Tuesday, February 23, 2010

[HvEXAS] EMPAC | ENTITY | Fri. & Sat. 02/26 + 02/27, 8 PM


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Wayne McGregor | Random Dance

Friday, February 26 & Saturday, February 27, 2010, 8 PM
Friday, February 26 | Saturday, February 27

Set in a torrent of sound by Massive Attack and Coldplay collaborator Jon Hopkins and composer Joby Talbot, Wayne McGregor | Random Dance's ENTITY is a stunning work of exacting and sensual movement for nine dancers, framed by multiple moving screens. With its fierce kinetic intelligence, large-scale video projections, and propulsive music, ENTITY further establishes Wayne McGregor | Random Dance at the forefront of contemporary dance.

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Dr. Philip Barnard, Scott deLahunta, Wayne McGregor 
Panel discussion on R-Research

Tuesday, February 23, 6 PM
Studio 1 - Goodman Studio/Theater

A discussion on projects and directions of R-Research – the research branch of Wayne McGregor | Random Dance – which initiates and implements new research collaborations across disciplines including dance, neuroscience, cognitive science, biology, philosophy and technology.

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rAndom International
Real-Time Reactive Systems in Art and Design 

Wednesday, February 24, 7 PM

rAndom International give a talk on their projects, which stand at the fringe of innovation in art, science, and design. Subjects include the group's effort to redeem the "cold" nature of digital-based installation and performance work, and endow inanimate objects and environments with behavioral qualities. rAndom International is in residence at EMPAC, working with Wayne McGregor | Random Dance to create the scenography for the company's new work, the sequel to ENTITY.

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Just Noticeable Difference (JND): Sensory Reduction Environment
Chris Salter, in collaboration with Marije Baalman, Harry Smoak, Vincent de Belleval, Justine Chibuk, Thomas Spier and Brett Bergmann
Wednesday, March 3 – Saturday, March 6 from noon to 6 PM
Level 2

In Just Noticeable Difference (JND), Chris Salter ratchets down the level of sensory information to the threshold of the perceptible. On entering the installation the visitor is immersed in an environment of near-total darkness, insulated against external sound and vibration. Sparked by an array of sophisticated built-in sensors and devices that emit micro-levels of tactile, auditory, and visual feedback, the slightest motions cause this environment to respond, though so subtly as to test the limits of both perception and interpretation. The result is a revelatory aesthetic experience in which noise shifts towards order, sensation becomes sense, and the apparent randomness of threshold sensory impressions gives way to a new understanding of meaning in the relationship among body, self, and external world.

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Chris Salter: Panel Discussion
Thursday, March 4, 7 PM

Chris Salter and Rensselaer faculty Michael Century, Mark Changizi, Linnda Caporael, and Ted Krueger with other experts will all take part in a panel discussion on topics including thresholds of perception, multi-modal perception, and the use of research in art practice.

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Friday, March 5, 8 PM
Concert Hall

For the first installment of this series, we'll listen to sounds we know well: two high (soprano to be exact) female voices and piano in various combinations. Joining us will be three members of the New York City and Chicago-based ICE, who you might remember rendered a jaw-dropping version of Kurtag's Grabstein für Stephan as part of the Inaugural Concert. Gaudeamus Prize winning soprano Tony Arnold, soprano Haleh Abghari, and pianist Jacob Greenberg from ICE will perform.

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EMPAC 2009-2010 presentations, residencies and commissions are supported by grants from the Mid Atlantic Arts Foundation in partnership with the National Endowment for the Arts' Regional Touring Program, the National Endowment for the Arts, the National Dance Project of the New England Foundation for the Arts (with lead funding from the Doris Duke Charitable Foundation; additional funding provided by the Ford Foundation, the Andrew W. Mellon Foundation, and the Community Connections Fund of the MetLife Foundation;) and the New York State Council for the Arts. Special thanks to the The Jaffe Fund for Experimental Media and Performing Arts for support for artist commissions.

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