And I keep forgetting to mention that we're having an informal showing of the video that I've shot at DPI.  It's being projected inside the building at 983-A Dean St this Saturday, 26th July.  It's designed to be viewed from the street.  The building is in the middle of the block between Franklin and Classon (nearest subway C train to Franklin Ave).  

Weather permitting, Monica Ruzansky (www.monicaruzansky.com) will be projecting her beautiful photography on the surrounding architecture and up on the roof, where we'll be hanging out and having drinks with anyone who wants to drop by and join us from 9pm onwards.  Hope to see you there!

work in transformation
PERFORMANCE: March 25 2008 8PM
Glasslands Gallery 289 Kent Ave

DPI will join our resident artist CADEN MADSON and BIG ART GROUP on Tuesday night during their March series of "work in transformation" with fragments and notes from their new production SOS at
Glasslands Gallery in Brooklyn. BIG DANCE says each night of the series
"we'll be sneaking performance sections from the new piece into an
evening of anarchic, exuberant performance happenings, including
grotesque video immersion, fresh sound and song, real-time short films,
and invited guest artists. Get a sneak peek at our new direction and
indulge yourself in some party art, bring friends and have a
stimulating group encounter." An informal discussion will follow
whatever the performance may turn out to be... Tuesday March 25, 2008 8PM.
Pay What You Can Donation At The Door.
Glasslands Gallery 289 Kent Ave (btw South 1st and South 2nd, Bedford stop on 'L' train) Brooklyn

SOS
BIG ART
GROUP

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How was digital technology integral to the form/content of your piece?
To answer this, I have to explain exactly what the digital technology was in this piece.

A video camera positioned stage left captured the movements of the dancers onstage. This camera fed into a laptop running Isadora with a MIDI manipulator as an additional input device. The video coming in was captured into a buffer in Isadora. A live operator (Hal, who also wrote the Isadora script that made this possible) then “scrubbed?? through this video buffer with the MIDI controller – the equivalent of rewinding and fast-forwarding through the captured video at different rates, pauses and repeating segments forward and backward as he went. A 50/50 mix of live video and scrubbed video were then projected on a screen behind the dancers.

This technology was integral to this piece in a lot of different capacities.
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