1991, I became interested in using computers in performance and
since then my work has included the application of new media technology
with dance. I am particularly interested in creating choreography
that is presented in multiple perspectives, spanning procensium
stages to gallery installations and outdoor environments. In collaboration
with video art, I explore the use of abstract representations justaposed
with of live dance dance, questioning how choreography can be transposed
into screen imagery displayed in graphics on video, and as interactive
an artist, I feel it is my responsibility to make use of the latest
technology in choreography. I find that musicians understand this
point of view very well, because they have used advanced technology
for hundreds of years. In its' time, the pianoforte was advanced
technology when it was invented. Today the advanced technology is
computer technology. Thus I work very closely not only with dancers
but with musicians, computer scientists, visual artists and performance
artists in the creation of work.
full chronology of my performance work
as choreographer and dancer provides links to a series of web albums
containing samples of my performance work from 1991 to the present.
work as a choreographer includes
live performance on traditional and non-traditional stages, choreography
for video/animation projects, and choreography for telematic performance.
I utilized both structured improvisation or set choreography in
explores "underground communication" between a group of
people who try to pass from one place to another.
of Sorrow, Songs of Hope, conducted in real-time in New York
City and California, commemorated the September 11, 2001 tragedy.
was a commission I received as part of the Ida and Cecil Green Honors
Professor Award (2000).
work as a dancer includes traditional
modern dance as well as improvisational interactive performance.
Since 1991 I have been devoted to exploring the convergence of established
choreographic practices and new media technologies and investigating
in ways that performance influenced by technology, and cross-cultural
and interdisciplinary collaboration.
is an evolving multimedia work that has involved yearly performances
since 1997, including Internet collaborations.
evolved from motion capture technology and became a virtual dancing
of Passage dealt with the notion of a transient, one who is
here today and gone tomorrow.
Selections were four
dances where I formulated "four requirements" as a method
to approaching each piece.