Showing posts with label disabled. Show all posts
Showing posts with label disabled. Show all posts
Sunday, September 20, 2009
Wednesday, May 27, 2009
INTERMEDIA DANCE PERFORMANCES
Intermedia dance performances create peculiar, funny and unexpected movements. The interactive environment deforms the performers body in such an unconsious(?) way that it might not be created into any other setting. Such dance movements resemble to the movements of people with motion impairments and motion disabilities which they are so unpredictable that amaze the audience.
See for example Ursula Erdlicher's "Website Impersonations: The Ten Most Visited". This is a Live Performance Series choreographed by Web code. In these ten performances the "character" of a Website is embodied by (a) performer(s) who translate(s) the site's HTML code, which is fed in from the Web "on the fly",
Watch video explaning the setting of the project and video documentation of "www.yahoo.com" performance.
See also Palindrome, a performance group from Germany that uses Motion Tracking technology. They are known for its interactive dances. Using bio-sensors and motion tracking technology the music, lighting or video projections are controlled by the dancers' movement.
Watch "Movement controlling Lights" video into the "INTRO TO MO-TRACKING" tab of the videos section which is the best example related to the current post.
See for example Ursula Erdlicher's "Website Impersonations: The Ten Most Visited". This is a Live Performance Series choreographed by Web code. In these ten performances the "character" of a Website is embodied by (a) performer(s) who translate(s) the site's HTML code, which is fed in from the Web "on the fly",
Watch video explaning the setting of the project and video documentation of "www.yahoo.com" performance.
See also Palindrome, a performance group from Germany that uses Motion Tracking technology. They are known for its interactive dances. Using bio-sensors and motion tracking technology the music, lighting or video projections are controlled by the dancers' movement.
Watch "Movement controlling Lights" video into the "INTRO TO MO-TRACKING" tab of the videos section which is the best example related to the current post.
Saturday, March 14, 2009
Dr. Naif Al-Mutawa the creator of 'The 99'
Dr. Naif Al-Mutawa is the creator of THE 99-the first group of superheroes born of an Islamic archetype. THE 99, has received positive attention from the international media including The New York Times, The Wall Street Journal, Time Magazine, Newsweek Magazine, Wired, Elle, The Washington Post and The Guardian. Recently, Forbes named THE 99 as one of the top 20 trends sweeping the globe.
http://www.al-mutawa.com/?Biography
The story of 'The 99' the comic
As the leader and mentor of The 99, Dr. Ramzi Razem directs the quest to find the lost Noor Stones of Baghdad, which is the comic book’s main plot line.
Darr-The Afflicter (one of the characters), an American paraplegic who manipulates nerve endings to transmit or prevent pain.
http://www.the99.org/the99/
http://www.csmonitor.com/2008/0619/p04s01-wome.html
http://www.al-mutawa.com/?Biography
The story of 'The 99' the comic
As the leader and mentor of The 99, Dr. Ramzi Razem directs the quest to find the lost Noor Stones of Baghdad, which is the comic book’s main plot line.
As legend has it, when the Mongols sacked Baghdad in 1258, they razed the largest library in the city, Dar al-Hikma. To erase any record of the civilization, they threw the books into the Tigris River, which ran black with ink. But the caliphate guardians, in a desperate attempt to save the vast knowledge of the library before it was destroyed, concocted an alchemical solution that would absorb the contents of the books. The solution solidified into the 99 Noor Stones, which supposedly contain the lost knowledge of the Library of Baghdad.
Ramzi believes the legend, including the idea that the stones activate superpowers within certain people. He conducts his search through the nonprofit 99 Steps Foundation, and although possessing no superpowers of his own, he helps other characters to use theirs.
