Yacov Sharir 

Department of Theatre and Dance 

Supplemental Materials 







Supplemental Materials 
Table of Contents 

• 
Research 

• 
Creative 

• 
Professional work 

• 
Service 


Loose Materials; 
1. 
CD+ DVD set of current creative and research work, (CD, "Absent Body", ten movement phrases) (DVD, "Silence Erupted") 

2. 
Curriculum Vitae (the last five years) 

3. 
Documentation oftwo significant awards (2005) 

1. 	
Inducted to Austin Arts Hall of Fame, June 6, 2005, Austin American Statesman, and Austin Chronicle announcements 

2. 	
University ofTexas CO-op Fine Arts Award, March 23, 2005 




Bound Materials; three recently published papers 
1. 
"New Visions In Performance" The impact of Digital Technologies 

2. 
"Convergence Identities" 

3. 
"Body Automatic" 


Loose Materials 
1. 
Assortment of reviews and interviews related to research and creative/professional work (2000-2005) 

2. 
Assortment of computer manufactured cyber-human performers/images and additional images from "Dancing with the Virtual Dervish" a work in virtual reality (Athens 2003) 

3. 
Documentation of selected lectures, informances and professional work in venues around the world (2000-2005) 

4. 
Documentation of service (departmental, college of fine arts, university, national and international) 




~ 


Curriculum vitae 
(2000-2005) 

YACOV SHARIR 

The University of Texas at Austin Department of Theatre and Dance Austin, TX 78712-1168 e-mail: ­
Current Position: Associate Pr9fessor, Dance and Technologically Mediated Art/Performance, Department of Theatre and Dance, The University of Texas at Austin. Comprehensive undergraduate and graduate courses in contemporary/modem dance technique, Improvisation/composition, choreography, contact improvisation, computer animation 3D modeling, virtual reality, and cyberspace in the arts. Emphasis is placed on integration of studio work into production/performance. Technologically mediated studies are comprehensive and require in-depth reading and the ability to conceptualize work making. 
EDUCATION 
PhD  Faculty of Technology Graduate School, University of  
Plymouth, UK (pending 2006-2007)  
MPhil  Faculty of Technology Graduate School, University of  
Plymouth, UK  
BFA  Bezalel Academy of Arts, Jerusalem  

