Visit Notes

Back to the main visit page.


Gertrude Stein Repertory Theatre, March, 2003

• Tech
• Distance
• Movement
• Multi-faced individual versus preferancing
• Ubu (partnership in Russia/Crucible)
• Successfiul learned
• Plays ideal for distance
• Tech
Performances in workshops/making of American’s production
• Ohio
• Public 2005
• Web production balance
• Glow-pack database progress
• Magazine
• Software
• Hardware
• What would they like to try
Most surprising thing they found happy coincidences and blocks.
• Archives?
(On Me)
• Exploration
• Interested in multi-site/audience, especially remote performer access
• Web multimedia art
• Nature accessible through technology
• Unique space created by the union of the fully-present actor and audience expanded accessibility to work via technology and/or plasticity of media.
• Connections research
Regular production profit. Learning worlds. Double. Corporation.
Cheryl “Slaves to the economy right now. Laugh.”

70%, 30% after hours. Donate personal time. 50/50 I think during production. Time agreements so that corporation is not always precedence.
Glow Pack going well. Grants. Archives. Cornell/St. Petersburg. Nicholai. Sponsor
classes with virtual textbooks. Petersburgh. Russian theatre and culture. Cornell.
Japanese. Consultants as well. Meyerhold website.
Use whatever you want.
Cheryl Faver. Work in progress. 1998 vive in both locations. Actors cueing each other with choreographed, detailed manipulation of appendages coordinated at the joints. Fan (juggler) ten-person battle on fans. Projections moveable. Mirrors and software no longer staring at a screen. Now prerecorded stage animations. Cheryl on Iowa, “Forced to perform.”
(Sketch #1)
Stage animation. Modular set. Leon Katz wrote his autobiography and Gertrude Stein’s
biography. He found her notes in her desk. Cheryl in mid, Huge cast, more than 11.
Backstage needed to limit size. S projector. One rear, 4 front. Not enough. Mimation
3D. Arrows, movement, repetition.
10-foot extension from sleeve.
(Sketch #2)
Image area to project on. Two or three people still connected to character. Invisibility.
Color. Stage.
Every piece is lined. Three with parts. Most actor-projectors speak face of space. Voice and body not connected. “I throw the umbrella in the mud.” (Repeat) They’re holding
/ umbrellas. Characters who speak. Speaking. Main characters offsite, projected on. Is this goal of “bringing two worlds together?” Vermal move by someone as by a puppeteer. 8 moveable screens. (Sketch #3)
Red fern was a static image. Pieces of script as screens rolled across. “Feelings, evidence, dread.”
Set/light. Brechtian. Listen, listen, second third go.

4 parts. Second part parallel novel. Development of system. Martha Hersland stage. Character. What is really a character? (Picasso ideas in the air.) G.S. tried to read all western literature. Written like a Victorian novel. What is a character? Consistent understand character/person on page. Consistent psychological. What I tried to do:
understand every part, not add up. Opposition. Random elements. A who onstage. What are you? Graph a person. Know all the kinds of people.
Interconnectedness of human nature. This piece similar to this piece. Things of our lives and the recognition. Face-to-face meeting. Layering. The ... all things are equal, and the actor is not the center. He is a part of the stage animation. Character. What aspect of character? Animations for style. Art director. Interaction.
Heads on person on stage. Body parts, bleeding timelines. Joints and hubs. More can play with. Toolbox of metaphor. My joint on your joint. Every time your selected image silhouette has to select for a reason. No. Joint for joint needs to be a metaphor. Metaphors. Timelines of history. Person as a symbol for an era or event or place. Person. Multiple actors on one. Joints. Perspective.
What does what when? Weak to be. When? Time in a narrative vein. Young person’s timeline. Symbolic representation of... somebody act one. Act 2, act 3. Human being representing concept. Person into concept. Human behaviour battling out. Where? Move from here to here. You onto me where? Remote site/”live”. Sender and receiver.
Disembodied voice, like children’s theatre. Two parts movement. One appears. . . and components of what’s a voice. Choreographic tech hookups. Rhythmic. Gymnastics. Remote site. Sound disconnecting. Any kind of sound a character into itself. Changing on down the line. Why do we pick the scripts you’re using? Have to find a script that I think definitely not doing a story enactment. Symbol human becomes a signifier, not one by one.
Scripting for technology. Ubu Roi. 1986-1990. Calls himself a “technology evanelist.” Working with enthusiasts. Anthropology. Technology equals whatever you’re not used to. Dr. Faust lights the lights. The first opera performance with lights. Everything we use everyday is what’s new. Digital is new. Theatre and digital different modes of

representing reality. Theatre about at different points of time. Narrative and realistic. What’s on B set not realistic.
Working about technology makes you rethink theatre, rather than accumulated assumptions. Theatre reality unfolding of events in time shaped by artists and audience (amplifier). Audience into or dislike play. Virtual. Home alone on internet. Audience members have to interact.
Ubu. Multi-site. All partial channels of communication too weak. Interesting experiments. Multiple. China, US, Russia
(Sketch #4)
He thinks it would be an interesting experiment to have different audiences in different countries react to each other. If you have different
Instead of just watching the performers on different stages, he wants the audience to be able to see the audience in other countries.
What kind of theatre? Costumes come out of attempts to project remote onto flat screen. Merge whole space with virtual element or one digital stands out.
Technology director.
Intellilights. Mirror. Controls light. Software. Rotating it. Video projection onto 3D surface.
(Sketch #5)
(Sketch #6)
Uncorrected image. 3 rotator. 4 projectors. Server messaging DMX talk to mirror head.
IP-based messaging. Control viewing interface. One PC per projector color. Iowa.
1 machine server plus DMX. 2 Machines, two projectors. Lots of keyboard shortcut

Animation and 3D. Distinct style for different worlds of characters, the way they perceive the world reflected in projection. Transition from one to another world. How peoples’ realities match.
Alice’s world = cinematic (storyteller). Gertrude = mapping conceptual diagrams. Gertrude was interested in about... she was this type of person, so her emotional state was this... Martha’s world, her perception isolated to name. As she walks up she projects her impression of the person around them, carries reality with her.
(Hal) (Cheryl?)
Effect of 40 projectors on stage, wheeling around. Wanted to hit 40 spots with 4 projectors moving with a mirror. Robotic mount with mirror. Makes it so much easier that digital. . . image fixed out of parts. Epson projectors from Epson tradeshow. Retail
Learning world, distance learning, corporate training, promotional. Dynamic spaces.
Projection in retail spaces. Content 30x30 keystroke, got 3 projectors in trade from
(Definitely Hal)
Low- to mid-end solution for everything. A $300 moveable mirror versus $1,000 one. A cheaper solution. Projectors still expensive. Using a $600 PC, software they made themselves. Projectors. Versus commercially-available system would be $50,000. Lowball. Mark what is available for multiple setups. You can rent faster machines if you need them for $65 per week. He said he wanted more.
Broken surfaces. Graphic iconic holds up better, versus detail like a photo which becomes muddy. Story wants something not cartoon-y about depth of personality, depending on what personality. What worked well was silhouettes. Simple work when broken up muddy.
(Sketch #6, Sketch #7)
(Probably Cheryl)
In one, legs running are projected onto static people’s costumes. Contrast washed out ambient. High contrast. Used models for cues and blocking. From the script, they had a change of character... the costumes were built before the actors were cast, and because of the height problem, they had to switch the actor and keep the costume. Umbrellas. (Cheryl) Everything called for comes from the script or story. Lips on something.

