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 Post subject: Liss Fain & related 'dance/tech'
PostPosted: Sun Jun 11, 2000 7:52 am 
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NOTE: this thread veered off course, after my initial post about dance and technology in general, so i will have copied the first post into a new more general dance tech thread, which can now be found at<BR> <A HREF="http://www.criticaldance.com/ubb/Forum11/HTML/000197.html" TARGET=_blank>http://www.criticaldance.com/ubb/Forum11/HTML/000197.html</A> <P>and i have re-named this one, for it's liss fain subject matter......take it away, azlan! Image<P>[This message has been edited by grace (edited July 26, 2000).]<p>[This message has been edited by Azlan (edited October 12, 2000).]

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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Sat Jul 08, 2000 11:36 pm 
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As mentioned in the Merce thread in the Modern Dance forum, Liss Fain, AD of Liss Fain Dance (<A HREF="http://www.lissfaindance.org" TARGET=_blank>www.lissfaindance.org</A>), has kindly allowed us to preview her upcoming work, "Quarry," that combines dance, video technology and sculpture.<P>Immediately following is one of three parts of an essay written by Liss Fain to describe this work. The other parts will be posted over the next several days.<p>[This message has been edited by Azlan (edited July 09, 2000).]


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Sat Jul 08, 2000 11:39 pm 
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<B>Liss Fain's "Quarry" -- Part 1 of 3</B><P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B><I><U><FONT FACE="Calisto MT" SIZE=4>Quarry</I></U>: Dance, Sculpture and the Internet</P></B></FONT><FONT FACE="Century Gothic" SIZE=3></FONT><B><FONT FACE="Book Antiqua">Liss Fain</B> is collaborating with several prominent Bay Area artists and technologists to create a unique new way of using the Internet in the performing arts. In collaboration with Ed Payne, CTO at QuickDog.com, Richard Deutsch, sculptor, and Kikim Media, she is exploring real-time collaborations using live dance performance with various art forms via the Internet. </P><B><I>Quarry</B></I> will premiere in September 2000, with choreography by Liss Fain, sculpture by Richard Deutsch, video production by Kikim Media, Internet consultation by Ed Payne and set design by Mathew Antaky. The piece begins as the audience enters, with streaming video of Richard Deutsch working granite on an open hillside overlooking the Pacific Ocean in Davenport, CA. The set recreates the vast, haunting atmosphere of a quarry. With tightly stretched, sepia-tinted fabric that drops from two thirds of the way up the back and side walls of the stage and then curves as it meets the floor, Mathew Antaky establishes the walls of the quarry within which the dance unfolds. The only side entrances are at the front of the stage. Projected onto the set are real time images of Deutsch as he constructs a large, stone, site-specific sculpture that is designed to be walked through, creating an environment for the viewer. </P>Through the movement and shifting point of view of the videographer on-site, the size and perspective of the image will alter; and the audience will feel the movement of the sculptor at work. The visceral impact the stones create through their texture, size and density is conveyed through the eye of the camera and the design of the set. </P>After nine minutes of Deutsch sculpting abstract curvilinear shapes, the dancers enter and dance, as the images disappear and the reappear. The choreography integrates the curvilinear and abstract shapes of the sculpture, and the small groups of dancers who overlap each other as they enter and exit echo the solitary Deutsch in his work. The effect I want is of a complex and coherent piece comprised of two very strong visual elements. The music, Shostakovich <I>Piano Preludes and Fugues</I> played by Tatiana Nikolaevna, evokes a sense of quiet that is thoughtful, commanding and vigorous; and these qualities are reflected in the choreography. </P>The dance is inspired by an incident in which the box of family photographs was mistakenly thrown away and all visual history disappeared. Images of the lost photographs, the sculptor working alone on a large abstract piece and the quarry stones underlie the choreography. My work is abstract, using articulated and powerful movement. With technical precision and heightened physicality the movement creates images that are abstract, visceral and personal. </P></FONT><FONT FACE="Californian FB,Calisto MT">As the 28-minute dance ends, the images of the sculpture being constructed continue, and the lighting suffuses the rear of the stage. The audience feels as if they are moving away from the quarry. At the very end, a scrim unfolds at the front of the stage and the images are then projected onto both the front and rear creating a three-dimensional set that quietly closes with the disappearance of the light. </P></FONT><FONT FACE="Century Gothic" SIZE=3></FONT></BODY></HTML><HR></BLOCKQUOTE>