Teaching Philosophy 
My objective as an educator is to produce an informed thinking artist, an articulate, reflective member of the art community, whether in the role of practitioner, scholar, or patron. I emphasize dance/art and technology studies as a new and creative discipline that embraces the physical the technological and the intellectual. I think of it as an art form, as a way of knowing, as a means of personal, social, and cultural understanding. As a choreographer, dancer, teacher and interdisciplinary digital artist, my artistic focus and commitment are toward building a serious environment for the training of students as artists, and making a creative contribution to this new and emerging field. In addition, it is increasingly important to me to challenge and blur the boundaries between the way we use new technologies in the arts, the way we create work, the way we teach, and the way we learn. Strong emphasis is placed on application of dance and technology work outside the classroom; students are required to demonstrate the skill of performance and insights into production and performance context. 
Professor YACOV SHARIR 
.,._________...___..,___________________....._______________________________.._______..____________ Short Biographical Overview 
Professor Yacov Sharir is a dancer, choreographer, and multimedia artists who pioneered the inclusion of new and interactive technologies in education and performance practice. 
He is a frequent keynote speaker at arts and technology conferences/symposia in the USA and around the world. Sharir currently researches and speaks of issues related to wearable computers/devices, technologically charged interactive systems, virtual reality, interactive video art/games, and the creation of computer animated cyber human performers. 
In addition to teaching dance, improvisation, and choreography at the University ofTexas, Sharir teaches computer-aided art courses in virtual reality/cyberspace, and multi-disciplinary art and technology graduate courses. 
Sharir graduated from the Bezalel Academy ofArt in sculpture and ceramics and continued his studies in dance at the Rubin Academy ofMusic and Dance. He is currently enrolled in the CaiiA-Planetary Collegium PhD Program from the School ofComputing, Plymouth University, (UK). 
Sharir was the founder ofthe American Deaf Dance Company, which pioneered the inclusion ofdeaf artists in professional dance. He subsequently founded Sharir Dance Company, He has choreographed and created technologically mediated works for companies around the world, along with over thirty original creations for Sharir Dance Company. Under his direction, Sharir Dance Company has produced, presented, and collaborated with companies such as the Merce Cunningham Dance Foundation, and the Trisha Brown Dance Company among many others. 
He was awarded the 2005 Career Research Excellence University Co-op Fine Arts Award in the Robert W. Hamilton Faculty Authors Award Competition, University ofTexas at Austin. Awarded the Innovative Use of Instructional Technology "Virtual Reality & Cyberspace in the Arts", and the National Foundation for Advancement in the Arts Award. In addition, he is a multiple recipient ofthe National Endowment for the Arts Choreographic Fellowship Awards, a Meet the Composer/Choreographer National Grant Award, and the University ofTexas College ofFine Arts Student Council Teaching Excellence Award. He has served on the National Endowment for the Arts Choreographic Fellowship Dance Panel, the Texas Commission on the Arts Dance Panel, the Mid-America Dance On Tour Panel, and on several international Arts Councils in Israel, Spain, Portugal, Japan, China, Brazil, and France. 
Sharir is a contributor to numerous international publications, journals and books related to interdisciplinary/art & technology. The two most notable are Mary Anne Moser's Immersed in Technology: Art and Virtual Environments, and "Electric Mask." published in Nouvelles de Danse, by ContereDance a la maison du Spectacle -la Bellone in Bruxelles. 
On June 6, 2005.Sharir is scheduled to be inducted to the Austin Arts Hall ofFame 
www.sbdanceworks.org RESEARCH and CREATIVE WORK GRANTS AWARD ED (2000-2005) 
• 	
Awarded the Walter & Gina Ducloux Fine Arts Research Fellowship in the amount of$2000, University ofTexas at Austin, Fall of2005 

• 	
Awarded the Walter & Gina Ducloux Fine Arts Research Fellowship in the amount of$3000, University ofTexas at Austin, Fall of2004 

• 	
City ofAustin Cultural Contract, $45,000 awarded to Sharir+Bustamante Dance Works in support of 2003-04 season, works created, "Silence Erupted", and "Reflex". 

• 	
Texas Commission on the Arts, $2,500 awarded to Sharir+Bustamante Dance Works in support of 2003-04 season, new works created "Silence Erupted", and "Reflex". 

• 	
Still Water Foundation, $25,000 awarded to Sharir+Bustamante DanceWorks in support ofthe 2002­03 season, new works created "The Absent Body" and "Rain Dance" 

• 	
City of Austin Cultural Contract, $35,000 awarded to Sharir+Bustamante Dance Works in support of2002-03 season, new works created, "The Absent Body" and "Rain Dance" 

• 	
Texas Commission on the Arts, $6000 awarded to Sharir+Bustamante Dance Works in support of 2002-03 season, new. works created "The Absent Body" and "Rain Dance" 

• 	
City of Austin Cultural Contracts. $52,000 awarded to Sharir+Bustamante Dance Works in support of the 2001-02 season, works created: "The Automated Body Project" and "The Laboratory Project" 

• 	
Texas Commission on the Arts, $6,000 awarded to Sharir+Bustamante DanceWorks in support of 2001-02 season, new works created, "The Automated Body Project", "The Laboratory Project," 

• 	
Cullen Trust for the Performing Arts, $50,000 awarded for the creation of a full-length work entitled "The Automated Body" and the construction ofthe "Wearable Computer" January, 2001 

• 	
City of Austin Cultural Contracts. $56,400 awarded to Sharir+Bustamante DanceWorks in support ofthe 2000-01 season, new works created: "A Cart with Apples #2," and "The Leaf-Storm." 