Do not have the space of Ohio theatre. Have to store everything in their office/rehearsal room. Silhouette = father.
(Sketch #7)
Speaking at the end whole one. Occasionally one got to use one’s own voice onstage. Animation is father as well.
(Sketch #8)
Move in real time. More simplistic than wanted what coming up at tone.
Cheryl worked with life forms. John computer consulting. Macromedia gave them
Lifeforms. Choreograph show actors, script difficult, share vision. Ohio. 3D animation.
Atlas real time. Design tools. Change color. Change with slide bar. Procedural vrml
effects. Produce and play while rehearsing.
Similarity among personalities disparate. Way of looking at play. Continuity of structure of that person, characters, who we are when. Dramatize intersection of who and what. Continuity structures. Born every day. Grandiose narrative stream. Threw umbrella in the mud.
Aligned to projection surfaces character, build body visually. Dimensions. Actor not center. Iowa. Experiment analysis. Audience learning
Can’t begin with character psychology. I Sketch designltechnical rehearsal. The last people are the actors. They learned in this workshop that you can’t rehearse in the normal manner. You start with the designs and the technical. And the last thing you bring in is the actors.
Costume is story of character. (Economics metaphor.) Costume is nothing but projection surface.
Easier and easier. Tighter, smaller, faster. Screen behind. Not a virtual environment. Rehearsal = design. Each microsystem a script. Previsualize (tools). Virtual model.

Sleeping Beauty animators. How do I personify When? Word by word. Sy.
Phenomenon. Yells in parts. Turning what, where, when, why into people. Every time
Martha talks, turning into
Graphing and interconnections.
Oneness and twoness. Mirror. Lead and follow. Choreography. Delay in lead and follow. Workshop. Ubu. Leaving pay performer. Concept. Two years making connections. Contradictions. Style contradicts. . . fall December, rehearsing. Understanding sound. Lifesized morphing. Broken screen. Moving contours of... Sound like not actually there.
New playwrights will evolve, joining for theatre. People in room. Reason for getting involved in technology. Working process late April.
Acting. Ubu. Large levels of abstraction in work. Film. One level of abstraction. One way through. 1991-1992 Chat lines Swiss New York. What it told you about proscenium as a time barrier. Agree to let the play unfold in time. Can interrupt it, but don’t, because it’s theatre. Don’t because of vacuum. Is still theatre, still can’t see actors or hear them? Missing social contract between them.
If actor can’t hear the person audience, then it’s not theatre.
What sellings of body on costume, tools. What is the aesthetic impact? Aesthetic signatures. Mark Congilio from Troika that 70 years after the invention of the piano, there was great music for it. So we shouldn’t expect all digital performances to be great until more time has passed. Selecting scripts. Written open to interpretation. Who can talk? What do they sound like? Screens built there in Iowa. Go over tech.
(Missing small notes from costuming whose influences were Victorian and Japanese kimono, and Sarah over lunch.)

Talking Birds

Talking Birds:
Derrick Nesbit, Janet Vaughne, Nick Walker (see website for spelling)

Community, public art-making, democrative
Working with media: idea first (often building or place in the community), then building it (choose programs/equipment)

On Undercurrents:
-audience old enough to remember resort (running)
-interview people, asking them : what would you like me to know about (this place)?
- “specialize in acts of transformation”
- masterplan
- 3 Doctors, The whale

3 Doctors
N Archiving for them:
Janet Visual (web/printmedia also set elements)
Dereck Video and sound
Nick (writing/directing/perf)
Additional members Jake, Lissy, Steve

Excitement as team explores new space, fiddling with switches –call buttons, putting paper bed pans and sick bowls on their heads.

Nick: responding to walk, route itself, certain amount of research on info/objects, got, put in place history, oral history, walk around those things start to match up—take inventory of any things they might use, methodology loose at this point
(N) I’m getting good observations though out of the way at first
trying to figure out route, what rooms they can get into

hand a lightbox,N asks how to use, operating room light
constant access to body? Process

post-college friends hanging out

women asking about trollies/locals
they are interested in no window police in rooms (for prisoners)

discussion on abstrace dance, use of sheets vs. literal theatre (Nquestions)
check anasthesics? w/ Gregorian chant, room with steam smells like old milk

discussing route
they now have a text (characters)

thing of not knowing what the audience ? scene, a character wondering in and out

Nick talking about adding a mild – a young child in a very empty room (very little boy)
Glimps of him, discussion of adding a positive story

Talking about medical waste and leftover
Talking about lots of walking
Yellow choir/bit / this point farthest pt, bin are a, theatres, hypnotism, len in ward
N don’t blow money shot
N: how’s it going? J anet or Lizzy: Good, mystified is how I feel
there certainly are a lot of options aren’t there? J: there certainly are, L: perhaps too many

N asks about removing grills or windows? Ability to change building? NK
Now called monstor ceiling
Janet maps the space on paper then goes to areas to check (accuracy) w/ Lizzy
Men explore spacially

N senses- sound, smell, sight, touch –cold floors
Mood now changes, serious planning begins –in earnest – next stage

N brings up smell, NK—yah, reintroduce (elements, oders)
Group looking at map ooo
Flow chart of acitons and historical information
Blocking out “operating theatre” ?
Use big light for “hypnosis” scene

Scott –logic of ruite, artifacts then theatre, coming in both ways
J- arrive by ambulance or by cab
Jake- itsliek some
Janet- we don’t need to do it w/ hospital logic
Is there any logic if walking past child first?

3 walk round, cant get out after 20 min can be in the charge of a steward
may can be reset –post er

meeting stage: today encounter

desciding if they want to do one character in two halfs

NK- more of these people ghosts vs. 20 yr old and 9 yr old with same (illness—botched ambutation missed by younger)

Connecting telling from his side on same bed in same room

Tell it in 2 halves; there was a 9yr old boy...local letter ben was dead & I kept my leg
Break story into two parts

Ben in one ward
N volunteers – drift of people in hospital – casting man w/beard (to wander in and out)
Understand links between? Same people scene in other rooms
S –lonlieness – just aaccepting (isolated N)
Last thing walk ruite
Janet will redo map tonight
N tells of uncertainty of Er – waiting =user experience, sealed off at reception, guard opens doors

See diagram
Audience member enters w/ help of stage manager, performer (Jake or Nick) revealed when audience pulls curtain, submarine and sloshing sounds
They go over timing
Belmont Theatre sponsoring 4 theatre groups to make floats, every 3 years miracle play
Submarine apparatus
“Submarriners operations mandate: (Sailors) have the right to have 40 word message to family.” Will you (take this to wife) Let you hear it, song with accordion, song:“You and I had a fight I and Said things I didn’t mean & left things in an awful mess” …takes off letter? Love Jonah…she’ll know, folds message into origami whale audience takes submarine surfacing sound
She gave him the accordion, tell her he used it/sing it to her/she’ll think its nice..
“She gave it to mw. I though it was nice” Sings:
“Since you left there’s a whole where my heart is,
And I don’t know if I’ll make it home.
You and I left things in a right mess,
And I said things that I regret.
Please forgive me. Love Johnah.”
Take out the last word Jonnah..

Whale – as they think aloud 2 little kids come up on other side of fense “hey, it’s a whale”
Janet one who brought curtains
J/Nk rehearse being Jonah (tens of times)
(they had rehearsed it in the dark thinking it would be pitch black)
(safty inspector)
N notes it’s like something out of Time Bandits, Janet responds “Everything we do has got a little Terry Gilliam in it”
Garage is parade (Lady Godiva carnival) storage place
Lizzy Stage manager (no scott) Costumes via Janet cargo pants and loud shirts

N gets to experience whale:
Very intimate – cooler when opens red curtain
Sweet silley crazy
Perhaps I’m a bit sweet on the actor, Chandler like, but I recognize there is something sort of touching about he intimacy between the lone actor and audience, especially when he earnestly asks you to take the massage in form of origami whale (note/song) a gentle plea for assistance.