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Mon Jul 10, 2000 7:53 pm 
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<B>Liss Fain's "Quarry" -- Part 2 of 3</B><P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><HTML<B><U><FONT FACE="Book Antiqua">Overview</FONT></U></B></P>With the advent of digital media, live dance performance has the opportunity to expand its boundaries in untried and powerful<BR>ways. New vistas are opened through the extraordinary ability of the Internet to enable real time collaboration between artists, irrespective of distance, and between artists and audiences, irrespective of location.  This potential of the Internet to expand the dynamic environment of live performance, through the introduction of more complex visuals, creates the possibility of unusual artistic alliances. With video streamed live through the Internet, the audience experiences two simultaneously occurring events, seamlessly integrated to co-exist equally in performance, much as music and dance have always done.</P>Until now, there has been no real time collaboration over distance using the Internet that brings two events into one performance venue. I am using the Internet in this project as an enabling tool to create a multi-layered, intensified performance experience. Although other choreographers have used technology in their performances, their goal has been to emphasize the technology rather than the<BR>dance movement--they attach sensors to the dancers bodies and thus create sounds and images; the result is mechanistic.</P>The world premiere of <I>Quarry</I> will take place on September 28 through October 1 at the Cowell Theater, Fort Mason Center,<BR>San Francisco. By streaming the video of Deutsch in real time, the audience experiences the unpredictability of a live event with its concomitant surprises as well as accessing an artist working in a way that would otherwise be inaccessible to them.<BR>Although audiences are accustomed to live dance performances, the visual arts have always been fixed in their presentation.<BR>I want the plasticity that is an essential element of live dance performance to also imbue the experience of the sculptural component of <I>Quarry</I>.</P></P>The Internet is facilitating the creation of groundbreaking work, resulting in a viable new way to present "live" performance to diverse audiences.</P>The intent of this project is to:</P><UL><OL><LI>Explore the potential of the Internet to augment artistic possibilities through collaboration.<LI>Create unique performances through the involvement of live collaboration via the Internet.<LI>Develop new audiences for the performing arts from the world of visual arts and technology.</OL></UL></HTML><HR></BLOCKQUOTE><p>[This message has been edited by Azlan (edited July 10, 2000).]


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Tue Jul 11, 2000 2:51 am 
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I used to subscribe to the Dance-Tech list and will again, when I have a less time-consuming job.<P>There is a lot of interesting stuff there, but there are also several people who seem interested in the technolgy for its own sake, rather than as a tool to further the art.<P>Technology's like any other arrow in our quiver. When it supports the vision, we should use it; when it interferes with the art, we should discard it -- ruthlessly.<BR><P>------------------<BR>=-=-=-=-=-=-=-=-=-=-=<BR>Jeffrey E. Salzberg,<BR>Lighting Designer<BR>Online portfolio, now including "This Day in Arts History":<BR><A HREF="http://www.suncoast.quik.com/salzberg<BR>" TARGET=_blank>http://www.suncoast.quik.com/salzberg<BR></A> <P><BR>

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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Tue Jul 11, 2000 8:15 pm 
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Absolutely right, Salzberg. That is why I was a little surprised that the animators for Merce's Biped actually restrained themselves. Look at the Merce thread at:<P> <A HREF="http://www.criticaldance.com/ubb/Forum5/HTML/000127.html" TARGET=_blank>http://www.criticaldance.com/ubb/Forum5/HTML/000127.html</A> <P><BR>That thread has been closed due to its length. But you are free to post back here or start another thread.


