Off Campus Resources
| Group Name | Person | Use | Links | |
| George Coates Performance Works | Eddy Falconer | . | eddy@georgecoates.org | www.georgecoates.org |
| GSRT | John Reaves | theatre | john.reaves@learningworlds.com | http://www.gertstein.org/firsthome.html |
| MIT Media lab | Claudio Pinhanez | . | pinhanez@us.ibm.com | http://web.media.mit.edu/~pinhanez/profile.html http://web.media.mit.edu/~pinhanez/ctrefs/ctrefs.html |
| SFSU - MM | Ian McFarland | Make a Blake & Director GC CD | imfa@neo.com | . |
| Studio Z | Dan Zellner | . | director@studio | http://www.studioz.com |
| Studio Z | Greg Winston | "Integrate live theatre and digital media. Studio Z offers an 8 week class that will teach you techniques for acting in a digital space and creating your own digital theatre piece." --website | classes@studioz.org | http://www.studioz.com |
| Texas
Tech University Department: Fine Arts |
Allen Partridge | paper/mm thesis Culture Shock | shanhassa@aol.com | http://users.aol.com/halcyondaz/dis.html |
| Troika Ranch | Mark Coniglio | . | troika@panix.com | http://www.troikaranch.org/technology.html |
| University of Kansas | Mark Reaney | Digital Theatre | mreaney@ku.edu | http://www.ku.edu/~mreaney/ |
Additional Off Campus Resources
| Group | Person | Use | Links | |
| Cooperation between shinkansen London, the Institute for Studies in the Arts, Arizona State University, and ResCen, Middlesex University | . | . | . | . |
| CUNY | Jennifer Starbuck | Paper - The Imaginistic Theater of the Future: George Coates and the Blurring of Technological Boundaries | . | . |
| Dance and Technology | Johannes Birringer | . | birringer.1@osu.e | . |
| Dartington College of Arts, UK | Scott deLahunta | . | . | . |
| Herberger College of Fine Arts | . | . | . | . |
| Institute for Studies in the Arts and the Department of Dance at Arizona State University | . | . | . | . |
| Internationl Conference on Digital Technology | . | . | . | . |
| Internationl Digital Arts and Culture Conference | . | . | . | . |
| Internationl Symposium on Electronic Art | . | . | . | . |
| Internet2 Events Virtual Briefing | . | . | . | . |
| MIT -General | . | . | . | . |
| Motion Capturing Partnership, including the ISA, Computer Science, Bio-engineering, and PRISM | . | . | . | . |
| NorthWestern -Perf.Stud. | Margaret Werry | Paper- Bodies, Texts, and Technologies: The Staging of Power in Robert Lepage's Elsinore | . | . |
| Palindrome Inter.media | Robert Wechsler | . | robert@palindrom | . |
| Physics and Media research group at the MIT Media Laboratory | Neil Gershenfeld | Flying Karamozov Brothers | . | . |
| Polycom | . | . | . | . |
| SCI-ART Article Series in NY Arts Magazine | . | Minaliza1000@ao | www.nyartsmagazine.com | |
| The Institute for Studies in the Arts, in conjunction with Vice Provost for Research, The College of Liberal Arts and Sciences, ASU English Department, ASU Publc Events and ASU Department of Theatre | . | . | . | . |
| University of Georgia - Drama | August S. Staub | Paper -Cyborgs and Saints: Mystcal Performance Spaces in Medieval and Contemporarh Theatre | . | http://www.drama.uga.edu/ |
| . | Angel Jannasch-Pennell, PhD | . | . | . |
| . | Baz Kershaw | . | . | . |
| . | Charles Eidsvik | . | eidsvik@arches.uga.edu | . |
| . | Christian Ziegler | . | . | . |
| . | Douglas Rosenberg | . | . | . |
| . | e-mail list-service | . | lists@dancetechnology.org | . |
| . | Gene Cooper | . | . | . |
| . | Jeff McMahon | . | jeff.mcmahon@as | . |
| . | John Mitchell | . | john.mitchell@as | . |
| . | Jose Luis Contreras-Vi | . | pepeum@wam.u | . |
| . | Lisa Naugle | . | lnaugle@uci.edu | . |
| . | Mary Fitzgerald | . | . | . |
| . | Mila Parrish PhD | . | . | . |
| . | Roberta Levine | . | . | . |
| . | Samuel A. DiGangi, PhD | . | . | . |
| . | Shane Cooper | . | . | www.shanecooper.com |
| . | Todd Ingalls | . | . | . |