Whale is pretty sound proof.
Chair too close to curtain
Derick brings up blind/deaf audiences change to performance. They take out the seat chair pole for (test) wheel chair access
Not because funded by city, they feel law disability discrimination act concertrated peoples mind
By its nature (some) places not accessable, (then) physical access thing (hard) try to make it part of the creative process keep in front of minds
As monestary piece, inaccessible – made video link-up –not same experience

Informal conversation with Janet: (
Undercurrents and wonderlust both used projection of place in past (onto) architecture of building
Wouldn’t take model of research, performing memories –community w/out strong local partner/connection
Not limited to UK (projects) though, Russian (Novasabirsk) group working with this summer as past piece(?)
10 years – still new comer
Derrick, Nick, Janet core
She does props/light/costume (Theatre Belcrest- works)
Derick sound and video
Nick text, perf, dir
Memory – interested in past century rather than ancient past—still people to remember
Also intereste in shifting peoples’ perception of a place for next time they visit
One audience member moved back to Scarbarough after seeing it
‘I like a bit of danger’
process? Order: find location that interests them, make connection w/community, (findout/trade/share) resources, research, oral histories, create media & text, find/craft performance in space)
a conversation w/ place/ history / people not all(?)
Undercurrents: saw space –contacted theatre – referred to school—joint performance

Past, present, future existing on same place at the same time, also kind of lay line principle- that becomes the opportunity to see that experience of place- sort of one might only understand, compacted history by overlapping becomes ??? past intervenes
Also more general hope these places are unprecure??? Sential?? Places car park, hospital, if the building should be in peoples walk to work, the fabrick of every day life , it should be changed for them it becomes part of their history,
Fascander???, Find places – want to go inside, theatre gives opportunity to go inside

Whole digital revolution has opened up, helped move away from theatres to (other sites)
Means of production smaller more manageable, transformative effects carry kit w/ you transform spaces that’s where edge out into different sites.

10 years ago a point where companies using Digital Techn actively funding and asetheic crises same time or answering manicure usens DT are you was emerging aesthetic in its infancy web barrow metaphors
aesthic criteria parallels early film filming theatre show, editing mid to late 90’s – experimentation , hadn’t yet found its own form somehow only had too back to the stage—back space withtriggers/ that was constructed by digital performance really inst playing w/ toys – also political aspect that artists required to be at cutting edge of seen (blue sky of??) – barrowed artists as product demonstrating testing the kit , upgrade to see it ICA conference –newest, best

N- competition/oneupsmanship NK artists more in

Affordable, cheaper projection retro technology, as need making it look old, reluctant to buy into cost virtual world state of art
Being clear about ideas perorm looking up
I think when working w/ hist. building the tech not always appropriate--- also currency at (eltricity?) don’t know what it is because it practically every thing is monotaptan??? Social agendas/ social inclusion, regeneration social poris
Publically funded
We use currency beniffedtd from public enthusiasm for dig. Tech

On community: Start with a partner
Project after this working on a decommissioned cattle market in KillKenny Ireland, there’s a arts official council employee (who) identified this building as closed and unowned, were being identified as people who do this – about a spot that has resonance significance for community

Explore possibilities it offers theatrically, talk to the people who live there, instinctively decide which stories are incidental

Wanderlust: Each site (unique/challenges/story/approach)…
(Interupted—safty inspector arrives)

going into places that have touched people, expecting to be pushed or challenged, dont have total control over (site specific) or how things work …being real
collect stories from people: put in touch with various individuals, also work with community, online scrap-book – post up thoughts – images or sound/video so to some extent the show is shaped by those who choose to participate (such as in Undercurrents)

?ethonogrpahy? maybe video, come to record>
Varies –lots oral history recorded for hospital project – not usually video unless there might be use for it. If video used, archival, from local archive is always used for (audio/video clips –city and local) usual walking route – some fictiontal, some archival –their

piece City Walk, voices drifting in and out –as you walk)
Made use of other people’s videos I ve got footage of a certain time –sort of a municipal archive and also personal archive, its very useful to be put in touch with local obsessives who go around taking pictures of everything those types for people & using their stuff

N (undercurrents?) created video with students, yah combo of creative and recreating video –paste on a sort of beach hut choreography borrowed footage of ice skaters (swim also) recreate Ledo outside
Students, talking birds in Victorian bathing suites prancing about (for fun) it was cold
What life work w/students to what extend like working w/them? hard to (as part of course, scenography) required –not turn up when can collaboration better if part of—have tasks to do, gather info, choregraphy 2 ballroom dances they were part of & beach games

3 Janet, Nick, Derrick at core – group expands or shrinks depending on project extent of time of regular and extended

ollacprators of various, spurted big 10 of us in 1992, all unpaid, eventually we

Budget 10 k whale (Belgrade Theatre Sponsor) also buget for hospital (least for get souts ive dine, call theatr show?)

Whale as a mediated as can get (?)

Derick sound mix
Slosh girgle ping = whale sounds
Recorded on the sea side peir of the Isle of White – stayed with artist in cottage there
Echo reflecting off pier (used for this)
24 piers making a piece –sound, film (12 so far in two years) no (end) date (for completion)
what you could do as it’s a different kind ……?????
Empnew clothesp projection of stage pretending your outsider for donkey’s years
Have to do

I’m sure I’v done that , but? we cant do it any other way – web report –commissioned by email court report 11 episodes of getting desparate to find festival, moho? He edited it phone conversation
A project you could’nt have done years ago, genetically you could’nt have done it before
Fortbeard Fantasy
Think company that does a lot that looks complex, synchronizing – land think could only use digital use 16mm landa

Station House Opera
“Live from Paradise” 3 different cities in each location a flat alive and two videos in each different mix

in about 5 years it might be good out of 1:20 mon 30 seconds / minature where you go a har, that;s brilliant, 3 screens + live perf infront of you – lot of live perf that doent link all these tables –same objects England/Brazil/Japan
work for years on things UK one held morerelivant??

Nick on Memory:
Its kinda the brightness of memeory, how best to reflect an ???? should ???? and create.
Warped memory as well
Using memory as material w/ out being precious ..debating material – any sort of it may examples too many like focusing on –too general, hint at a few –thereby express many – an abstracted memory.
Memory as a resource to be manipulated, stretched, bended – sort of digital sample, manipulate use as bendy stuff

Kind of act of memory, people tell you that’s the best expression of it- kinda understood it wont be repeated in the same way, pure

moment recall, altered an manipulated

Were drawn to neglected – about to be destroyed places. Preoccupation w/ about to be destroyed (buildings). I think…its because (a sense of ) heightened…the impending..big boom…drama- time to reflect… We often think ‘whats the point of this?’ = funding (in Coventry) (also) making sure don’t misuse monuments –slip away – I think that’s a sort of useful role.

N –old town??wholed up?
Bunker??, cobble, memory keeper
City to invest in, sell arts, hardsell to council
Everything directly w/city put money with grants I monistary/hospital – keep stuff like that,tates are paying for this

2 interjects, Art for Art sake

Nk it can be like that
Also can be that, also countributing to it (tax) only
If good
Gov need some language s to why its useful
Lottery players prayed for whale??
Your company deech ave …but, for community

Janet talked about layered memory in undercurrents. variety of nature f under undercurrents, also taked about flow (up from bench – washed up in ?? via fire life) baby weak? To viewing area –variety of end image of building digitally washed out to sea.

NK community enriched by (their work)
P? idea about why it is useful is about what I want to do – ego

JK It pays for scientists to use their ideas change of creative stuff
Last 15 years
Your batteries are coming up the ass (handing them over, then goes to whale)

Whale risk assessment,

D Making projections oraganic vs. switched on television also about adding texture in footage if its too raw

(Think of ) how to introduce it (video), how it looks, where it is in relation to live perf.

(Persistance of Vision –screens that he pulled down to get eh feeling you were pulling down?)
Archetecture as surface, many projectors don’t see joins
Undercurrents we used architecture…4 projectors and screens behind pillars for panoramic effect

Imaginary Volgrad
He’d like to do project in a church
Janet like to build
Phone call to nick about insuring the whale

University of Georgia

ICE: Ideas for Creative Exploration (born of arts)

Group: Ben (Drama), Linda (Art), (Art), Mika (Sound), ? (Dance), Jenifer, Mark (ICE organizer, staff?), Carmen De Angelo (head of art??Dance)

(meeting excerpts)
• Ice Project Grant Program
• ACH/ALLH conference May 9-22nd?
• Wireless projects with NMI WAGzone
• Athens/Liverpool collaborative sound project w/ Collin Fellows (International scope)
• Last year there were three projects with $5000 each, now one with 5-15k
• Summit Fall 2003, State of the Art Grant to cover speakers, CHA grant
• Contents distributed globally (afterwards)
• Letting the Projects define Ice, bring in big name or no, from within UGA community
• Interdisciplinary work re-defining forms, build into process that it is required that you have 3 disciplines in arts, 1 outside (sciences)(community), force to collaborate – crossing boundaries in new ways (Saltz)
• Volunteers, memebership –Grad students with vested interest
• Teaching, ICE housing classes, path towards institute, sustainable for next year or two, mentoring, interactive performance class, cross-listing, grants for program building, UGA team teaching courses (music- example, no prerequisites for electronic media sound ) find out what courses are already being taught
• How are grant recipients tied to ice after the project?