• 	
Texas Commission on the Arts, $9,000 awarded to Sharir+Bustamante DanceWorks in support of 2000-01 season "Cart with AP.pies #2" was created 

• 	
National Endowment for the Arts, $10,000 awarded to Sharir +Bustamante Dance Works, supported the creation ofthe "LeafStorm Project", choreographed by Jose Luis Bustamante. May 2000 

• 	
Awarded the Summer Fellowship Research Grant to develop a course that will provide video conferencing and distance education capabilities for TD 352T and FA 360/381 courses. Summer 1999. 

Additional significant RESEARCH and CREATIVE WORK GRANTS AW ARD ED: 

• 	
The Suzanne Dellal International Choreography Competition Honorary Award for "The Egg" (1993-1994) 

• 	
RENCONTRES CHOREGRAPIDQUES INTERNATIONALES DE BAGNOLET Commission ofnew work award, Paris (1993-94) 


RESEARCH and CREATIVE WORK GRANTS AWARDED/continue 
• 	
Banff Centre for the Arts, Banff, Alberta, Canada, Granted a Two-year fellowship in the Arts and Virtual Environments, to develop "Dancing with the Virtual Dervish/Virtual Bodies," a multi­disciplinary project in virtual environments and cyberspace involving collaborator Diane Gromala. The project was one of five selected from an international pool of collaborative groups (1992-1994) Dancing with the Virtual Dervish: Virtual Bodies included three-dimensional sound and interactive networked virtual environment, made available to users and audiences through HMD=D5s, data gloves, sensors, and large scale video projections. Performances were held at the B. Iden Payne Theatre at the University of Texas at Austin, and the Fourth International Cyberspace Conference in Canada (May 1994) 

• 	
National Endowment for the Arts Advancement Grant (1988-1994) 

• 	
University of Texas College of Fine Arts Student Council Teaching Excellence Award ( 1991) 

• 	
Meet the Composer/Choreographer National Grant with composer Pauline Oliveros (1989-1990) 

• 	
Multiple National Endowment for the Arts Choreographic Fellowships, 1979 and on 


PUBLIC SPEAKING, SELECTED EXHIBITIONS, and WOKSHOPS (2000-2005) 
• 	
"Twinning" A Demonstration in Wearable Computing conference, A collaborative project with Professor Barbara Layne. Joint paper presentation and infonnance entitled "Twinning" A Demonstration in Wearable Computing, at the "Creativity and Cognition 05" Conference, Goldsmith University of London, April 12-15, 2005 

• 	
"Shaping Consciousness" New Media, Spirituality and Identity conference, paper 
presentation, lecture/infonnance entitled "Convergence Identities" Dallas Museum of 
Arts, April 6-7 2005. 


• 	
Contemporary Dance Festival "Yokohama Dance Collection R", conducted a lecture and infonnance entitled "Dance immersed in technology" open to all festival attendees, Yokohama, Japan, January 26, 2005 

• 	
Contemporary Dance Festival "Yokohama Dance Collection R", Yokohama Dance Council, Solo-Duo Competition, served on an international Jury/panel for the selection ofthree choreographers prize winners for season 2004-05, Yokohama, Japan, January 22-30, 2005 

• 	
"Computer manufactured cyber human performers, "Qi", ''Qigong", and the "Chakras", Conducted a lecture/Informance at the Consciousness Reframed: QI and COMPLEXITY conference, Department of Digital Art and Design, School of Software, Peking Univ, and at the Institute of Digital Media, Beijing Normal University, China, November 24 -27, 2004 

• 	
"Dance immersed in technology" residency, conducted a Lecture and Infonnance at 
the Department ofTheatre and Dance, Concordia University Montreal, Canada, 
November 12, 2004 


• 	
Symposium on Art &Technology Arts of the Virtual: "Poetic inquiries on Time, Space, and Motion", conducted a workshop, lecture and informance collaboratively with Professor Julio Bermudez entitled "CyberPrint" Wearable Computing, University of Utah, October 1, 2004 

• 	
"Researching the Future" art technology and emergent media, conducted a public lecture, and a paper presentation entitled ''Eliminating Technological Hardware from the Performance Space", Portland Square Building, University ofPlymouth, UK, August 27,2004 