| . | Upgrade Pricing | . | sales@CharacterMotion.com | . |
| . | Victoria Marks | . | . | . |
| . | Yacov Sharir | . | sharir@mail.utexa | . |
Additional Off Campus Links
| Group | Statement | Links | |
| ADAPT | "Mission Statement: ADAPT is an interdisciplinary association of artists, technologyists and scholars from five educational institutions dedicated to research and and critical dialogue on performance and media in telematic space." ---ADAPT website | . | http://isa.hc.asu.edu/adapt/ |
| Alien Nation | . | . | http://www.ruf.rice.edu/~orpheus/index.html |
| BAM | . | . | http://www.bam.org/asp/bam_frameset.asp |
| Cell Bites | . | . | http://isa.hc.asu.edu/cellbytes/flash.html |
| Center for Art and Media Tecbnology | . | . | http://on1.zkm.de/zkm/e/ |
| Chunky Move | Performance: Corrupted
(damaged files, damaaged bodies -wanted to get away from own manerisms
-find techniques for that- machanices) "Themes and Issues There are two major issues that shape C.O.R.R.U.P.T.E.D. 2 - the isolation of movement concerns from narrative elements and the notion of physical corruption as it applies to digital technology. the destruction or spoiling of anything in the physical sense ie. deterioration, and also in the moral sense ie. depravity.? " --website |
. | (BAM -newmedia )www.chunkymove.com |
| Credo Interactive | "Credo Interactive provides 3D character animation solutions in digital media and 3D software. Makers of Life Forms 3.9 and custom 3D applications" -website | . | http://www.credo-interactive.com/ |
| DAC | . | . | http://www.stg.brown.edu/conferences/DAC/ |
| DAC- Melborn May 2003 | . | . | http://131.170.98.202:8080/ |
| Digital Archive ! | . | . | http://dpa.ntu.ac.uk/dpa_site/ |
| Digital
Theatre - an experimentarium at the Kaserne Scenen |
. | . | http://www.daimi.au.dk/~sdela/dte/ |
| Electronic Literature Org, | . | . | http://www.eliterature.org/index2.html |
| Flying Karamozov Brothers | . | . | http://www.fkb.com/ |
| George Coates Performance Works | "Internationally recognized
as an innovator in the development of new and original forms of thearter,
George Coates Performance Works has won numerous awards for its stagework
appearing in Japan, Europe, South America and the United States. "George Coates Performance Works is a nonprofit theater company founded in 1977, supported by grants from federal, state and local funding agencies and foundations, including the Rockefeller Foundation, The William and Flora Hewlett Foundation, San Francisco Grants For The Arts, and The California Arts Council."-- GC website |
imfa@neo.com | http://www.georgecoates.org/ |
| Gertrude Stein Theatre | The Gertrude Stein Repertory Theatre (GSRT) was founded in 1990 to promote and support innovation in the performing arts. To achieve its mission, GSRT is pioneering the application of new technologies to the process of creating live theater. To advance its creative work GSRT has conducted a wide range of research and workshop activities that are facilitated and enhanced by advanced Internet, film, and theatre technologies. Activities are designed to enable traditional artists from a variety of media, including theater artists around the globe, to interact on cross-cultural, inter-media projects. By increasing broad appreciation for the depth and breadth of world theater, and sponsoring research into the development of new tools and processes, GSRT aims to assist the development of new artists and audiences for America's theater. GSRT is also applying the potential of digital technologies to theatrical education for students of all ages and the preservation and dissemination of new and innovative work. | . | http://www.gertstein.org |
| GloPad | . | . | http://arts-lib.library.cornell.edu:8080/glopad/gmain |
| Hyper Text 03 | . | . | http://www.ht03.org/ |
| Kansas | "The business of workers
in the theatre is, as I see it, to express a timeless theme by means