(N frustrating I know exactly who I would ask to particpate.)

• Developmental approach: Brainstorming workshops (bio, art, music, dance, phys.), stayed approach – pool –taken through
• ? frontloading
• pre-proposals, 3 projects with synergy (NSF preproposals)
• outreach & timing, encouraging applicants, incubate it here (ICE)
• linkages created after proposals,(connection to campus?)- will make them a part of the community.
• Collaboration across boundaries
• Develop database of similar minds –act as facilitator (among floating around) info pool, listserve
• Bring in successful grant writers
• Possible subjects, Sound, Open Source-online, hacking, wired community, Makers- groups of makers –telematic

(N Grant, Art Class, Group)

• Book, ARS Electronica 99
• GA assistantship for ICE
• National Art Tech Newshoare
• Lala human steps –sound sculptors
• UMBC (collaborate N)
• Kitchen +MIT, Ford grant
• New Media Arts, NewFunding Models online @
• Xerox park, Palo Alto Research Center
• (electronic house)
• Net (list)
• Moving dance into tech space, motion capture move to shared larger space

Read Multimedia –Wagner (Have it)

Kitchen – Elise Burnheart
Christina Young (Ford Foundation)
(new media initiatives funding)

Wayne Ashely -Curator
New Media Initiave

Elise Bernheard – Ex Dir
The Kitchen

Tom Bray
Media Systems Develop
University Mich. Media (Ann Arbor)

Sheldon Brown – Dir
CRCA University of California San Diego

Carmon Colangeo, Dir
University of Georgia Visual Arts

Steve Diets –Curator
New Media Vineland Palace

Margaret Wagner Dahl – Dir. Res
Tech. Alliance New Media Synergy Colt?
University of Georgia (@?)

Judith Donath
Sociable Media MIT Media Lab

Lisa Herbert
Musical Soc.

Carol J. Hobson
New Media Manager
Digital Research Manager

Colleen Jennings-Roggersack – Ex. Dir
ASU Public Events

Benjamin Johnson
University of Mich. Music

Mathhew Richter
Consoladated Works Seattle

Eleanor Stewart
Research Inshitive School Arts Irving

Ralph Lemon

Thanassis Rokakis
Inst. Studies Arts Arizona

Lowell Robinson

Fabian Wagmeister
Performance & Hypermedia Studio Fund
School of Theatre Film TV

Pamela Winfrey Explor –main artist

Christina Young
The Kitchen

David Grunstein (teaches Intro to Art and Technology)

Interactive installation for children’s museum exhibit, mushroom which is responsive to touch and person’s voltage.
• Transmedia Video, Time Based Arts, Didi Dunplay
• Each person’s voltage makes a different sound
• (shows video from center)
• galvanic response sensors (maintaining)
• touch 2 colors it produces sound,video
• mac laptop inside running quicktime clips without video for sound
• MAX- coordinates interactive responces

Also, digital router using CAD to create cutting paths for tennis ball chairs, next project will include petal genorator (light bulbs at diff. speeds).

David Saltz –office

Poster- Karen Finley – The Technology of Total Blame, cholocate sprinkles, performances body shift non-confrontational art venu with a sympathetic audience, political issues, self effacing, also monologue series where she rocks herself in a trancelike state. In Berkley, his wife laughed in recognition, she broke trance and addressed audience “that’s not funny.”

On Phillup Auslander- cooler, mediatized, (vs. raw and romantic)
Not romanticizing presence…Opposite of Phillus “not only believing in liveness….(Later conversation in car, Auslander Likes an argument, philosophy, would not argue that there is no diffrence, but that it is not important, also does not think he is the last word. Phillus not ready for the attack.) (Nadja comments perhaps its male/female debate, DS not sure, Auslander does right on some feminist issues?)

Interactive teaching makes media live by taking the media on. ?

Little interest in Definitions, what is and what is not theatre, rather explore by doing

It’s a radically different similarity and differences blurring lines +

Live in geographically, motion capture, virtual vaudville, record sound files, Interactivity of Computer Art

Virtual Vaudville

• 5 acts = strong man, woman comedian/singer, 4 Cohen Brothers, racial humorist, ?)
• 7 contributing schools
• Navy (CA) creating AI audience
• 3+ points of view –from eyes of players, audience, on stage?

Carl & Vinny, ex-students doing the 3d modeling using Maya 4.0
Facial animation

(N note: Not a great deal of drama to drama dept.)

Up close and personal with Sandow, problems with believable muscle flexing, arm looks warped into body when arm lifts from behind, difficulties with texture mapping (skin stretched and uneven, nostrils look extended, hair=brillo pad, legs look disproportionate –impossible.)

Invisivble camera

3 horse walk across a plank over him, can use other horse models (not capture and animate from scratch). Texture mapping and researcher lack of info on audience, hair color, building cad info difficulties. (Dr. Saltz spent summer texture mapping. Skin needs improvement) Researcher Frank Monder, ( ? 2d animations, scenery strata 3D pro.) (overall impressive, but not as defined as film clips of performer). Used a dancer model to do flexes, standing back flip. Motion capture.

Student Projects
Alice in Wonderland, Rinocerous, Hamlet’s Ghost from inside software designer’s computer screen,
Training: Vinny no class on maya –just had to learn it (DS), same with filmbox/motion capture system. Students work hard, core group grad + some undergrad. Allen Partrige not David Saltz (j & k indicate “last minute”) worked on interface of Living Newspaper. (More time till project, performance needed.)

Film class: Instructor Charley Idsvick

Rule of thumb is nose to nose, jiggle vs. cutting shot, jump scale, scale=power, how to compose without a frame (nonstandard distribution –various markets) ambient image around center, camera moving continually, sweeping, glancing esthetic rather than gazed,
(n –reallife too slow)
kissy movie only need cute guy and girl who can act, better to move than clear focus
movie takes control of focus away from the viewer
insync important, mono speaker behind screen for dialogue (more in notes)

Motion Capture –optical

(Important all points are uniform, except for offset (two close together on one, etc) on legs and arms to indicate R and L) Important that balls do not get moved one session begins –don’t scratch or futz.)

Film Box= Program for motion capture, 9-12 cameras mounted, portable, tripods
Interactive performance Arkos (midi communication, sensors use Max Fat) interactive performance simple programming language –interactive live/ installation –time based interactivity. Chose 1 of 3 ways to go (?)

8 cameras minimum, 3 to triangluate points, 8 to avoid occusion, more cameras make it easier to avoid occlusion. Using high res digital cameras, high frame rate, 120 frames per second (4 times TV) up to 500 frmaes per second, a strobe of infrared LEDs flood the room with light, and the retroreflective tape reflects light within 2 yards (?) of the source. All the light goes back to the lens.

Mangnetic Motion capture system (The Long Ranger –I thought the Lone Ranger), is cheaper but requires the dancer/actor to be teathered to the divise with wires –however each point is assigned a location inrelation to others and occlusion is not a problem. With optical the performer is not teathered –rolling markers, and portability is high.

Reconstruction of real-time data, errors show up worse in optical because the program has to calculate – longer filtering time. Magnetic used for facial capture. Also realtime capture. Magnetic has no occlusion, each sensor has it’s own address –6 degrees of freedome, faster for real time.

Mechanical systems, like Gypsy, are exoskeletons which indicate where depressed, there is no calibration needed –do it anywhere, ?no facial capture?

