Isadora: Drawing Out a Program

What and How

I found this nifty video of an Isadora patch being built. It opens with a demonstration of the final patch, and then goes back and shows the patch being built. Even if you don't understand Italian, this video offers a good 'feel' for the development of a patch and its output regardless of if you can read the explanations. I like how the video shows the patch creation process unfolding.

This patch seems to use both a camera and a microphone as sensors to effect how the projection performs.

The video was posted by Edoardo Rebecchi.

Anne Bogart: Monster Acting

Performance image from "Bob" directed by Anne Bogart.

I just came across an interesting review of Anne Bogart's shows Bob and Room. They focused on Robert Wilson and Virginia Wolf respectively. In the review Anne Bogart was interviewed and describes her performers as "Monster Actors."

From the article by Kenn Watt:

"We might define monster acting as the current high-water mark of the art form, which Bogart's Saratoga International Theatre Institute (SITI) has done perhaps more than any other group in the United States.

To be a monster actor, one must possess a modern dancer's contact-improvisation responsiveness, an uncanny strength in stillness, an over-arching critical intelligence brought to bear on the written word, a vocal instrument equal to the body's strength and no fear."

You can find the full article here.

Anne Bogart: Viewpoints

Anne Bogart

For many years now I have been enamored by the creative methods laid out by Robert LePage. His and improvisational directing and performance creation styles have inspired me continuously through out my education, performance and directing experiences.

It makes sense to me then that I have recently found myself more and more interested in Anne Bogart and her development of the 'Viewpoints' technique.

Viewpoints was developed and evolved by Bogart at the Saratoga International Theatre Institute from a process pioneered by Mary Overlie called the Six Viewpoints. These systems are deconstructive in nature and guide the performer in first dissecting and then reconstructing their understanding of Space, Story, Shape, Time, Emotion and Movement as it relates to the development of their performance.

Their are so many connections and synergies between these techniques and those of LePage and even John Flax, another of my inspirational guides, that my head is spinning as I try to integrate my understanding of Viewpoints into my own concepts of performance processes.

I find myself considering the implications Isadora brings to the Viewpoints method. My current investigations seem to directly speak to Space and the question: How can Isadora can provide a performers body with something to listen too within the performance Space? And even more intriguingly to me: How can Isadora provide the performance Space with an ability to listen to the performer?

Space, in the context of Viewpoints, refers to the architecture/spacial relationship to objects and floor pattern a performer exists within while performing.

I am currently adding a few of her books to my reading list:

• Bogart, Anne and Tina Landau. 2005. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group. ISBN 1-55936-241-3.
• Dixon, Michael Bigelow and Joel A. Smith, eds. 1995. Anne Bogart:Viewpoints. Career Development Ser. Lyme, NH: Smith and Kraus. ISBN 1 880399 94 6.

Resting in the Peace of His Hands

The images in this piece are comprised of the works of artist Käthe Schmidt Kollwitz, her drawings, paintings and sculptures. KolIwitz lived through the first and second world wars and her work is a monument to the suffering sustained by the victims of war and poverty.

The opening image is of Kollwitz in her youth, the second a self portrait of the artist later in life. I also explore "Mothers" and "Mother with Dead Child" interspersed with a few other photographs and self portraits of the artist. I also include an image of her youngest son Peter, whose death in the first world war was a defining inspiration to Kollwitz's work. The final image in the piece is of the the sculpture "Resting in the Peace of His Hands" which is also the name sake of the John Gibson composition this video is meant to accompany.

This video was produced in collaboration with Dr. Joe Martin and the University of Denver's Lamont Wind Ensemble.

*UPDATE*

I am happy to announce that this piece is finding another venue. I was contacted by Dr. Carol Hayward a Professor at Bowling Green State University who will be using the video in their performance of Gibson's composition.

Alex

Isadora: Four Column Video Analizer

Video Capture of the Patch

The Video Analyzer

Application of the Sensor Data
(The analyzer is inserted here as a user actor.)

I am currently trying to wrap my head around the possibilities presented by software/hardware tools such as Isadora and the EyesWeb Open Platform. I am specifically interested in finding practical methods of integrating this technology into realized performances. At the moment I am studying methods to use a basic camera as a sensor and develop a number of interactive environments that in turn can be used as a improvisational resource in the production of a performance.

To this end I wrote/drew the above Isadora patch this morning. The patch splits a camera input into four columns, each of which is separately analyzed for movement. I am currently trying to envision methods in which this type of sensor input can be used in conjunction with a video projector to create a reactive light environment that would be appropriate for a small black box theatre space.