Darr-The Afflicter (one of the characters), an American paraplegic who manipulates nerve endings to transmit or prevent pain.http://www.the99.org/the99/
http://www.csmonitor.com/2008/0619/p04s01-wome.html
Wednesday, March 11, 2009
"Collision: Interarts Practice and Research" _ Book
Contents from "Collision: Interarts Practice and Research" book
Part V: Performative Collisions and Collisions in Performance
Chapter Eighteen ...................... 261
Feminist Performance, Community, and Violence: Conversations
between Elizabeth Chitty, Margaret Dragu and Julie Lassonde
Julie Lassonde
Chapter Nineteen ...................... 277
Interarts Performativities: Writing-Drawing-Architecture
Leoni Schmidt
Chapter Twenty ........................ 299
The Aesthetics of Disappointment
Andreas Kahre and Heidi Taylor
Chapter Twenty-One ................ 315
Ruptured Flesh, Gaps in Time: Between Performance and Pain
Christine Stoddard
http://www.c-s-p.org/Flyers/Collision--Interarts-Practice-and-Research1-4438-0031-7.htm
.pdf sample http://www.c-s-p.org/Flyers/978-1-4438-0031-0-sample.pdf
Part V: Performative Collisions and Collisions in Performance
Chapter Eighteen ...................... 261
Feminist Performance, Community, and Violence: Conversations
between Elizabeth Chitty, Margaret Dragu and Julie Lassonde
Julie Lassonde
Chapter Nineteen ...................... 277
Interarts Performativities: Writing-Drawing-Architecture
Leoni Schmidt
Chapter Twenty ........................ 299
The Aesthetics of Disappointment
Andreas Kahre and Heidi Taylor
Chapter Twenty-One ................ 315
Ruptured Flesh, Gaps in Time: Between Performance and Pain
Christine Stoddard
http://www.c-s-p.org/Flyers/Collision--Interarts-Practice-and-Research1-4438-0031-7.htm
.pdf sample http://www.c-s-p.org/Flyers/978-1-4438-0031-0-sample.pdf
Friday, January 2, 2009
Sunday, November 23, 2008
Wednesday, November 5, 2008
Disability Aeshetics 3
The Body and Physical Difference: Discourses of Disability in the Humanities (The Body in Theory: Histories of Cultural Materialism) by David Mitchell (Editor), Sharon Snyder (Editor)http://books.google.com/books?id=RvnGW3JConIC&pg=PR2&dq=The+Body+and+Physical+Difference:+Discourses+of+Disability+(The+Body,+In+Theory:+Histories+of+Cultural+Materialism)&hl=el#PPR11,M1
Choreographing Difference: Body and Identity in Contemporary Dance by Ann Cooper Albrighthttp://books.google.com/books?id=ScYLdumGbvcC&printsec=frontcover&dq=Choreographing+Difference:+The+Body+and+Identity+in+Contemporary+Dance&hl=el#PPA64,M1
Meaning in Motion: New Cultural Studies of Dance (Post-Contemporary Interventions) by Jane Desmond (Author)http://books.google.com/books?id=2fDJtHOuAhAC&pg=RA2-PA379&dq=Choreographing+Difference:+The+Body+and+Identity+in+Contemporary+Dance&hl=el#PPA32,M1
Monday, November 3, 2008
Disability and Poetics
Read this wonderfull conversation on "Disability and Poetics" in Amber DiPietra 's Blog
http://www.nonsitecollective.org/node/397
http://www.nonsitecollective.org/blog/78
http://www.nonsitecollective.org/node/397
http://www.nonsitecollective.org/blog/78
Media & Disability Bibliography Project
http://pages.towson.edu/bhalle/m&d-biblio.html
and "Topics in Disability Studies" (Real Audio recordings)http://www.umich.edu/~uminds/Rackham%20580/Semesters/rackham580W05.html
Journal of Literary Disability
http://www.journalofliterarydisability.com/issues/vol01no01/0101index.html
and "Topics in Disability Studies" (Real Audio recordings)http://www.umich.edu/~uminds/Rackham%20580/Semesters/rackham580W05.html
Journal of Literary Disability
http://www.journalofliterarydisability.com/issues/vol01no01/0101index.html
Disability Aesthetics 2
Theology and Down Syndrome
http://books.google.com/books?id=T1WFwF53G3cC&pg=PA416&lpg=PA416&dq=Silvers,+A.++(2002).++The+crooked+timber+of+humanity:++Disability,+ideology+and+the+aesthetic&source=bl&ots=6QmfC-9o-t&sig=aD0SeBx3I1dI8SS4QuhZ8fE5S3U&hl=el&sa=X&oi=book_result&resnum=5&ct=result#PPA433,M1
Toward an Aesthetics of Blindness: An Interdisciplinary Response to Synge, Yeats and Friel (New Studies in Aesthetics)
Bodily Perception
Richard Schusterman ‘Body Consciousness, A Philosophy of Mindfulness and Somaesthetics’
http://books.google.co.uk/books?hl=en&id=I-k0wLtuqSoC&dq=Richard+Schusterman+%E2%80%98Body+Consciousness,+A+Philosophy+of+Mindfulness+and+Somaesthetics%E2%80%99&printsec=frontcover&source=web&ots=1z8CI8Wk5h&sig=-Ics3xP8znEWzeJ2QhDuUFcvwKk&sa=X&oi=book_result&resnum=8&ct=result