Facial capture: tiny markers, hemispheres – facial markers are the smallest (above lips not on lips).

Finding the origin xyz dimensions (taping the floor) assigning directions in computer. Static trial mapping, 500 mm supraton (?) where in the world – how for suited – origin (L with balls). Dianmic calabration (baton with ball) 500 mm wand, spin over head reconstruct data, use program called Workstation for calibration,

(Vinny on animation, “forced to listen to opinions…like they are more important…”
Didn’t like writing.)

(They want to build a wing which will allow dance and theatre to share a motion capture space. On top would be a control room-lab and offices. Money for building not there, but maybe a named wing—also backbone work harder to name, harder to get money.)

(Nadja Notes: Maryland use of equipment go in with Dance on a Motion capture? Best in a large space, best models are dancers, also- scenic projection ability-check intrest of sceneic deigners, my favorite Multisite/expansion – not so hot on animation personally.)

1.I suited up in the very tight black top & bottom leotards with Velcro which were well worn. (I felt somewhat like a Charley’s Angles girl)

2.Vinny showed me the cameras positioned around the room

3. He placed 42-44 (?) sensors on the suite, there are special attachments for the wrists which are the reflective tape spheres on the ends of a short rod to indicate the angle and spin of the wrists. There are also special small hemispheric reflectors the size of half a tick-tac for measuring facial movement. Today we are going to correct Sanderson’s arm movement. I protest that I don’t have the right kind of body, namely male and Vinny (sporting loud pajama bottoms and an even louder Hawaiian shirt, and what he calls a“Malamute” hairstyle) kindly assures me that it won’t matter.

4. We measure and mark off an 8 foot radius with tape.

5. He shows me how he checks the sensors with a batton-like wand with glow-taped balls on each end, swirling it around his head, creating the impression of a fire dancer’s rutine on screen.

6. He showed me the motercyle pose and the T position which would be for registering the points on my body and beginning each motion capture.
7. After capturing the points, he linked each point with a corresponding lable (rknee, left wrist, etc. so that the (kenetic) skeleton could be mapped by the capture software).
8. we worked on isolating movement in my upper arm for the Strong Man, this worked only when (I suggested) we relocate the marker from the elbow and allow it to represent the bisept area. It was neat to also make suggestions on the animate character.
9. Then we got to play and see “Nadja Gone Wild” I must admit, I thought I knew what to do then choked when he said go, it’s true I’m old and brittle, but dispite my out of shape book-bent body, I enjoyed the experience, especially seeing degree of fluidity and exactness with which the equipment captured my every movement. Not only were the twirls and crowches there, but any lasyness in my movements was observered (hense using dancers).
10. There was a problem with my heel locator dots getting crossed and switching idenity. Vinny worked at correcting the problem. (Vinny is very skilled).
11. I was able to see my movements mapped onto a figurine as well as onto a dancing lizard with mouse controlled eyes and tail. I loved being the dancing lizard, that was worth the price of admission alone. I did notice that if you were portraying the lizard you would have to be awair of the proportions of the character and limit your movements so that your hands don’t go through your head!
12. We tried my ‘free dance’ one more time and I got embarrassed and stopped moving before Vinny had stoped “rolling” the result was some very natural capture (I almost said footage) of me shifting my weight to one leg, waving off the camera(s), spinning around, and holding my hand to my mouth and giggling. Vinny said that Dr. Saltz would really like this, as he likes Natural (unawaire) capture. I said that maybe they could use it for a little girl in the audience. Who knows, this could be my big break into the world of animated characters.

After this motioncapture session I was thoughougly blessed! I loved getting this close to the process and equipment.

Capture Process takes 3 computers for realtime, 1) receives data and passes to 2) which creates algorhythms, 3) then renders 3D animation

? magnetic? Wires to transmitter on belt, multi-pan

(D.S. project – puppets animated –mechanized devices talk)

Film box (workstation is the software packaged with the motion capture hardware brand they use )

Walking with Saltz

??Caspar, Richard Gillman – On Modern Theatre, Timothy Wild –The Theatre Event (seminal mondernist), Arial on stage!, New York Production with multisite (?), “It’s not real time.” ,
Webex, telaconfrencing, offer from Yale Buddy free access may try it for a production
Living Newspaper, logged on not as self
Tempest, (ariel all creatures) bee, water itself,
* see arial, on stage, the cage , see her imprisonment, takes off sensors –‘without the actor there’s nothing without the person.’
Rehearsal process, practice manipulating character

Projection 2 screens
1 in cell P’s standard
30-35 k lumens projectors (vs 10k)
Studioz = comedia scenerio

‘Virtual World – embodied performers (like to make)
A lot of productions are excuses for the technology (I/we) went to the text, Hair, Caspar, Tempest (balanced with C least accesable)…finding great texts that had a great need for (magic) technology’

With Living Newspaper, better for internet audience ((not a bad thing like Joelle)) the audience members could go home the next night and reflect /interact online…you could read into the minds of the internet audience

The interface was used as a chat room. (but screened).Night after night (they) return say “I love this scene” (only negative once in rehearsal crew’s boyfriend was negative and left chat room) People from Texas (far away vs. his own admission didn’t say where he was from, also Joelle said that same people typed in over and over, also was not able to connect from standard/slow home connection of relative.)

911 event pulled attention, events, wright behind the scenes – responses enjoyed- split focus – post modern –multifocus- interplay, media as commentary

community, virtual audience, embodies in still functioning as ….
If dominated by heckler can change the tone.

Include stream video see there comments (some chosen) 30 seconds later

Voice Reality, phonem recongnition system morphs mouth real time to map of face
In tempest had to use a glove for facial expressions (or was it controlled?) last minute glitch?

Caspar, Midi sensors on mouth muzzles not pre-recorded, video Director, Blue Screen – Document Student Projects, real time

Tempest –blue screen
Trink/Stephano – Mirror frame with diff clothes (pre-rendered video)
Playing chess in the moon
Arial face, play expressions , happy, angry,surpriszed (sad/) to various degrees

Motion Capture –After Affects
Video Animated

Film Box, Motion Capture
1--- 2 backdrops – composite blue

Dr. Saltz Poster:

Ways to integrate media w/ actor?/play (ask for copy if not in article)

Pygmalion Effect, Digital Hallucination, Exterior Shot alt. On live even,
Realaction vr effect, jumping into screen, stage/screen continuum, vr puppets, emerge from screen, ironic counterpoint –Piscator, returning to reality, split screen

Beautiful trapeze dance (Rabbit Proof Fence) (Peter Gabriel)
Trapeze (Perf. March 5-9th)

The blue white light
Pain of pure breath
Pure movement
Butterfly me…

Folds of light
And white fabric –wingless falling
Pools of blue and self –firm –resolved unpainted
Souls – reclaiming our presence –disclaiming mechanized clutter
Freedome from within
Speaking with limbs and heads- nodding –gesturing –
No remorse for the simplist –purest actions – breath
Life –breath controlling the world

White flower stalks – all leaves and grace
Center of heart not head

Bodies cacooned, cathedral of cloth and simple swing, sails envelope, evening flying, the ache of the intangable and eternally …frogs croak …night,
Hung (like a stone)
Gathering –handing –hauted –turning like tops?

Untouched, touching –achingly soft new …

(N –VR camera with dancers – inside the dance)


Beckett Space

Pinkish, blueish light

Bearded long blond haired man in black shirt, cup on table, video monitor

Video speaking, live actor still (Knocking – makes tape continue)
Waves at screen self, both nod
Video self reading, knocking stops/repeats/ begins playing.
End “nothing to tell” nock repeat, nock –nothing happens, nock
(outside person DS –“ok” to end show, audience claps)

Hooded firgure in front
Mouth blacked around with greese paint see skin, pores creases
“No she realized words” “not her words” “felt her lips moving”
cloaked raised hand
spittle –more live ? to audience
loud clearing voice
begging for mough to stop –unblackened skin shows
can’t go on shes (figure raises arm)

Nothing spoken “live” unrecorded.
“time she stopped” “more” (Live)
Did’nt repeat as indicated by DS memory –clearly ended (performed again when? Timespan =creating rebirth or cyclical effect)

Robot animated puppets

Man in monitor not speaking = art? Watched, woman’s voice “Joe?”