• 	
"Inside/Outside: Responsive Environments and Ubiquitous Presence, Summit" conducted a public presentation on demonstration on performance generated from/with wearable computers, Banff Center for the Arts, Canada, August 5-8, 2004 


PUBLIC SPEAKING, SELECTED EXHIBITIONS, and WOKSHOPS (2000-2005)/ continue 
• 	
"Outside/Inside: Boundary Crossings, a Wearable Design Workshop", Presented two wearable computers and conducted a lectured on how they are used in performance, Banff Center for the Arts, Canada, July 31-August 4, 2004 

• 	
"The Austin Film Festival Summer Workshop", conducted a two week workshop on "Computer Animation and 3D Modeling", twenty high school selected students participated, School of Communications, University of Texas at Austin, June 14-25, 2004 

• 	
Summer Dance and Technology, (SDAT 04)@Arizona Sate University, Conducted a workshop on "emergent electronic technologies and how they influence artistic processes related to the experience ofwork" Tempe, Arizona, May 17-28, 2004 

• 	
Ciber@rt Bilbao, "Challenges for a Ubiquitous Identity", Presented a paper at the conference entitled "How Contemporary Dance Performance/Image is Affected with the Use ofAlternative Projection Means", Bilbao, Spain, April 26-29, 2004 

• 	
"Experimental Jews, Projecting Jewish Identity in the New Millennium", served on a panel discussing/presenting and responding to audience questions, University of Wisconsin -Madison, March 25, 2004 

• 	
"Experimental Jews, Projecting Jewish Identity in the New Millennium", conducted a lecture presentation on issues related to the projection of Jewish artists identity in the new millennium, Center for Jewish Studies, University of Wisconsin -Madison, March 25, 2004 

• 	
"Dance and Technology in the classroom and in performance Residency", taught two master classes on issues related to wearable computers and how they are used in a performance environment and a computer animation choreography class for graduated student. Ohio State University, February 25-28, 2004 

• 	
"A Moving Landscape, Dance Pedagogy for the 21st Century Conference" conducted a joint lecture, presentation, and published a paper in the conference proceedings entitled, "Wires and Bodies, Pedagogy, Technology, and the Dance Classroom" with Professor Holly Williams and Professor Kent DeSpain, National Dance Association, Dallas Texas, January 16-19, 2004 

• 	
"Consciousness Reframed" Public Symposium, conducted a lecture and presented a paper at the symposium proceeding entitled "Intelligent" CITY, Fortaleza, Brazil, November, 29-30 2003 


PUBLIC SPEAKING, SELECTED EXHIBITIONS, and WOKSHOPS (2000-2005)/ continue 
• 	
Virtual Systems and Multimedia"(VSMM), The 9th International Conference on Hybrid Reality, published a paper in the conference proceedings entitled "The Function ofArt in Restructuring Experience in Virtual Environments", Montreal Science Center, Montreal Canada, October 15-17, 2003 

• 	
"Wearable Computers Residency" conducted a public presentation, and two master classes at the Department ofthe Arts, Communications, and Literature, led by Professor Diane Gromala, additionally I conducted a motion capture session, Georgia Tech University, Atlanta, Georgia, Sept 4 -7, 2003 

• 	
CONSCIOUSNESS REFRAMED 2003, 5th International CAiiA-ST AR Research Conference and Workshop, conducted a lecture/inf ormance entitled "The Absent Body", University of Wales and the University ofPlymouth, July 3, 2003 

• 	
Subtle technologies 03, "Blurring the Boundaries Between Art and Science", conducted a Lecture/Informance entitled "Intelligent City", a collaborative site specific paper and work, Toronto CA, May 23, 2003 

• 	
RESPOND Inter·Change, "Blurry edge between physical and virtual Space, conducted a debate and a four day festival on digital art, performances and body>data>space, University ofCambridge, UK, April 2-5-2003 

• 	
RESPOND Inter-.Change, conducted a lecture/informance/presentation related to the commissioning ofthe "Intelligent City" collaborative site specific project, lecture was conducted as part ofthe symposia CREATIVE USER RESEARCH DAY event at the University of Cambridge, UK, April 5-2003 