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Tue Jul 25, 2000 10:26 pm 
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<B>Liss Fain's Quarry -- Part 3 of 3</B><P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><HTML><B><U><FONT FACE="Book Antiqua"><P>Background</P></B></U><P>In June '99 Liss Fain, in association with Theater Artaud, presented <B><I>Sojourn at Alexandria</B></I> at Theater Artaud in San Francisco. The technical objectives in the first phase of the project included: </P><OL><OL><LI>Simulating how collaboration would occur in real time, over distance using the Internet (video, sound, still, etc.) </LI><LI>Broadcasting the performance over the web in order to reach a broader audience. </LI></OL></OL><P>The dance was—as well as a dance in its own right—the first phase in a three-phase project exploring ways in which the Internet can contribute to live performance. In the first phase I simulated collaboration over distance using the Internet by building a "lobby stage". Video cameras captured this small stage in real time, and projected the dancers into the main-stage set--a front scrim and rear screens. The choreography for "dancers over distance" was coordinated by the use of feedback monitors on the small stage and the projected presence of dancers on the main-stage dancers.</P><P>The set designer and I worked together to create a dynamic staging that energetically and elegantly integrated the two elements. My artistic goal was to create a dance piece of heightened energy and intensity that grew from tightly structured and well-formed movement. The projections and their integration into the set design were powerful and subtle, accentuating the intensity of the movement and the music (Philip Glass’s <I>Koyaanisqatsi</I>). </P><P>The June concert generated a great deal of interest in the online world as well as in the popular press. ZDTV, a cable TV station covering Internet news, created a feature story about <I>Sojourn at Alexandria</I> that aired shortly after the concerts. Several online media companies volunteered their time to work on the web cast. We chose MRD Media Entertainment who created a magazine format story on their site as well as engineering and hosting the web cast. The piece has been streaming on </FONT><A HREF="http://www.LissFainDance.org/"><FONT FACE="Book Antiqua">www.LissFainDance.org</FONT></A><FONT FACE="Book Antiqua">. The concert was also picked up by Channel 4 TV, San Francisco, which ran a preview of the concert and web cast in two news spots. </P></FONT><FONT FACE="Century Gothic"><P> </P></FONT></BODY></HTML><HR></BLOCKQUOTE>


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Wed Jul 26, 2000 10:31 am 
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The Cassandra Project--a real time collaboration over distance, was co-directed by Dino Ghezzo & John Gilbert from NYU (U.S.), ultilizing dance, theatre, poetry and music. <P>The first broadcast in December 15, 1996, featured a three-way connection between actors at New York University, a music loft in Greenwich Village, and dancers at Simon Fraser University in Vancouver, Canada. <BR>The second took place May 8th, 1997, as a multimedia performance in Loewe Theatre, New York City, with a simultaneous performance of dancers at Simon Fraser University in Vancouver, Canada. <BR>The third event was May 18th, 1997, and the initial presentation of the Third Annual Vancouver Electronic Arts Festival: The Body Electric, which served as an extension of the May 8th materials developed and shared in collaboration between NYU and SFU. <P>Some Cassandra Links: <A HREF="http://pages.nyu.edu/~jg12/cass.html" TARGET=_blank>http://pages.nyu.edu/~jg12/cass.html</A> <A HREF="http://www.nyu.edu/pages/ngc/ipg/cassandra/links.html" TARGET=_blank>http://www.nyu.edu/pages/ngc/ipg/cassandra/links.html</A> <P>


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Sat Sep 30, 2000 12:48 pm 
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LINES Contemporary Ballet uses streaming video technology in a multimedia presentation:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Step into the studio with members of LINES as they rehearse for this weekend's performance in Mountain View plus the creation of two world premieres. The multimedia feature created by KnightRidder.com, Inc. captures exclusive video of our rehearsal process, an interview with artistic director Alonzo King, and a photo slide show!<BR>It is featured on bayarea.com, justgo.com, and mercurycenter.com.<BR>Watch the magic now at <A HREF="http://www.linesballet.org" TARGET=_blank>http://www.linesballet.org</A><HR></BLOCKQUOTE><p>[This message has been edited by Azlan (edited September 30, 2000).]


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Sun Oct 01, 2000 4:31 pm 
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Hmm, Capacitor combines dance and technology using a different approach:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Spinning edges from timeless eons--earth’s birth to its brilliant surrender to the sun--Capacitor presents Within Outer Spaces, riveting fusion art choreographed by Jodi Lomask in collaboration with composer Thomas Day and Bay Area astronomers, Thursdays-Saturdays, October 12-14, and 19-21, 8 p.m., Alice Arts Center, 1428 Alice Street, Oakland, California.<HR></BLOCKQUOTE><P><B><A HREF="http://www.criticaldance.com/ubb/Forum13/HTML/000062.html" TARGET=_blank>More</A></B>


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Mon Oct 02, 2000 11:26 pm 
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Image <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>A Rare Chance to Watch Paint Dry</B><P>There wasn't much to Liss Fain Dance on Thursday night, and there weren't many people around to watch it: Counting friends clutching flowers and critics with little notebooks, there were 20, maybe 30 people at Cowell Theater on opening night. <P>The program had the look of a college recital. Fain's choreography is sophomoric, but her use of the allied arts in ``Sojourn'' and the new ``Quarry'' was canny: - -<P>``Quarry,'' billed as an ``Internet high tech dance,'' was supposed to include a live video feed streamed over the Internet from Napa. But the computer crashed <P>The stuff onstage, however, was just an unmusical series of barefoot ballet exercises, plies paired with contractions, uneasy partnerings and lots of rolling around. The six women in the company seemed a pleasant bunch. <HR></BLOCKQUOTE> <BR> <A HREF="http://www.sfgate.com:80/cgi-bin/article.cgi?file=/chronicle/archive/2000/09/30/DD3954.DTL" TARGET=_blank>http://www.sfgate.com:80/cgi-bin/article.cgi?file=/chronicle/archive/2000/09/30/DD39 54.DTL</A> <p>[This message has been edited by Stuart Sweeney (edited October 03, 2000).]