Onstage incase, arial, doll-like arial appears on screen, yellow, cybercrow -?
Foliage background moves
But screen line distracting

New scene –beach (surf) Huge butterflies

Prosperso –to Arieal
Prospero draws rainbow across
Wedding – motion controlled lighting
(Marshal, Prospero ???)

Ariel andces with shapes –yellow and blue blobs change shape (maxfield parrish)
Summons helpers -Animals dance- hopping bears, dinosour people (bright colors- pokimon?) sparklers, Growning plants vines on columns (fruitfulness) fruit pours down scene desolves into pieces

Dancing Dutch girl multiplies ariels movements by 2, 4

Sets in Photoshop + Lightwave (surf rendered into quicktime)
Arcaos used (midi) keyboard cues
Arial modeled in Lightwave, FilmBox for Motion Capture,

Calibration of show
Voice changing balls
Morph targets
Intena up – keys for each

Touch sensors in glove broke –used keys (for mouth?)

Magic Mirror
Prospero’s green rainbow
Tempest –body rocking
Arial bee with face, she;s moving up and down (Vinny back stage controlling left and right of bee) (or vise virsa?)

Filmbox voice reality sounds
Arial – takern apart- P direct address to audience with lights up

Highlights tape

Hair trip (falling in)
Eye monitor in Caspar
Peope w/ equipment strapped to their mouths
Arial deflates, the storm/sea
Racist, sexist puppets (Diversity Class!)


As they sing the name animated colors appear on screen (better than lighting?)
Loved the national forest video images
Where are the actors during projections –sleeping
Jumping out of army helocopter (on screen- Related to on stage)
(most of trip was pre-recorded? Also the trip use of screen isolated)
Indians shoot colors at the screen
Animated newspapers –good effect
Lines of soldiers in back of cast V animate –Beatle like scene-

Camera work
Interactives –low grade 200-300 bluescreening

Allan Partrige

Interactives- video, 3D, programming, writing, tv/video, design, theatre

1 ½ active work
branched game –video
storytelling- authorship, player, what

Role of Drama interactives – drama strong role?
Same resources: costume, lights
Same core components –but things which contribute to dramatic form not consistently dramatic
Purer dramatic form (?)

Interactivity destroy dramatic? Games all specticle? Aristotle
(Brenda Laurel, Janet Murray emails?)

Interacive games wider range, beyond story/drama goes into sport events, specticle for itself (N Performance studies)

Game, animate, flim –broad group of students

Naration doesn’t have to be linear

Classes online MFA – 4 classes, 1 class digital on live performance!, interactives, animaton

Department broad scope, theatre from other elements (narrative)drama/gaming(interactivity)
The more you increase interactivity more you decrease narrative/drama
Playing games really more chaotic mish mash
Legitimately cathartic experiences

New interest that …many depts.. hesitance toward things with out a live performer
Is it live- Does’nt get asked in film & video (duh)

Technologies and art forms adapted so quickly don’t have time to revele in the (difference ?)
Looked at film to find the answer
Doesn’t mean it is theatre, never considered same, different art forms
Strong relationship- what is the material commonality, actprs. Designers
Liver performance
Performance art without performance artist
Deptments solve duplication of resources

(Experience at Texas Tech. Neg. Ohio has good interdisciplinary – philosophy & humanities) Dean Wilcox –thoery semotics Examination of Interactive Liver Performances –Dynamic Theatre (new Lee Brewer).

Lee Smith First PhD in Media studies – implications of narrative/intractivity

Order Brenda Laurel’s Dissertation, designing an interactive story , CD from Interval Rachel Strickland

Janet Murray, Brenda & Rachel, Janet –Georgia Tech Humanities

For Tempest, SPC international Loaned Professional equipment,
40X20 screen, 2500lumen projector
(screen set back acouple of feet to avoid bounc)

(Ask him about what resolution/dpi images rendered in for screen projection??)

Compostiting- premiere – after effects –ultimate

Descrete combustion – high end composite 3D –understands

Final cut pro –after affects
BA –Lightwave – Mike Hussy (teaches)
Maya – self directed

Worked on Caspar (eye director, sensor integration, LED blinking lights?), Tempest, Living Newsparper (internet interface Director scripts),

Living Newspaper Director= Cathryn Hammond (Lee Smith’s wife)

Violet – musical w/ projections – play back – Theatre Dept. – straight musical (half show takes place on a bus)
Leramy used live interviews (more?)
Living Newspaper – Director Based Component of online

Nathan – Projections vs. Glass Door Productions, a lot more thought goes into (our productions) behind the scene

Do we have to break new ground with each production, no, should it yes
We get new technology and say let’s try this out

Ben – Bird Boy- Atlanta Opera , (portfolio via CAD –animation- lots jobs)
Faculty interest –snowballed (video, installations, gaming) one to next into program

Allen Partrige— Living Newspaper
Set up web , mixed multicamera view of show
Login, buttons – image to choose, face buttons change dynamically, chat window-see who’s online, Icon & Question
Chats funneled in to moderator in the booth who chooses responses to questions to show on screen (lists vote for question) –sometime influencing stage cues
(people who voted for a:number and responses listed, b. etc.)

Cuing maching –holds cures and updates cue if requested-vote highest determined (cue) unless moderator overrides it (with cue from vote?)

Catheryn Hammond’s Thesis
Delay 30 Seconds – to what you said being (possibly displayed/viewed) up on stage
Real Streamer 30-100 seconds delay depending on connection
Seeing it multicam (+late), mix with interface
AP- “Show’s better online, better than onstage.”
(Part 2 only online-modern, audience requested act one also –got it)
Much more focused online –directed (experience)
Voting, chatting, watching
(in house audience undervalued- throwing mice on stage to vote –Lee)
Camera people in between house audience and stage

1935 set design, two screens (one each side)
1935 structure-Archives–
2001 dance sequence, celebrity lips= quotes from famous figures 4 minute sexual incounter, hard core anime porn, media meltdown

AP—internet audience seemed to understand it better than live audience, had to watch it many times

(Lee- described it as creating a feeling of the media (crush) today- vs. J & DS description of part too being “student” experiences without as much structure as 1935, MTV)

2 screens, 2 robotic lights, collection 3min-10 seconds, heady info, fast paced,
“any audience that would have liked the firsh show would not have liked the next show.”

Cathryn’s Thesis (may appear in Theatre Journal) (request copy)

Tech. Notes with Nathan and Allen (get allen’s book coming out?)

• Cameras: High 8, Panasoinic industrial, greenscreen,vx 100, (Max- Director) Panasonic Pro, Caspar, sustome designed Nathan 5? Digital cameras?, 422 soney, 20k older 5mm,
• Blue screen, hair 20X20 mainstage, greenscreen I Studio
• Multisite:not yet
• Motion capture: suites reflectors, filmbox, workstation
• Projectors/screens: sharp XGE 3500 2(35k) 3 viedo productions, trinity mini song screen off, rear projects
• Comptures: mac, for video/audio and backstage 3, NT runs filmbox (3 Dells)
• Video: final cut pro (starting)
• Sound: SoundEdit 16 Cue Base
• Arkos –midi -Living Newpaper , 5 machines backstage?

Sneaker net –transfering hard drives the old fashioned way
Keystroke- sasafrass (?)
Network bundle – list applications – moves to new desktop for sharing of licences,
Centralized software use –copy to client licences floating –unlimited support -$2k
Lockout people if needed for a class
Any facilty or lab –pc/mac

Edit suite G3 media 00
WYSWIG Analogue editing as well

Video Network – Cat 5 Ephs
2 survers gig. Givereither transmitter, x-server ½ terra bites, 72, B webhosting,
movable desktops –Ethernet 2
? Program allows you to set lighting and visualize 3d model changes?
Just back from the bleeding edge

Designers- scence shop draw designers –to lab, classes (split DS –J/K)
Design program origionally, upstairs 4 computers grad labs, rooms with newwork ports, bring your own.