• 	
"Dance and virtual environments" conducted a lecture/informance/performance at the University of Wisconsin Dance Program entitled "Tech in Motion" as a part ofthe guest artists in resident series. Madison Wisconsin, January 28, 2003 

• 	
Monaco Dance Forum, Conducted a public lecture and performance commissioned by the forum entitled "The Absent Body", Monaco, December 15, 2002, 

• 	
"Consciousness Reframed 2002" The fourth International CaiiA-STAR Research Conference, "non local, non linear, non ordinary". Conducted a lecture/informance, entitled "Body Automatic" Visualizing the Real and the Virtual in a High Performance Interactive Dance Environment, Curtin University of Technology, August 2-5, 2002, Perth, Australia. 


PUBLIC SPEAKING, SELECTED EXHIBITIONS, and WOKSHOPS (2000-2005)/ continue 
• 	
ACADIA 2002-Thresholds, Association for Computer aided Design in Architecture­2002 Annual Conference, conducted a lecture/informance related to the absent body in Architecture" "cyberPRINT", Department of Architecture, California State Polytechnic University, Pomona, October 24-27, 2002 

• 	
Synopsis II -Theologies, mounted "Dancing with the virtual Dervish_ Virtual Bodies", an installation in virtual environments, commissioned by the National Museum of Contemporary Art, Athens Greece, was on display from October 16, 2002­January 15, 2003 

• 	
Dance/USA Roundtable, NIP AD 2002. Served on the technology task force, consulted on issues related to the use oftechnology in documenting and preserving dance. Additionally, served on the Dance and Technology Panel, June 19-23, 2002, Miami, Florida. 

• 	
Nottingham Trent University, UK. Served on a panel, planning the International Robotic Conference to take place at Nottingham Trent University Campus Fall 2003, lead by digital artist Stelarc. May 23, 2002. 

• 	
SXSW Multimedia/Interactive Festival, Invited panel presentation "Wearable Computers and Other Wearable Devices," presented research progress ofthe "Wearable Computer Project," February 24, Austin, Texas, 2002. 

• 	
"Consciousness Reframed 2002" The fourth International CaiiA-ST AR Research Conference. "non local, non linear, non ordinary". Conducted a lecture/informance, entitled "Body Automatic" Visualizing the Real and the Virtual in a High Performance Interactive Dance Environment, Curtin University of Technology, August 2-5, 2002, Perth, Australia. 

• 	
"I Have No Face" and the "Wearable Computer", conducted a lecture and presentation at the Dance/USA Roundtable, NIP AD 2002, June 19-23, 2002, Miami, Florida. 

• 	
"Ubral/The Gate", Danza Tecnologia, conducted a technologically mediated event/ performance with my company Sharir+Bustamante Dance Works at the AUDITORIO NATIONAL, May 31-June 1, San Jose, Costa Rica. 

• 	
Visiting Research Scholar Residency at Nottingham Trent University, UK. Conducted a lecture and performance at the Power House Victoria Studios entitled "The Automated Body: Wearable Computers in Performance," May 20-25, 2002, Nottingham Trent University, UK. 


PUBLIC SPEAKING, SELECTED EXHIBITIONS, and WOKSHOPS (2000-2005)/ continue 
• 	
The Glide Project and The Wearable Computer," Conducted aperformance at "The Techno Poetry Festival 2002", exhibit, symposium, and dance performance, with collaborators Diana Slattery and composer Pauline Oliveros, April 1-3, 2002, Georgia Tech University, Atlanta, GA. 

• 	
"The Lullaby and the Wearable Computer," conducted a performance, talk and discussion with attendees at the "Reading the Cyborg Symposium." Presented at the Vancouver Art Gallery and The Emily Carr Institute of Art and Design, February 9-112002, Vancouver, BC 

• 	
"cyberPRINT and the Wearable Computer". Conducted a lecture and informance showing the possibilities ofintegrating EKG sensory collection technology into performance, Ontario College of Art and Design, October 26, 2001, Toronto, Canada. 

• 	
b/m "body/machine," a conference on the body/technology interfaces. Conducted a lecture and informance on issues related to dance and technology and how performance can be augmented with the use of computerized and interactive technologies, October 27-29, 2001, York University, Toronto, Canada. 

