain without shelter or food. Throughout the simulation these scenarios were on the clock, giving students a sense of real-life urgency.

During the simulation, Ansley Fiorito, a Biology and Global Public Health major, was the UNICEF adviser on youth in emergency situations. She describes learning how operation centers support teams on the ground through their ability to take a different perspective on the situation. “Both roles are valuable, but when you’re in the midst of chaos, it can be challenging to make decisions that benefit everyone in the long run.” Sejal Porter, a Biology and Global Public Health major on the prehealth track, echoes the importance of a variety of experts. “As an epidemiological adviser, my role was to prevent a future threat of disease instead of focusing on the current, pressing impacts of the crisis.” Ansley adds, “It was incredible to see everyone work together toward a common goal.”

Dr. Edan Raviv, assistant director of academics at NYU Tel Aviv, notes that experiential learning is an important bridge between intellectual and practical knowledge. “This is especially critical in a field like public health,” he says, “which requires students to understand complex technical science on the one hand and the public, socioeconomic, and political causes and implications of public health on the other.”

When Learning Leads to Impact

Simulations like these can even transform future, real-time outcomes. Dr. Schenker offers one illustrative example: In 2015 a cyclone was approaching Chennai, India, the hometown of one of his former Ben-Gurion University of the Negev students, Sri Janani. Having participated in the War on Epidemics simulation just a few months earlier, Janani knew how to organize an operations center and bring together members of her community and local nongovernmental organizations. Through the spread of information, organization of supplies, and evacuation of those in vulnerable areas, Janani estimates they helped over 170 families.

Dr. Schenker anticipates the next War on Epidemics simulation at NYU Tel Aviv will run in the spring of 2024. “Every NYU student can benefit from participating in a simulation like this. It is highly educational but also a fun way to build real-life experience and skills,” he says.

Dr. Schenker is happy to work with NYU campuses and academic locations on adapting the simulation to their local contexts. His contact email is is2760@nyu.edu.

Written by Auzelle Epeneter

A Confession That Changes History: NYU Florence’s Marcello Simonetta Discovers New Twist in Pazzi Conspiracy

Posted on May 30, 2023 by Katie L

A newly found signed confession alters what historians thought they knew about one of history’s greatest conspiracies

Marcello Simonetta, right, narrates a reenactment of the Pazzi Conspiracy at Florence’s Palazzo Vecchio on April 26, 2023, the 500-year anniversary of the event.

Had Antonio Maffei da Volterra successfully assassinated Lorenzo de’ Medici, the course of Italian history would have been altered immensely. The roots of the infamous Pazzi conspiracy to oust the Medici family as rulers of Florence ran deep—everyone from the pope to the king of Naples had a part in it. The failed conspiracy took place over 500 years ago this spring, and today, few people know more about it than NYU Florence instructor Marcello Simonetta. So when he uncovered a confession letter from Antonio Maffei earlier this year, unearthing details never known before of the attempted assassination, Simonetta was astounded.

“I’ve been around these materials for a long time. I know the story quite well. I even wrote a book about it,” says Simonetta. “This confession wasn’t supposed to exist, but it does, and it’s amazing.” Simonetta laughs when he says this, but then notes that distrust is the most important part of being a successful historian. He explains that you have to believe there is more to every story—that the historians who came before you didn’t finish the job and left something more to discover—even when you don’t know what that something is. And in this case, it is a confession letter written and signed by Antonio Maffei shortly before his death.

“It’s the last thing he wrote, because soon after writing the confession, he died,” says Simonetta, who found the confession at the Archivio di Stato di Firenze in a file of poems, wills, and other completely unrelated documents. “Archives are the treasures of our past. If you look close enough, you’ll find things that are unbelievable but true.”

In the confession Maffei shares a timeline for the planned assassination of the Medici brothers (Lorenzo, who was injured, and Guiliano, who did not survive). Unaware of his specific role in the assassination until the day before it happened, he wrote that he arrived in Florence months before April 26, 1478—the day the plot was to be enacted. This information contradicts what writer and philosopher Niccolò Machiavelli wrote in Florentine Histories, which is considered one of the most accurate accounts of the conspiracy. But just the existence of the confession—that Maffei even had time to write it—debunks the idea that he was beaten and hanged immediately after the attack.