of the tools of one's own time." Robert Edmund Jones The Institute for the Exploration of Virtual Realities, i.e.VR, is a newly formed institute within the University Theatre and the Department of Theatre & Film at the University of Kansas. Its goal is to explore the uses of virtual reality and related technologies. While the primary application currently under study is theatre production and performance, the possibility of exploring VR applications in other fields is also being actively pursued. We are very pleased to have a number of generous sponsors of our work. Among these are: Artifice, Inc., MetaCreations and The Virtus Corporation. Our work is generously supported by the United States Institute of Theatre Technology and the University of Kansas Instructional Technology Fund ---website |
. | http://www.cc.ukans.edu/~mreaney/ |
| Laurie Anderson | . | . | http://www.laurieanderson.com http://www.cc.gatech.edu/~jimmyd/laurie-anderson/ |
| Laurie Anderson | . | . | http://www.laurieanderson.com/ |
| M@ggy's Love Bites | "This project focuses on connection and disconnection, appearance, disappeareance and reappearance. Fluctuations in transmission and reception rates between the geographically separated participants are embedded in the expression of the performance, and define the dramatical development of the piece" --M@ggy's Love Bites website (Author/Actress) | . | http://www.notam02.no/~amandajs/what.html |
| Merce Cunningham | "Merce Cunningham
is collaborating with the Riverbed group and Unreal Pictures to invent
the first dance for the computer by a major choreographer. Viewers
will enter a virtual handrawn world in which abstract dancers perform
a full and completely new Cunningham work. " --www.merce.org" "The swift changes in technology are changing our lives. It is not so much revolutionizing, rather enlarging our relation to the present time. With the world-wide information net now becoming available, each person whether processing the information or participating in access to it, has a greater freedom of choice than ever before. The technology extends our possibilities to inform in multiple directions and via different media; at the same moment allows a freedom via the accessibility to the individual Marshall McLuhan would appreciate. "--website (techpage) "Camera space presents a challenge. It has clear limits, but it also gives opportunities of working with dance that are not available on the stage. The camera takes a fixed view, but it can be moved. There is the possibility of cutting to a second camera which can change the size of the dancer, which, to my eye, also affects the time, the rhythm of the movement. It also can show dance in a way not possible on the stage: that is, the use of detail which in the broader context of theatre does not appear. Working with video and film also gives me the opportunity to rethink certain technical elements. For example, the speed with which one catches an image on the television made me introduce into our class work different elements of movement concerned with tempos which added a new dimension to our general class work behavior."--http://www.merce.org/filmvideo.html |
. | http://www.merce.org/ |
| MIT Media Lab | "The Media Laboratory
opened its doors in the Wiesner Building, designed by I.M. Pei, in
1985. In its first decade, much of the Laboratory's activity centered
around abstracting electronic content from its traditional physical
representations, helping to create now-familiar areas such as digital
video and multimedia. The success of this agenda is now leading to
a growing focus on how electronic information overlaps with the everyday
physical world. The Laboratory pioneered collaboration between academia
and industry, and provides a unique environment to explore basic research
and applications, without regard to traditional divisions among disciplines.