http://books.google.co.uk/books?hl=en&id=I-k0wLtuqSoC&dq=Richard+Schusterman+%E2%80%98Body+Consciousness,+A+Philosophy+of+Mindfulness+and+Somaesthetics%E2%80%99&printsec=frontcover&source=web&ots=1z8CI8Wk5h&sig=-Ics3xP8znEWzeJ2QhDuUFcvwKk&sa=X&oi=book_result&resnum=8&ct=result
Alva Noë's 'Action in Perception'
http://books.google.co.uk/books?id=kFKvU2hPhxEC&dq=Alva+No%C3%AB
http://books.google.co.uk/books?id=kFKvU2hPhxEC&dq=Alva+No%C3%AB
Thursday, October 30, 2008
Disability Aesthetics 1
Disability/postmodernity - Embodying Disability TheoryThis text looks at the study of disablity within the context of the "postmodern" world of the 21st century. The authors aim to demystify the concept of postmodernity and to suggest ways in which it fosters a holistic approach to the study of disability.
With contributions from leading scholars in the USA, Canada, the UK, Switzerland, Japan, India, Australia and Jordan, this text looks at the study of disablity within the context of the "postmodern" world of the 21st century. Organized into three sections, the volume opens with an exploration of theoretical perspectives, looking especially at phenomenology, the body and at concepts of difference and identity. The second section deals with culture, discussing aesthetics, narrative, film, architecture and design; while the final section explores social practice with papers discussing issues which include disabled children's perspectives (which dominate the US approach). The authors aim to demystify the concept of postmodernity and to suggest ways in which it fosters a holistic approach to the study of disability that better represents and reflects the complexity of disabled people's experiences.
With contributions from leading scholars in the USA, Canada, the UK, Switzerland, Japan, India, Australia and Jordan, this text looks at the study of disablity within the context of the "postmodern" world of the 21st century. Organized into three sections, the volume opens with an exploration of theoretical perspectives, looking especially at phenomenology, the body and at concepts of difference and identity. The second section deals with culture, discussing aesthetics, narrative, film, architecture and design; while the final section explores social practice with papers discussing issues which include disabled children's perspectives (which dominate the US approach). The authors aim to demystify the concept of postmodernity and to suggest ways in which it fosters a holistic approach to the study of disability that better represents and reflects the complexity of disabled people's experiences.
Friday, July 4, 2008
"La palabra de los mudos"
on the 15th of May, in front of a huge audience the action "La palabra de los mudos" was staged in Redondo Beach, in the district of Miraflores, Lima, as the first artistic project of the French-Peruvian artist Jota Castro in Peru after three decades away from his homeland. During the development of the V Summit of Heads of State and Government of Latin America, the Caribbean and the European Union, Jota Castro carried out this performance, which addressed the limits of communication and the problems concerning inclusion.
Before the event, there was a concentration in Bajada Balta, Miraflores, at 10.00 a.m., where participants (including a contingent of deaf people) from different points of the city gathered. From this meeting point, the participants started their way down to the shore towards Redondo Beach.
From a stage at the beach, Peruvian actor Sergio Galliani prepared the audience for the performance, which started when an interpreter delivered a speech in sign language. This speech was "echoed" at different moments of the performance by the participants, who had been previously taught slogans in sign language by Galliani. In a strongly symbolic and esthetically powerful scene, the responses of the audience were both in sign and oral languages. After the sign language speech, Jota Castro disclosed the content of the sign language message, which dealt with the exclusion suffered by the artist because of his race, establishing a parallel with the pain that three quarters of the world have to bear. "They don't listen to us", Castro repeated, talking about miscommunication, lack of justice, indifference and poverty. "We are all dumbŠ we are only a long silence in history". Then he encouraged the audience to "dream with a better world, a common future", as the Summit was taking place.
The French-Peruvian artist's performance transformed autobiographical and political issues into a historic and emotional experience that joined the audience for the first time with one of the most celebrated contemporary artists in the international scene today.