“There are a lot of details about the preparation of the conspiracy, which we didn’t know before,” explains Simonetta. “But the bottom line is we had no idea that Antonio arrived seven months ahead of time. These are all incredible details that make it very real and very human. The failure of the conspiracy is astounding, but also the conspiracy itself, as Machiavelli points out among other things, is extraordinary.”

Simonetta is an expert on Machiavelli and teaches a class about him at NYU Florence. As a matter of fact, Simonetta made the discovery at the same time the class was reading Machiavelli’s On Conspiracies, specifically the section about the Pazzi conspiracy.

Handwritten Italian text on a piece of paper

Antonio Maffei’s confession of the attempted assassination

“The students had read the materials, but they didn’t know there was this new element that had just surfaced from the dust of the past, so I used it in the class,” Simonetta notes. “When I can, I love to use firsthand documents because it makes history so much more alive. And that’s what history is all about. It’s about imagination; without imagination it’s just data. It’s raw data, so who cares? But when history becomes living history, which is a pun—lethal history more than living in this case—it comes alive.”

Simonetta says that having the opportunity to bring history to life for his students has been one of his favorite parts about teaching at NYU Florence. Teaching in the city where these events took place, he adds, brings a dynamic to the classroom experience that is unobtainable anywhere else in the world.

“I’ve taught classes about Machiavelli in the United States, but it’s not the same as going to the Basilica di Santa Croce and seeing his tomb. Or going to the villa where he wrote The Prince,” Simonetta concludes. “It becomes so real: you can touch it, you can feel it exactly as it is. So being here, in Florence, is an enormous plus for my students and for me.”

Written by Kelly McHugh-Stewart

A Universal Language at Every Age

Posted on May 15, 2023 by Maxine P

Through internships, volunteer opportunities, and class projects, NYU study away students can make a positive impact on the children in their local communities while also gaining valuable, real-world experience they can apply to their future careers.

While studying at NYU Prague last spring, Joey Duke, a junior majoring in Music Education at the NYU Steinhardt School of Culture, Education, and Human Development, found there is more to his field of study than he could have imagined. Through the class Foundations of Music Education led by Professor Klára Boudalová, he had the opportunity to work with the Prague Symphony Orchestra to help make classical music accessible to children in the Czech Republic.

Seven people pose for a camera on the orchestra stage

Concert planners and participants pose for a photo onstage at Smetana Hall after the orchestra performance. Pictured from left to right are: Jaime Patterson, Jair Gonzales, director Klara Boudalova, Joey Duke, actress Veronika Kubarova, Jahnvi Seshadri, and conductor Jan Kucera.

“We worked on the Orchestr na dotek, which means ‘the orchestra to listen,’” Joey says. After a semester of learning from the orchestra, the class’ final project was to organize an orchestra completely on their own. “It’s their program created just for young audiences, and it was a game changer for me. It showed me there’s a lot more you can do with music education.”

Joey and his classmates “took a part in everything” when it came to creating the orchestra. They chose composers, selected and cut the music, wrote a storyline, and worked with the musicians and performers to ensure the performance went off without a hitch.

“We knew we would be these kids’ first impressions of the composers, and we wanted to make sure we selected the right pieces and cuts,” explains Joey. Their orchestra focused on the works of Claude Debussy and Maurice Ravel, which they intertwined with a story about pirates. “The music really couldn’t be more than three minutes at a time, so we had to select the most important parts. That took a lot of score reading and musical knowledge. Then for the story, Debussy features a lot of ocean music and Ravel features a lot of Spanish music, so we were like, ‘We’ve got it! We’re getting on a ship, we’re venturing across the sea, we’re going to islands.’ It was this big, fantastical process, and once we got past the blank canvas, the possibilities were endless.”

Similarly, at NYU Florence, Anika Istok, a junior majoring in Psychology at the College of Arts and Science and minoring in both Italian Studies and Child and Adolescent Mental Health Studies (CAMS), had the chance to connect with children through music.

“Music is so important for kids,” says Anika who spent the fall of 2022 volunteering with NPM Bambini in Movimento, an organization that provides support, therapy, and inclusive recreational activities for children, adolescents, and their families to help improve their health and wellness. “It’s an important way for kids to express themselves, especially if they’re nonverbal, shy, or don’t initiate interactions. It’s amazing because, through something simple like playing our community drum together, they were able to bond in a way that, even with words, you can’t accomplish.”

