ian winters

The 2013 workshop is now passed. Look for details on 2014 scheduling later this year.

The Extended Now explores technical and compositional strategies for integrating live and interactive media in the composition of site-specific installation and performance along with an intensive course in the use of Isadora and related software / sensors. The 5 day workshop from July 23rd to July 27th, 2013 is taught in tandem with Mary Armentrout’s in-side up and out-side down performance workshop with the intent that you can take both.

Overview :

The first half of the week we will focus on the development of technical skills with a focus on how to use live video / sound / sensors with Isadora. The second half of the week we will take that knowledge to create short site-specific interventions in and around the giant industrial wasteland / site-specific lab that is the Sunshine Biscuit Factory complex and the nearby San Francisco Bay shoreline.

Many of the specific Isadora / technical topics will be shaped in part on the projects that take shape in the workshop. That said the first half of the workshop is intended as a beginning/intermediate workshop in Isadora. Some specifics to cover include:

• a review of the basics of using Isadora: playback of media, using live video / audio, etc.

• communicate with other programs/protocols such as Abelton, Max/MSP, MIDI instruments, etc.

• interactive controls such as motion and acoustic triggering and controllers such as the Kinect, sensors and related devices

• use of calculation & controls actors to generate more complex patches

questions / thoughts that inform the workshop: How long is now? What does it mean to listen to a site? What happens when the now of performance is extended through image, sound, light, and repetition / amplification / contrast? What are interventions that alter/disrupt/focus space? Can video & light be an abstract medium versus a narrative or emotional one? What is the lowest tech way to proceed? What does interaction mean in a sensor-driven world? How does this affect the quality of our attention and experience? What kinds of compositional strategies / tools / scores can be used to work across divergent media? Where is the body in all of this?

Before & After: Spring 2013

practical logistics: The first half of the workshop will be focused on we will be using the beautiful industrial wasteland of the Sunshine Biscuit Factory as our giant site-specific laboratory – bring good shoes and clothing for outside work and messy work. We have a small fridge, microwave and hot beverage options. We will work all week and have an informal showing on Saturday night at the space with a potluck before. The showing will combine work from this workshop with work from Mary Armentrout’s performance workshop. Mary and I are encouraging substantial overlap between the two workshops – people taking both, media people performing, performers corralled into being in video projects etc.

assumptions: some background in performance, visual/media art or sound. a beginning knowledge of Isadora (or have taken the intro workshop the prior week) or similar tools like Max-MSP.

Equipment required:

* Computer (preferable Mac OSX) capable of running Isadora. Students without a current Isadora license will get a temporary student license.
* Ideas for simple workshop project you’d like to realize

Equipment provided: Time-limited student license of Isadora, video projectors will be available for student projects and a set-up for 3-channel projection;
for demonstrations – audio, DMX and midi interfaces; an assortment of sensors, and other interactive devices, basic sound system and other tools.

suggested: * video camera for live capture (plus any capture devices needed),

* audio interface / audio source (if your work involves audio)

* any specialized sensors, lights, I/O devices, interfaces etc you’d like to play with or receive help with.