" --MIT website The influence of technology, especially digital technology, continues to grow and to change how we express ourselves, how we communicate with each other, and how we perceive, think about and interact with our world. These "mediating technologies" are only in the first stages of their modern evolution; often, they are still crude, unwieldy, and impersonal. Their fullest development in those terms is emerging as one of the principal technical and design challenges of the emerging information age. "Enabling technologies for understanding and expression by people and machines is the core of what we study, invent, and use at the Media Lab. This work is rooted in modern communication, computer and human sciences, with computers and computation as the most prominent common denominators of this multi-disciplinary merger of previously separate domains. Underlying the explosive advances of the various technologies involved, we are discovering and cultivating a new set of shared intellectual and practical concerns. We are exploring the technical, cognitive and aesthetic bases of satisfying human interaction as mediated by technology. In more forward-looking terms, the Lab's research addresses the quality of life in the information-rich environment of the future." --Research (MIT Website) |
. | http://web.media.mit.edu/ |
| Mnemonic Devices | "The childhood mechanism
of the seesaw and childhood super8 movies act as the focal points
for the cyclical performance portion of MNEMONIC DEVICES. Developing
the larger installation meant many hours playing with the devices.
A performance grew out of this play to foreground the ideas behind
the piece. It was performed at the opening reception. My performance
collaborator, Isa, is a tiny person (I am not). This gave us ample
opportunity to examine power imbalances in relationships and how they
affect ‘connections’. Performing also allowed us to rewrite childhood
rhymes and toy with the rhetoric and jargon embedded in the corporate
language of communications and memory technologies. Do these technologies
extend our innate capabilities or replace them? How is our image of
ourselves and our experiences shaped by technologies which now record
our lives in snippets of random media? Many images were shot and some
were borrowed to represent the history of memory recording. An early
short film by Edison (1902) coincidently depicts women piling on and
falling off a seesaw. This clip began and ended the performance."
---Nemonic Devices Website © 2000 by Christa Erickson |
. | http://mdevices.art.sunysb.edu/home.html |
| Ohio State University | "We encourage people
in dance to investigate the edge of our current state of human-machine
interaction. Toward these ends, we attempt to help people communicate regarding current and past research, and create opportunities for networking with others interested in this growing interdisciplinary field. dance and movement research today live in close contact with other areas of performance-media research and digital processes inspired by space-time conceptions." --website |
. | http://www.dance.ohio-state.edu/Dance_and_Technology/ |
| Riverbed (AZ) | . | . | http://www.riverbed.com/ |
| Sig Graph Confrence | . | . | http://www.siggraph.org/ |
| Studio Z | "
Studio Z is Chicago's only arts organization dedicated to integrating
live theatre and digital technology. Serving theatre artists and audiences
worldwide, Studio Z uses current and emerging technology to promote
theatre and to produce new plays. Through these efforts, Studio Z
fosters the viability and accessibility of theatre in the 21st century,
providing new levels of interaction on a cross-community, national
and international stage. " Mission stat, website "Our programs and projects combine traditional theatre techniques with new technology. Our audiences are both live and in cyberspace. " --website (audience) |
Studio Z 2936 N. Southport Suite 210 Chicago IL 60657 (312)543-7920 info@studioz.org |
http://www.studioz.com |
| Telematic
Connections: The Virtual Embrace Steve Dietz |
"to explore both the
utopian desire for an expanded, global consciousness and the dystopian
consequences of our collective embrace, willing or not, of computer-mediated
human communications...Internet and computing to explore this mediated
embrace between parties, whether human to human, human to machine,
machine to machine, or even human to nature. Here, as well as in the
ten online projects in the "Datasphere" component of the
exhibition, what the visitor-participant does in the galleries affects
(and is affected by) someone or something somewhere else in physical
space. . . eternal human traits that have never left
us, including the desire to connect, even to merge with another—but
in today’s world of ubiquitous computing and global networking"
-- Steve Dietz February 2001 Website |
. | http://telematic.walkerart.org/ |
| The Dance-Technology Zone | . | . | http://art.net/~dtz/ |