• 	
"cyberPRINT Automated Body:" Depicting the Organic Basis ofConsciousness, Visualization Technology for the cyberPRINT. Conducted a lecture and performance at the Digital Multimedia Conference, MTAC 2001 (arts, multimedia, sciences). November 7-9, 2001, University of California at Irvine, Irvine, CA. 

• 	
ephos 2001, "Transdance Research Lab" 3rd internsational Film Festival and new Media on Art, presented the wearable computer and performed the cyberPRINT Project, Athens Greece, May 22-Junel_, 2001 

• 	
"Perception and Interaction in the Electronic Arts" presented a live performance, demonstration "ElectricMask", Eighth Biennial Arts and Technology Symposium at Connecticut College, Mach 1-4 2001 

• 	
"Monaco Dances Dances Forum" presented and performed "Body Automatic BodyResistant" and introduced three interactive systems in performance "cyberPRINT" "softVNS" and the wearable computer. Monaco, December 14, 2000 

• 	
"C~nstructing the Digital Space" delivered a keynote presentation and performance of the "cyberPRINT Project" with collaborators Julio Bermudez and Jim Agutter. IV Latin American Congress ofDigital Graphics, SIGraDi' 2000. Rio De Janeiro, September 25­29, 2000 


PUBLIC SPEAKING, SELECTED EXHIBITIONS, and WOKSHOPS (2000-2005)/ continue 
• 	THEATRE L'ECHANGEUR, "Body Automatic" Conducted a weeklong workshop on issues related to the automated body in alternative performative conditions. Paris France, May 2000. 
ARTICLES IN PERIODICALS AND BOOKS: 2000-2005 
• 	
"A Moving Landscape, Dance Pedagogy for the 21st Century Conference" collaboratively published a paper in the conference proceedings entitled, "Wires and Bodies·, Pedagogy, Technology, and the Dance Classroom" with Professor Holly Williams and Professor Kent DeSpain, National Dance Association, Dallas Texas, January 16-19, 2004 

• 	
CONSCIOUSNESS REFRAMED 2003, 5th International CAiiA-STAR Research Conference and Workshop, published a paper entitled "The Absent Body" at the conference proceedings, University of Wales and the University of Plymouth, UK July 2-8, 2003 

• 	
Subtle technologies 03, "Blurring the Boundaries Between Art and Science", published a paper entitled "Intelligent City" in the conference proceedings, Toronto CA, May 23, 2003 

• 	
"Virtual Systems and Multimedia"(VSMM), The 9th International Conference on Hybrid Reality, published a paper in the conference proceedings entitled "The Function of Art in Restructuring Experience in Virtual Environments", Montreal Science Center, Montreal Canada, October 15-17, 2003 

• 	
Synopsis II -Theologies, paper published in the exhibit book entitled "Dancing with the Virtual Dervish, Virtual Bodies", an installation in virtual environments, commissioned by the National Museum of Contemporary Art, Athens Greece, January 2003 

Consciousness Reframed 2002, published a paper in the conference proceedings entitled "Body Automatic" Visualizing the Real and the Virtual in a High Performance Interactive Dance Environment, co-authored with Diana Slattery, Curtin University of Technology, August 5, 2002 Perth, Australia. 

• 	
Minds machines & the Electronic Culture" "Automated Body" published in the conference proceedings of the Eighth Biennial Arts and Technology Symposium at Connecticut College, co-authored with Dr Julio Bermudez, March 1-4 2001 

• 	
"Dance and digital technologies" paper published the book entitled "Body Automatic Body Resistance", editors Armando Menicacci and Emanuele Quinz, Florence, Italy, January 2001 


