This is a solo work centered on themes of shame and vulnerability. It follows a character's journey towards resilience and the capacity to overcome life’s greatest challenges. Inspired by personal experiences and the work of social-scientist & author, Brene Brown. The video clip below, it a short piece created during the Margolis Method Conservatory 2017. Part II - emerging by summer 2020!
alluvial shore...a dance film
Premiered in october 2015 at Your Move: New Jersey’s Modern Dance FestivaL
at the DeBaun Performing Arts Center in Hoboken, NJ.
Alluvial Shore is an exploration of climate change data applied to performance parameters.
Alluvial – from alluvium, “clay, silt, sand, gravel, or similar detrital material deposited by running water” (Merriam-Webster Dictionary)
The project illustrates the contrast between naturally occurring rhythms and the consequence of humanity’s exploitation of the earth’s natural resources
Alluvial – from alluvium, “clay, silt, sand, gravel, or similar detrital material deposited by running water” (Merriam-Webster Dictionary)
The project illustrates the contrast between naturally occurring rhythms and the consequence of humanity’s exploitation of the earth’s natural resources
Choreographer/Dancer: Anna Sycamore DeMers
Film Edit/Processing: DeMers & Lawson Music Composition/Designer: Erik T. Lawson Harpist: Emily Hopkins Photographer: Joseph Henry Ritter Website: www.theMercurySurvey.com, www.ErikTLawson.com Special Thanks: Snow and Ice Data Courtesy of the National Snow and Ice Data Center Erik T. Lawson is a composer, theatre sound designer, and sound artist. His designs and original scores have been exhibited in the Czech Republic at the 2011 and 2015 Prague Quadrennial, and at the 2013 World Stage Design Conference in Cardiff, UK. MFA: Carnegie Mellon University. www.ErikTLawson.com |
Process | Editing: Both the musical score & the video were created by filtering it through algorithms within the software program, Max/MSP. The full score was performed and recorded by a harpist for manipulation and playback. The algorithms determined the length of musical phrases, the sequence of the phrases and the rate of speed/playback.
Similarly, the video was processed with the “climate data” to adjust the frame rate and editing points. The resultant video was essentially a chance procedure in terms of what the output of the film would look like to us. After processing all the different camera angles the video was imported into Adobe Premiere to develop the split screen effect and color adjustments. This step is where we made more “aesthetic” choices. Here, we chose the sequence of camera angles and the layering/opacity rates. |
Look this way... dance w.media
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Look This Way is a dance-theatre project that investigates how media can interact onstage with corporeal performers to create a live performance. The piece has developed over the past three years, with each new version expanding on two main questions: firstly, what is the relationship between the performer and the media? And secondly, what is the role of the spectator within this digital performance? The piece investigates the challenges to and differences between the spectator’s attention on a 2D mediated image and a 3D corporeal performer. It also explores the notion of “liveness” and debates on “presence” suggesting that media/technology can be considered a character or player onstage alongside corporeal performers.
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Speaking of...
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the human variations
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phobias
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jack'd in
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