Fiberoptic –gig. Eithernet Internet 2

900 – 300 ft (?) run pieces of fiber opt. Between places swich – higher quality cable –take further than ita allows.
23OK updgrade one building at a time, sweaky wheel
upgrading core! Petitioned 2 years in arrow .Chairs from outside grant/request (movable stations).

Midi keyboard in lab
Light board as well
Studio too small
Need biger capture and Overflow space

50 ft. 24 cameras, control room images for ?vicon (three floors office, animation lab, blackbox)..

G4 450, next upgrade,
PC’s for specialized apps. –3D Max, Auto Caddd, Soft Image, Light, Vicom (?)
Motion Capture= PC
Living Newspaper, video powerful output card (mem, formats)
?flatscreen, refreshrate, cineman display “hair back from the bleeding edge.” Technology- support, cost, trial elsewhere

Glass Door – 2 min, cad costume, scenic, interactive perf., film)

Want a render farm in basement to computer lab not tied up or render messed up

G3’s 180 card. 4450’s

6 months tempest, 19 months ? Joelle? –Livng newpaper

Tempest – set, composite animations, Affter Effects Backgrounds, Teaching Lab also video , wind tunnels apple G4s 867 procssors, video process

Final Cut – Kenny**teaching a class.

(software: aftereffects, psd, fireworks/dreamweaver, maya, illustrator, painter, color pallet,)

wacom tablets

Film Box

Via com, realtiem, film o

Elise at

Danny Hillis –Patterns on(in) the Storm
Sandow –first fill poser for people (?)


Leramy – 1 ½ pre-production video

Tempest, huge technical problem

(Crocodile rock- music plays stomping or when one foot on the ground?) –what really was the stomping for?

Shirt on backwards

“I want to be a person like somebody else was once.”
Touches chair curtain, voice
Drawer talks
Taught to arranarege furnature, to decorate, act dress, speak, think, repress correctly
T rake on the are- “you are unable to think without object.”
“and you learn that there is an order.” “There is order.”
“You must be a picture of yourself like table picture of table.”
3rd chair in eye
“a sentence cant hurt you yet.”
Because I can speak now I put everything in order
Puts on shirt right way
The Door, The Truth
Speaking now
Has interaction – controls person cleaning by rocking
I’m ready to go
I would like to be a member
LED (lame choreography –automotons, cheap plastic clear masks)

Student projects-
On train with girl composite
Alice in wonderland (taped live infront of cat projection in lab) problematic – team, only cat’s head, one take

(Motion capture class big success –one in suite, one on computer, Joelle –too many students) (Ask Joelle- to Xerox newspaper clippings)


((Nadja thought: I watch a lot of tv, probably too much, have spent hours infront of computer, and of course grew up going to the cinema… I perceive a different experience when going to a theatre production…there is an immediacy (loss of control of the media –no remote) and yet a sense of particpation (in that you can hear your laugh joined with others, ripple across the stage ensemble- feeding them). There is no glass wall between you and the action of the stage, it is somehow fragle and imperfect yet stronger and compelling for the potential vulnerability and masterful self control of the unedited staged world (of action). You do not perceive the interferance of glass or hardware, it is like being a silent member of a conversation, the message appears to travel directly to your senses without interferance of a camera or other intermediary.

On production, it should start with good words, not necessarily a script, but the confidence of a compelling message and someone with the talent to bring this message out in verbal form. Each main element should be equally strong and balanced the whole, no one piece needs to be primary, unless this is part of the message. Actors and directors should share creative process with eachother and tech/designers.))

(seem somewhat proud and sheepish of the reverse descrimination of “behind the glass door” much more heavily funded than theatre or film now Dept of Theatre, Film & Media (check) Million dollars vs. 1000 – Artist comment at ICE meeting.)

(If they ever a Directing for/with Digital Media, I would be there. But it seems to be a media dept. with theatre/film over lap. Late nights in the lab, some burnout –joelle esp, also when asked if it’s important to always innovate in productions – yes response, sort of done that attitude –vs. N response –done right? Not just done first. No jugement as to quality of show (although Tempest preproduction needed a year not a semester according to K) just that the additude of science- well it’s been done or “did that” does not leave room for craft and refining –important parts of great theatrical works/ (collegate) and subsidize (avante guarde- rich in time) theatre tradition. Seems like emphasis on using equipment for “theatre” department productions trisheary behind VV project and gaming classes.)

((A woman, a healer in her area, each one brings something special to the place brings in the sacrid out doors and the details of the water life, rock world, spirit of the physical of which she is a part.))

(N- Don’t know exact subject of article culmination of travels this semester-gathering/soaking up understanding of major productions/groups working in thefield,
eventually interst in creating chapters on each of the major methods. Also getting a feel of the different group methods, dynamics and goals…GA tech/gaming/installations forward pushing perhaps not reflecting on or integrating with theatre as much as (I) would like. Much emphasis on funding and game development, pressure put on few grad students + faculty to work/learn programs –wire interfaces, late nights in the lab. Additional information: will learn of StudioZ and GSRT first impression is one is new and loosly based, the other is established but shows very little product.)

(CREATE CHECKLIST: include man-power, software, hardware)
(Visualize groups)
(Database work- shift to at least ¼ time gathering on yeses)

(NBook with comments cd/dvd archival of performances (shorts) plus written material N, article by each, org. notes by me)

(Meet dance choreographer, musicians, artists, poets, scientists on campus esp. interested in nature/man , woman)

(Collaborative project :4 sections…ocean-waters, trees/plant-earth, sky moon-sun-air, human/animal…our living world) (music-words first then visual, performers –who will do tech???- part of dickenson –domestic project first –women 4 channels –human woman moderator –doorway/hub comeinside to go out –film archive- plant growing (motioncapture? Hands mimicking – no cliche doomsday wrapp- just a telmatic space to step in into then into parts of this world – real time –like web cam )

Dance Performance

Carmon Colangelo
Lamar Dodd School of Art

Phil (sound) protocols,

Kenny Kilfara, Dramatic Media MFA, video editing (award for short film), worked on Tempest, ?Living Newspaper, makes excellent tofu, Georgia boy, 706-254-6840
Darren Kilfara, A Golfers Edition, Media Censored Democracy in Action ? by Peter Phillups,

Joelle Arp-Dunham, Dramatic Media MFA, website for Virtual Vaudville, did Alice in Wonderland project, opinions on Living Newspaper part 2 not successful and favored webaudience (maybe not as diverse as thought) lots of directing experience (not in program), tired, Christian mom, husband lighting designer

Lee Smith, PhD Dramatic Media, Interactivity vs. Narrative (writer or director on Living Newspaper part 2), not going to be used by Saltz?, LA and all over, wife Catherine directed Living Newspaper past MFA? 706-208-9145

Glass Door Politics Behind the glass door… acreditdation?

(AP reviews DS recommended book poorly- editor needed to use control)

Ask DS –guy about how ICE was founded.. etc. (how to?)

Studio Z

From Program:
You Gotta Be ‘Cledian Me
written and directed by Gregory Winston, “experience Digital Theatre” Friday Jan 31 and Sat Feb 1 (both 8pm) at the breadline theatre 1802 W. Berenice, Chicago

“Mysterious Delicious Coffee workers, a demanding girlfriend, an a no nonsense psychotherapist are pulling in opposite directions on Trent Williams, a struggling musican in need of a ‘real’ job, in this high energy confrontation between chaos and universal order.”

Tech coordinator: Joseph Kowalenko , Dan in Cast of 4 , (tech crew of 3 including keyboard operator, tech coord, photographer)

“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 theatre artists and audiences 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.”