"cyberPRINT Automated Body", published a paper in the conference proceedings at the MT AC 2001 (arts, multimedia, sciences), University of California Irvine. November 7, 2001, 
ARTICLES IN PERIODICALS AND BOOKS: 2000-2005/continue  
•  "Topologies of Temporality Dance, Technology, Memory" paper authored collaboratively with Dr. Anne Hogan, Editor, Margery Arent Safir. published in "Connecting Creations", by the Centro Gale go de Arte Contemporaneo in Santiago de Compostela, Spain, November 2000.  
•  "Constructing the Digital Space cyberPRINT an architecture of being", published in the conference proceedings IV Latin American Congress of Digital Graphics, SIGraDi' 2000. With collaborators Julio Bermudez and Jim Agutter, Rio De Janeiro, September 25-29 2000  
•  Dancing with the Mouse Conference, Cyber Human Dances Series, published a paper in the conference proceedings entitled "ElectricBody", Winthrop University, Rock Hill, SC. October 1999.  
•  Nouvelles de Danse, by ContereDanse ala Maison du Spectacle -la Bellone in Bruxelles, Periodical, publlished a paper entitled "Electric Mask." November 1999.  
•  Vis99 IEEE .Conference, published a paper in the conference proceeding entitled "Visualizing the Real and the Virtual In a High Performance Interactive Dance Environment," December 1999.  
•  IDAT: International Dance and Technology Conference; Published a paper in the conference proceedings entitled, "Content, and the Seeming Loss of Spirituality in Technologically Mediated Works." Arizona State University, Tempe, Arizona, February 25-28, 1999  
•  Art and Technology: A book based on a series of lectures from an international symposium arranged by the Committee on Man, Technology and Society at the Royal Swedish Academy of Engineering Sciences (IV A), published two papers entitled, "Virtually Cyber Dances" and from the Cyber Human Dances Series ­"Hollow Ground II" page 76-82. March, 1999  
•  Ballet International/ACTUELL Tanz (Europe Dance Magazine) commissioned paper entitled "World Dance & Technology", Berlin Germany, August 1, 1997  
•  "Israel Dance Magazine", commissioned paper entitled "Dancing in Virtual Spaces/Environments, Zero Gravity", January, 1996  
•  Mary Anne Moser Immersed in Technology Art and Virtual Environments (book) contributor, "Dancing with the Virtual Dervish Virtual Bodies," Pages 280-289, including five color virtual images; MIT Press November, 1995  

ARTICLES IN PERIODICALS AND BOOKS: 2000-2005/continue  
•  Transcending Boundaries" The International Dance and Technology proceedings, York University, Toronto Canada May 18-21 , 1995  III  
•  "Blurring Boundaries" proceedings of the 5th Biennial Symposium on the Arts and Technology, The Center for Arts and Technology at Connecticut College, New London, CT March 2-6 1995 ,  

NEW WORKS CHOREOGRAPHED /PRODUCED (1998-2005) 
• 
"Twinning" (a new work in progress) 2005 

• 	
Sharir+Bustamante Dance Works, conceived, produced, and presented season 21, event entitled "Regarding Reflections" premier performance, presented six of Aust.in's choreographers, "Sex Lies and Fairy Tales", January 30-31, 2004, McCullough Theatre, University ofTexas at Austin. 

• 	
Sharir+Bustamante Dance Works, conceived, and produced, the 21st Anniversary Gala Event, entitled "Reflex", choreographed "Silence Erupted", May 14-15, 2004, McCullough Theatre, University ofTexas at Austin. 

• 	
Sharir+Bustamante Dance Works, conceived, produced, and choreographed the 20th Anniversary Gala Event, entitled "The Absent Body", May 9-10, 2003, McCullough Theatre, University ofTexas at Austin. 

• 	
"I Have No Face" Ten Stories, created for Sharir+Bustamante Dance Works, first performed at the 19th Anniversary Gala Event at the University of Texas Campus, B. Iden Payne Theatre, May 10-12, 2002., Austin, TX. 