| The United States Institute for Theatre Technology | . | . | http://www.usitt.org/ |
| Troika Ranch | "Like many artists,
we use digital software tools as we create the visual and aural material
for our performances. We go a step further by making interactive digital
media and technology an essential component in the performance of
our work as well. Typically, we use sensory devices to allow the movements
or vocalizations of a performer to manipulate some aspect of the media's
presentation in real time. " We are drawn to do this because most electronic media is dead, in the sense that it is precisely the same each time it is presented – quite different from what happens when a dancer or actor performs the same material twice. We want the media elements in our performances to have the same sense of liveness as the human performers it accompanies. We impose the chaos of the human body on the media in hope of bringing it to life."-- Troika website |
. | http://www.troikaranch.org/technology.html |
| Universal Studios -VR rides -hydrolics (Terminator2 3D, Spiderman) | "Discover what it really means to be thrust right into the heart of an all-out 3-D cyber adventure. Consider yourself warned!" -Unversal's Website | . | http://themeparks.universalstudios.com/orlando/website/index.html?__source=UO.REDIR |
| University of Arizona (ITdtv0) | "The Builders Association
creates large-scale theater projects exploring the interface between
live performance and media. Directed by Marianne Weems, their work
re-animates theater for contemporary audiences, using current tools
to interpret old forms." -- (U. Ariz. website) |
. | http://isa.asu.edu/html/home.html |
| University of Geogia | " In the past
century, film, radio and video technologies have revolutionized the
ancient art of drama, giving rise to new forms of dramatic expression
as well as to a global entertainment industry. In the past decade,
interactive media technologies are producing a revolution of similar,
if not greater, proportions. The marriage between live theatre and
interactive media is giving birth to innovative new forms of art and
entertainment. The mission of the new Interactive Performance Laboratory at the University of Georgia is to explore these artistic possibilities. The Laboratory, with close ties to graduate-level programs in computer animation, acting, scenic and lighting design, and playwriting, is in a unique position to accomplish this mission. The Interactive Performance Laboratory, the first of its kind in any Drama department in the country, is a classroom, media production studio, and showcase studio. The lab, which opened its doors to students in November 1998. Was made possible through an OISD Curriculum Development grant, in addition to generous support from the Office of Academic Affairs and the Franklin College of Arts and Sciences. Computer technology is not only revolutionizing existing dramatic media, live theatre and film, but is giving rise to new arts formsÐinteractive performances, participatory installation, and computer-controlled kinetic sculptureÐthat defy old disciplinary boundaries. Students explore these possibilities in a new course called "Interactive Performance and Multimedia," crosslisted with Drama and Art. Students in the course learn how to control lighting, digital vide and sound with their movements, and to create sculptures that move or make sounds as the spectator/participants approach or touch them. The lab features many cutting-edge technologies that integrate live performance with digital technology. The most sophisticated of these technologies is a real-time, six-degree of freedom motion capture system. An actor straps on small sensors at key locations such as the wrist, waist and ankles. These sensors give the computer a detailed picture of how the actor is moving. The computer can use this information to make an animated character move in exactly the same way the performer is moving. Motion capture represents the state-of-the-art in computer animation, allowing animators to create realistic and subtle movement. The motion capture technology also represents a boon to our acting students who will have a rare opportunity to hone their skills in the sort of environment that will become increasingly common for performers in the 21st century. " -- website |
. | http://www.drama.uga.edu/ |
| Void | "Balance between performer and technology. The perfomer does not have a priviledged position as the giver of meaning and significance in VOID's work. In our view, the audience should be free to create meaning from all the information available; to this end the video, sound, slide, environment or whatever is as important as the performer. " --technology - website | void@voidprojects.co.uk | http://www.voidprojects.plus.com/perform.htm |
| . | . | . | http://arthistory.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.generativeart.com%2F |
| . | . | . | http://www.mith2.umd.edu/digdir/index.html |