Photo of Anika wearing an NPM Bambini in Movimento polo shirt

Anika Istok in her NPM Bambini in Movimento shirt

Volunteering with NPM Bambini in Movimento was fulfilling for Anika on multiple levels. It not only advanced her work in psychology and CAMS but also helped her become fluent in Italian. She noted volunteering as part of the culture at NYU Florence, so she knew she would get involved somewhere. Still, it was important for her to find an organization where she could really make an impact, and at NPM Bambini in Movimento, she was able to do just that.

“We weren’t necessarily teaching music; rather, we were experiencing music together,” Anika adds. Anika helped teach two after-school classes, one for children between 2 and 5 and one for children between 6 and 8 years old. “A lot of the kids we worked with had either a disability or some sort of special need, and a lot of them were too young to be in school full time or had some trouble in school. Connecting with them outside of their normal educational environment was really important.”

Both Joey and Anika returned to New York City after their semesters away with newfound knowledge and appreciation for their selected fields of study. “This opportunity showed me that I could not only aspire to do something like this but do it. And then we watched it happen,” says Joey. “At the end of the day, music is who we are as a people. It carries all of our cultural meaning, it carries a message, and for kids to understand the music from where they are is for them to participate in their communities. For me, I realized there’s so much more we can do. That semester really opened my eyes to the impact we can make through music.”

Written by Kelly McHugh-Stewart

Course Spotlight: Augmenting the Gallery, Theory and Practice with Augmented Reality at NYU Berlin

Posted on February 27, 2023 by Katie L

Pierre Depaz leads the Augmenting the Gallery course

Pierre Depaz leading the Augmenting the Gallery course at NYU Berlin

Combining his background as an educator, artist, and programmer, instructor Pierre Depaz’s NYU Berlin course Augmenting the Gallery makes use of his research on simulation and public organization through technological means to explore the overlap of the digital and the physical in museums.

“We use augmented reality technology to reveal some of the invisible knowledge threads that weave through a museum’s exhibitions, spaces, and publics,” says Depaz. “This allows us to look critically both at a new technology that pervades our devices and centuries-old institutions, sometimes in need of an update.”

Augmenting the Gallery offers students both a theoretical framework for understanding the museum space and the practical application and experience using new technologies like Unity (a game engine used to develop games and simulations) and prototyping tools like Figma and Adobe XD. Ultimately, students learn how to create relevant mobile content within a given exhibition through prototyping, iteration, and integration. More importantly, they are able to evaluate the advantages and disadvantages of augmenting technologies within cultural spaces and sensitively implement them using their acquired knowledge. Accessibility is a key theme in the course as students grapple with the question: How much does digital media provide access to knowledge and to whom?

“Berlin is particularly great in terms of the layers of history that are rendered visible across the city. From Prussian empires to refugee waves through the Holocaust and the Cold War, there’s many ways you can look at a particular place and many different stories told by each of these places,” says Depaz. “Additionally, the creative tech scene also exposes the students to cutting-edge new media art and exhibitions.”

Making extensive use of museums and galleries in Berlin, Augmenting the Gallery is a great academic example of how NYU’s global network enhances the student experience. Working closely with these institutions, students gain practical skills they can leverage with future employers while learning that “designing augmented reality is a lot more complex than what commercials promise,” says Depaz. Students also learn “how complex the job of a museum is if they want to uphold their mission.”

By learning to design and deliver immersive experiences that breathe new life into displays, using technology to challenge the more complicated and problematic aspects of exhibitions, and making the hallowed museum space accessible to the widest swath of people possible, students develop the skills they need to help uphold a museum’s mission and break barriers in Berlin and beyond.

Want a taste of Augmenting the Gallery?

Depaz recommends checking out what the Museum für Naturkunde in Berlin did with an augmented sound walk of their bird collection. He also cites “The Ignorant Art Museum: Beyond Meaning Making” by Emilie Sitzia as one of the course’s most popular readings. “It’s an article on how museums can help foster knowledge and provide agency back to their audience without keeping the posture of an elite ivory tower, sometimes facilitated by the use of digital technologies,” he says. “The class about how museums engage in education and, more broadly, what is good education is very fruitful—students always report their best learning experiences happening outside of museums (or outside of university, for that matter!).”

Written by Kristin Maffei