My plan is to next use this basic patch in conjunction with a video projector casting light in the same space as the movement that is being sensed. As the patch is currently set to detect movement I am anticipating the need for some creativity in dealing with the potential feedback this setup will produce.

Graduate School Research Mind Map

This is a partly expanded view of my current research on graduate schools. The large clouds represent four programs which I feel may be ideal for my academic aspirations.

Isadora: Body and Technology

I am currently working on a presentation on Isadora I am tentatively titling: "Technology and The Body." I will be presenting at Fort Lewis College this week for a "Interactive Media" class in their communications Dept.

The above image is of a very quickly thrown together Isadora patch which creates a 'target' and a 'pointer'. The 'target' moves around the screen randomly and a 'pointer.' When the two elements meet the 'target' explodes. I am trying to identify an easy and quick to build patch that highlights Isadora's capabilities, is fairly easy to reproduce by someone who understand the basics of the software, AND gives an example of using an interaction method that can directly correlate to using Isadora with the body.

(If you look closely you'll notice that the above image is set to use a mouse as input. I have subsequently upgraded this patch to take visual input and recognize a hand held laser which in turn controls the 'pointer'. I also addressed an issue with the implementation/accuracy of the boundary detection of the two elements.)

Isadora Workshop

March 15th and 22nd

For a PDF will all the information and the application form click here.

Isadora Workshop
When designing or implementing audio for a performance have you ever felt limited by what can be achieved with a pair of CD players? Have you considered using digital video in your performances but been held back because of clumsy interfaces or the limitations of Power Point? Have you ever dreamed of having a single operator able to run the audio, video and even lighting elements from one system? If so this workshop is for you.

Developed by Mark Coniglio, Isadora is a flexible graphic environment that provides interactive control over digital media, with special emphasis on audio and the real-time manipulation of digital video. Isadora is being used by hundreds of artists worldwide including the Royal Shakespear Company, Mort Subotnick, Rosemary Lee, Maya Ciarrocchi (for Bebe Miller and Merce Cunningham), VJ Solu, Lingo Dance Theater, Gretchen Schiller, and others.

Participants in the workshop will learn key skills required for using Isadora to design and run the audio and video elements for multimedia performances. The workshop begins at the University of Denver with an in-depth exploration of the software, providing an emphasis on basic approaches to utilizing Isadora as an audio and video solution within a theatre environment. We will then meet at the Bindery Space where participants will apply their new skills within a working theatre.

When:

March 15th 9:00 am - 1:00 pm @ the University of Denver

March 22nd 9:00 am - 6 pm starting @ the University of Denver and ending @ the Bindery | Space


Where:

University of Denver
2000 E. Asbury
Sturm Hall, Room 354

Bindery | Space
2180 Stout St, Denver, CO

Cost for the workshop is $50. Please make checks out to: The LIDA Project

Presented by:
Brian Freeland, Alex Oliszewski, and Stacey Sotosky

Brian has designed sound for The LIDA Project, Paragon Theatre Company, Modern Muse, Shadow Theatre Company, and Curious Theatre Company where he is resident sound designer. He is a 2-time Henry Award nominee and 3-time Denver Post Ovation Award nominee for his sound designs. Brian is also the artistic director of both The LIDA Project and the new political theatre collective Countdown to Zero.

Alex has been working professionally in the theatre as a sound operator and designer for six years. Alex is also the founder of Penumbra Theatre Company. Through his work with Penumbra he has developed a wide range of skills integrating technology and theatrical performance.

Stacey Sotosky is a performance cinema artist and is finishing up her MFA in electronic media arts at the University of Denver. She is currently in development of her thesis production which will utilize Isadora as a performance tool.


Applicants should have a basic understanding of using a computer, (i.e., opening and saving files, copying and pasting information, basic navigational skills, etc.) Computers will be provided for the workshop however you are welcome to bring your own laptop.*

The application form is due by March 14th. Payment is due on or before March 15th.

*Laptop requirements:

If you can provide your own laptop be sure it meets these requirements:
Macintosh: G5 or Intel based computer with bus speed of 1.5 Ghz and 1.0 GB of RAM; Mac OS X 10.3.9 or greater; QuickTime 7.0 or greater must be installed.

Windows laptop with bus speed of at least 1.8 Ghz and 1.0 GB of RAM; windows XP:
QuickTime 7.0 or greater must be installed.

Fire Balls

How To Build A Fireball You Can Hold - Watch more free videos

Found: http://www.break.com/index/how-to-build-a-fireball-you-can-hold.html

How to make Colored Soap Bubbles

Can't wait for Zubbles anymore?!

http://chemistry.about.com/od/chemistryhowtoguide/ht/colorbubble.htm

-A