You can read and watch more information on the project, including press info at: www.lapalabradelosmudos.org.
There is also a video of the action available at: http://www.youtube.com/lapalabradelosmudos
Before the event, there was a concentration in Bajada Balta, Miraflores, at 10.00 a.m., where participants (including a contingent of deaf people) from different points of the city gathered. From this meeting point, the participants started their way down to the shore towards Redondo Beach.
From a stage at the beach, Peruvian actor Sergio Galliani prepared the audience for the performance, which started when an interpreter delivered a speech in sign language. This speech was "echoed" at different moments of the performance by the participants, who had been previously taught slogans in sign language by Galliani. In a strongly symbolic and esthetically powerful scene, the responses of the audience were both in sign and oral languages. After the sign language speech, Jota Castro disclosed the content of the sign language message, which dealt with the exclusion suffered by the artist because of his race, establishing a parallel with the pain that three quarters of the world have to bear. "They don't listen to us", Castro repeated, talking about miscommunication, lack of justice, indifference and poverty. "We are all dumbŠ we are only a long silence in history". Then he encouraged the audience to "dream with a better world, a common future", as the Summit was taking place.
The French-Peruvian artist's performance transformed autobiographical and political issues into a historic and emotional experience that joined the audience for the first time with one of the most celebrated contemporary artists in the international scene today.
You can read and watch more information on the project, including press info at: www.lapalabradelosmudos.org.
There is also a video of the action available at: http://www.youtube.com/lapalabradelosmudos
Reading List on Dance on Camera
http://www.physicaltv.com.au/ScreendanceReadingList_566_1173_3_0.html
Compiled from the Media Arts and Dance List
With contributions from (in alphabetical order):
Anna Brady Nuse, Deirdre Towers, Douglas Rosenberg, Karen Pearlman, Paige Starling Sorvillo, Richard James Allen, Simon Fildes Yukihiko Yoshida.
Some more from Sabine Klaus:
BROADHURST, S. & MACHON, J. (eds), 2006. Performance and Technology – Practices of Virtual Embodiment and Interactivity.
UK: Palgrave MacMillan.
CASS, J., 1999. The Dance – A Handbook for the Appreciation of the Choreographic Experience
Jefferson: McFarland & Company, Inc.
CARTER, A. (ed.), 2004. Rethinking Dance History.
London: Routledge.
CLARKE, M. & CRISP, C., 1981, The History of Dance.
London: Orbis Publishing Ltd.
COPELAND. R., 2004. Merce Cunningham – The Modernizing of Modern Dance.
New York: Routledge.
COHAN, R., 1997. The Dance Workshop. 2nd ed.
London, Dance Books Ltd.
DINKLA, S. & LEEKER, M. (eds), 2002, Dance and Technology: Moving towards Media Productions. Berlin: Alexander Verlag.
DODD, C., 1980. Ballet and Modern Dance.London: Phaidon Press Limited.FORSYTHE, W., 1999. Improvisation Technologies – A tool for the Analytical Dance Eye.
Ostfildern: Hatje Cantz Verlag.
KING, K., 2003. Writing in Motion – Body- Language – Technology.
Connecticut: Wesleyan University Press Middletown.
LEPECKI, A.(ed), 2004. Of the Presence of the Body – Essays on Dance and Performance Theory. Middletown: Wesleyan University Press.
MITOMA, J. (editor), 2002. Envisioning Dance on Film and Video.
UK: Routledge. (Book & DVD) www.pewtrusts.com/pdf/culture_envisioning_dance.pdf
MOCK, R. (ed.), 2000. Performing Processes – Creating Live Performance.
USA: Intellect Books Ltd.
MORSE, M., 1998. Virtualities – Television, Media Art and Cyberculture
USA: Indiana University Press.
NEWLOVE, J. & DALBY, J., 2004. Laban for all.
London: A Nick Hern Book Ltd.
NICOLAEVA-LEGAT, N., 1947. Ballet Education. London: Geoffrey Bles.
RUTHVEN-HALL, P. (ed), 2002. 2D/3D Design for Theatre & Performance.London: The Society of British Theatre Design.
SANDAHL, C. & AUSLANDER, P. (eds), 2005. Bodies in Commotion – Disability & Performance.
Michigan: The University of Michigan Press.