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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Tue Oct 03, 2000 2:33 pm 
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did azlan or any of our other bay area members see this? .....

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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Tue Oct 03, 2000 8:41 pm 
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I didn't but our SF correspondent did. Our own review is on its way.


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Wed Oct 11, 2000 6:31 am 
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Here is a first draft review by our SF correspondent, Karen Drozda:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Liss Fain at Fort Mason Center - September 29, 2000<P>Choreographer Liss Fain's latest work is a collaboration bringing together artists from different fields, all working on a central theme, each bringing their own perspective. At the root of this collaboration is an interest in integrating dance and high-tech. <P>The program included two pieces, each combining live dancers and video imagery. "Sojourn in Alexandria," the first part of the three-phase project, is set to the music of Philip Glass's Koyaanisqatsi. "Quarry," second in the series, made its world-premiere debut with collaboration between artistic director Liss Fain, sculptor Richard Deutsch, video producer Kikim Media, internet consultant Ed Payne and set designer Mathew Antaky. "Quarry" is performed to Shostakovich's 24 Preludes and Fugues for piano.<P>The idea of both pieces is to merge two real-time events using video streamed live through the internet. This merging explores the ways in which the internet can interface wtih live performance. In "Sojourn in Alexandria" the remote dancers are performing on a lobby stage created to simulate collaboration over distance. In "Quarry" the remote images are of sculptor Richard Deutsch working in his studio.<P>The performance begins with large screen images of dancers from the remote stage of "Sojourn in Alexandria." The screen images are manipulated and framed to function as paintings in motion, creating visuals of such compelling beauty that we are almost disappointed when the screen fades for the entry of the live dancers. It is a powerful message, the real human body diminished by the power and impact of an electronic image. The grace and beauty of the dancers' movement are amplified by the art of the video producer.<P>The heat and bustle of Alexandria are captured by the orange light and blue shadows of the stage set. The dancers emerge into the cool of the evening, after a day of relentless heat. The music of Philip Glass spills in a steady stream through the dancers, transforming their movement. Musical images are formed and merge with the visual images to create the fear and awe of a pagan religious ceremony, the hustle of a crowded marketplace, or the irritation of rush-hour traffic on a hot day.<P>In "Quarry" video image and lighting create a stage set that recalls a stone quarry. Images of sculptor Richard Deutsch in his studio serve as a backdrop for the dancers, in an unrehearsed juxtaposition of art forms. We see him applying paint to large surfaces with a brush and with his hands, in sweeping circular motions. The dancers perform to the music, and in counterpoint to the motions of the sculptor on the scrim background. <P>In general, the dancers seemed to have difficulty holding their poses. An exception was dancer Philein Wang, in a disappointingly brief solo that stood out brilliantly from the body of the dance.<P>As a collaboration between dance and sculpture, the piece raised several questions. Where does the sculpture make its mark? Do we assume that the Richard Deutsch's greatest contribution to a collaborative work of art is to be a live stage set as he putters about his studio? Is the process of making sculpture visually interesting? Is it possible that the power of sculpture is in the finished piece, not the process of fabrication?<P>The experience of sculpture is a three-dimensional experience involving volume and space. It might be documented by film, and sculptural qualities could be expressed by video imagery, but that was not the case here. Perhaps that is part of the unpredictability of real-time video imagery. The artistic director doesn't know what kind of images will be projected behind the dancers.<HR></BLOCKQUOTE>


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 Post subject: Re: Liss Fain & related 'dance/tech'
PostPosted: Wed Oct 11, 2000 7:47 pm 
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And here is another review:<P><BR><B><A HREF="http://www.sfgate.com/cgi-bin/article.cgi?file=/examiner/archive/2000/09/29/WEEKEND14314.dtl" TARGET=_blank>A two-dance program makes a long evening</A></B> <BR>Allan Ulrich <BR>EXAMINER DANCE CRITIC Sept. 29, 2000 <BR>Technology plus choreography equals little of significance<p>[This message has been edited by Azlan (edited October 11, 2000).]


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