*Overall (flexability of space-performance setup and time- responsiveness to the actors improve)

From N’s handwritten notes after show w/ Dan Zellner (Studio Z –director)
• Up the stairs to whole in the wall type place
• Starbucks backdrop, animated geometric shapes, sillouttes/poses (some attitional notes and sketches—really uneimpressed by show)
• Time: it takes 20-30 hours to do something (create graphics), but ‘all the programs I wrote altered automatically. Media? “alive digitally”
• “This space has been forgiving and inspiring for the work.” Slightly different arrangement of seating…
• preparation of the graphics…the gap between digital and live effects smaller and smaller
• reading or presentation from the audience
• Joseph Collenco, theatre friendly version (of digital media?) 3D graphics- not using goggles
• “looking for something that draws of Chicago improv.”
• Script keeps getting feedback, set doesn’t (more finished)
• First version of play and graphics - development of graphics alone?/hour
• 3 pieces –back stage shadow
• balance – facial lighting not washing out, tight lights, body dynamics- emotive effects (?sacrifice written?)
• Euclidian Me, eclucid Maul Kappe? What a psychosis consideted to be set of rules and create words more like piece of music, that which has no point nothing the audience has to think about? They wont enjoy the show at all, explicit sexuality/love hate, questioning reality, (this maybe the playwright?)
• Politics create a virtual world- money virtual - every thing follows- you have to go to work tomorrow (this maybe the playwright?)
• Try to use the medium itself to do the communication repetition of the instant (echo used sometimes)
• Tech mic, “as soon as we get that Pixar budget” ?
• Where we get our budget: non-profit state grants, corporated, macromedia donated software, universities interested in reali time – Electronic Visualization Lab (test projection in CAVE?)
• Simple application, how does it work in a “real world appliciation” what will distinguish you later---improvizational theatre – improv (instantaneous?) media interactive as we (are)
• Comedia beat scripts, writers and actors 6 different writers
• 1st season a learning experience
• screen + left kiosk, 3 screens (=Cave) , 3 Screens – 3D, one screen- mono, keep changing
• 60k, lost 40k (9-11)
• art for admin trades
• 3 plays, space to try
• influences: comedia, second city tradition, stock Chicago (characters): Cubs fan, Barista
• (he was a writer on Virtual Vaudville)
• audience interactivity (writing behaviors/mannerisms, eyecontact highlighted reality)
• audio balancing – zones of awairness
• can work here, Second City popular Theatre ruites
• Drop sceneory?, layering (Saltz 12 ways to use digital scenery) Drop in contemporary image (bio-tech chain)
• The Ticket, x-mayor of ciccero (Chicago characters), Mallchovic - contemp (De ex Michael Jordan), Typical hate drs…prscritous bill layers (confess- fix end)
• Stock characters in beats
• Intervalum- future, space age funeral survice, shooting into outerspace, political message, social complacancy
• ? N why mirrors not up and down? left and right
• Water cooler stuff
• IT geek
• 2 beat scripts, this is first scripted work, moving for Beat scripts, very little 10 rehearsals, improv, background script work, script too hard –too little developement
• Chicago capital of improv
• Try different space
• Platform – theatre friendly technology
• Scenery, day ready till never on stage till day before Play in, scene lights on/off
• Digital set from day one layers and development w/ script
• First three shows
• 3D scenery takes too long (EVL) rehearsal sets, 6-7 rehearsal sets to undertand stage (movement side side vs up/down stage) foreground/background (depth of playing space)
• digial rostrium box – understand the ? of the stage
• Authoring – powerpoint, (saltz 12 media relationship)
• Class, Northwester create a model digital black box,
• digital media portable platform, Joseph Collenco, removable hard drive, pull out, linix in case, different graphics cards
• 3 screens portable, 1 hear, 3 carts, 3 screens, 2 shows out of here
• no props- travel well
• Greg Winsston- music solution, Boss Jam Station, backing sequence, trained actor in day
• Change tempo, rhythmic
• Size of audio files (huge) vs/ graphic?
• Programs: Powerpoint, Flash/Fireworks, Digital Video, ARKelsos (ARKASOS)
• Stick with Powerpoint, community where they’re at meet people at their level not excluding people (EVL learned 5 people I no you can reach with sol?)
• Need to meet people where their level at level (high mad designer)
• Class- scene designer (what if you just PPT imbed sound)
• Theatre exp. Practitioners, replicated Second City
• Is there a way, PPT, Projector, screen, user community
• Paul’s (projector?) space friendly for (their) type of work
• VJ- download stuff, esthetic style, need screen retaches? More interactivity , Desolvo choose your own adventure
• Assessment phase, different spaces, portable setup/struck fast
• Aluminum (frame), screen display black screen (3-D projection) rear-screen (EVL)
• Takes a number of (persions?)
• DLP 1300 lumins, 3D projection, Haley Gorden (student operator)
• On Kansas, everybody expects the holideck, not I Max experience, 3D good, grant/resources, Kansas- sometimes it works sometimes it doesn’t with graphics, too many hours
• (media, university library, intellectual property, back to N. Western)
• (use) what you already have- getting close, video projector, screen, rear, DL/Mac
• stability, stable
• Like any stage.. “what’s my stage” its stage continuously changing…music,,need stable development platforms giving
• How much time spent in space, 10 rehearsals, keep working them,experimental
• Comedia Stock, Digital Elements stock characters, all the scenery there
• Common stories, chan, man, dog
• Be more topical George Ryan New Gov.
• Very local
• Because technology so new—need more accessible stories
• Start with accessible work, keep for ? accepting media
• 2 spaces, lets break that model down – short scenes (different locations)
• for him this stage solved a lot of activistic issues, sceneically – writing for TV generation I am part of …I have no choice
• TV continuum, technology people came indoors
• Alright over graphics , userping ting by theatr?
• Auslander – dominate media influences subdominant, will astheti , could do it with projecting cyclorama?
• Small 99 seat, strength not distinguishing effect—loosing liveness—going to have to be more interactive then new audience
• Line sampling
• Representation of real space
• What if the screen is an extention of real space.
• Joseph Colleko, huge – document screens and stuff
• Tornado of yuppies
• Comedia masks on the wall 10
• Opens back storage, control stations on wheels
• Server to download
• Mirror cuts throw distance in half
• Troika Ranch
• Wheeled cart
• Style (retro), acting infront of (screen) depth
• Yearly argument 1 ½ hours
• Adjustments where projection sets
• Calibrate left/right eye
• Perdue visualization lab, Rick Thomas
• Screen frame, aluminum extrusion, erector set, (Joseph demonstrates)-fits through standard doorway
• Soundsytem 4 channel computer out
• Pentium 3’s, nothing cutting edge, proof of concept, --let others test) existing programs
• Realities: using behind screen, dialogue w/ screen, use screen
• Isolate one thing, 3D stuff, branch narratives, next thing
• Harold – Improv, Olympic Del Clos, Theme : show—sequence of games, ? a ruitine content on the fly
• Digital Improv longterm, players, new content every night
• Caberet style shows, bits
• Voice recognition poetry “bananas” all to this segment, games, strong all together
• Media gallery
• Voice, computer operator, keyboardist
• Next month first cabaret show, voice recognition what it screws up
• Direct MX, nerd, (need?) hard core designer
• Design program –tested platforms
• 4 core actors, knows characters
• someone step-in, beats
• American way of appaature? Art –fast, efficient
• Theatre in Cyberspace, way arts funding, model Second City
• Non profit, art center friendly environment, fuding Monica Vunder, GSRT networking, researchers pushing effects, just trying to find space that’s accessible,
• VR engine
• Katherine Farley grad. Student, Perdue – August Movable walls RAVE engineering
• Rear projection, front projection share resonace, back front research spaceness,
• Surve (needs) in an affordable way
• Small libereral arts college do , open midned try it
• Energy component ued for something else
• Northwestern alliance symposium, speaking
• Video a short cut to modeling effects on it
• Interactive objects, stock media (?N)
• Funding, telecommunications (sorces poss.)
• Socy- box, connects to plama screen tv networked to display devices, PDA signals gigs of info, ex machine Adobe, Konoma, Carrera, Hildy ninch modelof island house?
• Grant writing, now factor, research and development, why shows, family foundation,
• brand new work offcampus, scenic designer next step
• Lance at Perdue
• Names on it, grant writing , come in have works get grand up accomplish notches,
• Brenda Laurel
• See their grant propotal?


Back to the main visit page.