SCHECHNER, R., 2002. Performance Studies – An Introduction.
London: Routledge.
SIEGMUND, G., 2004. William Forsythe - Denken in Bewegung (- Thinking in Motion).
Berlin: Henschelverlag.
WHITE, M., 2006, The Body and The Screen - Theories of Internet Spectatorship.
Massachusetts: Institute of Technology.
and some more from Sarah-Louise Spies:
1) Deleuze, G (translated by Hugh Tomlinson & Barbara Habberjam), 2005. Cinema 1: The Movement-Image. Continuum, London and New York. (Also available is Cinema 2: The Time-Image with the same publishing details.)
2) Rieser, M & Zapp, A (2004) New Screen Media: Cinema/Art/Narrative. BFI Publishing, Center for Art and Media, Karlsruhe.
3) Jones, C (ed) 2006. Sensorium: embodied experience, technology, and contemporary art. The MIT Press, Cambridge, Massachusetts, London, England.
4) Marks, L.U. (2000) The Skin of the Film: intercultural cinema, embodiment, and the senses.Duke University Press, Durham and London.
Compiled from the Media Arts and Dance List
With contributions from (in alphabetical order):
Anna Brady Nuse, Deirdre Towers, Douglas Rosenberg, Karen Pearlman, Paige Starling Sorvillo, Richard James Allen, Simon Fildes Yukihiko Yoshida.
Some more from Sabine Klaus:
BROADHURST, S. & MACHON, J. (eds), 2006. Performance and Technology – Practices of Virtual Embodiment and Interactivity.
UK: Palgrave MacMillan.
CASS, J., 1999. The Dance – A Handbook for the Appreciation of the Choreographic Experience
Jefferson: McFarland & Company, Inc.
CARTER, A. (ed.), 2004. Rethinking Dance History.
London: Routledge.
CLARKE, M. & CRISP, C., 1981, The History of Dance.
London: Orbis Publishing Ltd.
COPELAND. R., 2004. Merce Cunningham – The Modernizing of Modern Dance.
New York: Routledge.
COHAN, R., 1997. The Dance Workshop. 2nd ed.
London, Dance Books Ltd.
DINKLA, S. & LEEKER, M. (eds), 2002, Dance and Technology: Moving towards Media Productions. Berlin: Alexander Verlag.
DODD, C., 1980. Ballet and Modern Dance.London: Phaidon Press Limited.FORSYTHE, W., 1999. Improvisation Technologies – A tool for the Analytical Dance Eye.
Ostfildern: Hatje Cantz Verlag.
KING, K., 2003. Writing in Motion – Body- Language – Technology.
Connecticut: Wesleyan University Press Middletown.
LEPECKI, A.(ed), 2004. Of the Presence of the Body – Essays on Dance and Performance Theory. Middletown: Wesleyan University Press.
MITOMA, J. (editor), 2002. Envisioning Dance on Film and Video.
UK: Routledge. (Book & DVD) www.pewtrusts.com/pdf/culture_envisioning_dance.pdf
MOCK, R. (ed.), 2000. Performing Processes – Creating Live Performance.
USA: Intellect Books Ltd.
MORSE, M., 1998. Virtualities – Television, Media Art and Cyberculture
USA: Indiana University Press.
NEWLOVE, J. & DALBY, J., 2004. Laban for all.
London: A Nick Hern Book Ltd.
NICOLAEVA-LEGAT, N., 1947. Ballet Education. London: Geoffrey Bles.
RUTHVEN-HALL, P. (ed), 2002. 2D/3D Design for Theatre & Performance.London: The Society of British Theatre Design.
SANDAHL, C. & AUSLANDER, P. (eds), 2005. Bodies in Commotion – Disability & Performance.
Michigan: The University of Michigan Press.
SCHECHNER, R., 2002. Performance Studies – An Introduction.
London: Routledge.
SIEGMUND, G., 2004. William Forsythe - Denken in Bewegung (- Thinking in Motion).
Berlin: Henschelverlag.
WHITE, M., 2006, The Body and The Screen - Theories of Internet Spectatorship.
Massachusetts: Institute of Technology.
and some more from Sarah-Louise Spies:
1) Deleuze, G (translated by Hugh Tomlinson & Barbara Habberjam), 2005. Cinema 1: The Movement-Image. Continuum, London and New York. (Also available is Cinema 2: The Time-Image with the same publishing details.)
2) Rieser, M & Zapp, A (2004) New Screen Media: Cinema/Art/Narrative. BFI Publishing, Center for Art and Media, Karlsruhe.
3) Jones, C (ed) 2006. Sensorium: embodied experience, technology, and contemporary art. The MIT Press, Cambridge, Massachusetts, London, England.
4) Marks, L.U. (2000) The Skin of the Film: intercultural cinema, embodiment, and the senses.Duke University Press, Durham and London.
Friday, May 9, 2008
In My Language
"The first part is in my "native language," and then the second part provides a translation, or at least an explanation. This is not a look-at-the-autie gawking freakshow as much as it is a statement about what gets considered thought, intelligence, personhood, language, and communication, and what does not."
by Amanda Baggs (or "silentmiaow")
by Amanda Baggs (or "silentmiaow")
Tuesday, April 29, 2008
"A Story of the Red Hills" at Tribeca Film Festival
A Story of the Red Hills
The story of a disheartened dancer and a disabled boy--both of whose lives are transformed by the magic and power of Chhou, a traditional Bengali dance of great spectacle and color-is recounted movingly, if improbably, by a renowned Bollywood choreographer. » Read More
The story of a disheartened dancer and a disabled boy--both of whose lives are transformed by the magic and power of Chhou, a traditional Bengali dance of great spectacle and color-is recounted movingly, if improbably, by a renowned Bollywood choreographer. » Read More
Monday, April 28, 2008
Oska Bright Film Festival
The Oska Bright Film Festival is run by people with a learning disability. Oska Bright screens short films made by people with learning disabilities.
http://carousel.org.uk/index.php?option=com_content&task=view&id=32&Itemid=148
High Spin Dance Company
High Spin is a Dance Theatre Company of six learning disabled dancers. We perform with other learning disabled performers, too.
http://carousel.org.uk/index.php?option=com_content&task=view&id=79&Itemid=180
Carousel inspires people with learning disabilities to achieve their artistic ambitions.
http://carousel.org.uk/
http://carousel.org.uk/index.php?option=com_content&task=view&id=32&Itemid=148
High Spin Dance Company
High Spin is a Dance Theatre Company of six learning disabled dancers. We perform with other learning disabled performers, too.
http://carousel.org.uk/index.php?option=com_content&task=view&id=79&Itemid=180
Carousel inspires people with learning disabilities to achieve their artistic ambitions.
http://carousel.org.uk/
Friday, April 18, 2008
Jacqueline Saburido
http://liondani.blogspot.com/2008/04/email.html
Jacqui Saburio - Oprah Winfrey
http://www.youtube.com/watch?v=x8TFBeB8egk
Jacqui Saburio - Oprah Winfrey
http://www.youtube.com/watch?v=x8TFBeB8egk
Wednesday, April 9, 2008
Difference Is Normal
and "Dreams" of course on http://www.youtube.com/watch?v=-_-P4t2jR1g&feature=related
Commercial -- Autistic Child
Autism Drama
Tuesday, March 25, 2008
CREW
CREW is a Belgium-based performance group. Eric Joris being its key figure, this production team has brought together people from different domains depending on the projects that were being made. On the whole, CREW has insisted on making performances at the melting point of live art and technology.
Finding in experimental theatre a laboratory where they can test the progress of their own work, researchers from different universities develop original technologies for CREW to use in the performances. Permanent dialogue with the developments in robotics and computer sciences triggers the theatrical imagination of design and production, text and sound.
The artistic outcome tends to be hybrid; technological live art troubles installed categories of theatricality. CREW wants to explore how these hybridities can be operated, both on a theoretical and on a practical level. What happens when digital technology really merges production and reflection within the context of the stage - insofar as one can still speak of a stage?
http://www.crewonline.org/crew.html
Finding in experimental theatre a laboratory where they can test the progress of their own work, researchers from different universities develop original technologies for CREW to use in the performances. Permanent dialogue with the developments in robotics and computer sciences triggers the theatrical imagination of design and production, text and sound.
The artistic outcome tends to be hybrid; technological live art troubles installed categories of theatricality. CREW wants to explore how these hybridities can be operated, both on a theoretical and on a practical level. What happens when digital technology really merges production and reflection within the context of the stage - insofar as one can still speak of a stage?
http://www.crewonline.org/crew.html
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