• 	
"The Automated Body Project", created for Dance Repertory Theatre (DRT) and Sharir +Bustamante Dance Works first performed at the 18th Anniversary Spring event at the University ofTexas Campus, April 22-29 2001 

• 	
"DrumSuite", created for Sharir+Bustamante Dance Works first performed for the 18th Anniversary Fall Event presented at the McCullough Theatre, University of Texas Campus, November 17-19, 2000 

• 	
"Currents and Streams" created for Utah Repertory Dance Theatre (RDT) first performed for the 30th anniversary Spring event at the Rose Wagner for the Performing Arts Centre, Salt lake City Utah, April 28 ..May 7, 2000 

• 	
"AutomatedBodyOne" created for Dance Repertory Theatre (DRT) first performed for the Fall event at the University ofTexas Campus, December 1-2 2000. 

• 	
"A Cart with Apples." Sharir+Bustamante Dance Works. May 14-16 1999. Performed at the B. Iden Payne Theatre, University ofTexas. 

• 	
"Quartet for Now." Boston Ballet Academy. August 4-6, 1999. Choreographed for the senior class ofthe International Boston Ballet Summer Program in Boston, MA. 

• 	
"Amber." Keresh Kfitza. July 14,1999. Performed at the Jerusalem Rubin Academy of Music and Dance, Jerusalem, Israel. 


NEW WORKS CHOREOGRAPHED /PRODUCED (1998-2005)/ continue 
• 	
"HERE... IN THIS PLACE" Co-choreographed with Jeffrey N. Bullock. May 23 & 24, 1999. Performed by Jeffrey N. Bullock at the American Choreographers' Showcase at the Vienna Festival 1999 in Schlosspark Schonbrunn, and at the American Choreographers' Showcase Musical Theater in Kaunas, Lithuania. 

• 	
"D-U-0-S." Created for Dance Repertory Theatre April 29-May 2, 1999. Performed at the B. Iden Payne Theatre, the University ofTexas. 

• 	
"Body Electric." Boston Ballet School. August 5-8, 1998. Performed at the Boston Ballet Academy in an alternative performance space. 

• 	
"More about Love." Utah Repertory Dance Theatre. November 27-29 1998. Performed at the Rose Wagner Performing Art Center Salt Lake City, Utah. 

• 	
"D_U_O_S." Sharir+Bustamante Dance Works. November 20-22 1998. Performed at the McCullough Theatre, the University ofTexas. 


REVIEWS and INTERVIEWS OF THEATRICAL AND 
ELECTRONIC WORKS/PERFORMANCES 

• 	
Austin American-Statesman, LIFE & ARTS, Sharir Bustamante weekend dance review .of"Reflex", "S+B Floats Buoyant Dance", Monday, May 12, 2004 

• 
Austin American-Statesman, LIFE & ARTS, "Perfect Fusion of Dance, Technology" weekend dance review Michael Barnes of "The Absent Body", A Cyber Human Dance, Monday, May 12, 2003 

• 
Austin American-Statesman, "Amazing Grace from Sharir+Bustamante" preview and interview by Jeremy Egner Saturday, January 19, 2003 

• 
Austin American-Statesman,, "New dances lift Sharir into another 20 years", dance review of the 20th ANNIVERSARY SEASON PREMIERE by Michael Barnes entitled "States of Grace," LIFE & ARTS, Monday. January 20,2003 

• 	
Austin American Statesman Interview by Sondra Lomax, "New season of cultural fusion" "Drum Suite" November 14, 2000. 

• 	
Austin American Statesman, dance review of "Drum Suite" by Michael Barnes "DanceWorks" beauty surprises, delights" November 20, 2000 

• 	
Salt Lake CityTribune. Interview By Scott Morgan, "Two Universities collaborated to Create Virtual Environment for RDT Dancers," "The Automated Body," May 6, 2000. 

• 	
Desert News SLC (Salt Lake City). Interview, "The Automated Body," "Choreographer from Texas, RDT team up in concert" and "Computer-generated dance is coming to life," May 7, 2000. 

• 	
City Lights SLC (Salt Lake City). Interview of"CYBERDANCE," by Karen Webb, ''Repertory Dance Theatre Looks to the Future," May 15, 2000. 

• 	
Desert News SLC (Salt Lake City). review of "Currents and Streams," by Scott Iwasaki, "RDT reaches cyber-high with Currents, Streams," May 19, 2000. 

• 	
Austin American Statesman. Interview of "A Cart with Apples," by Sondra Lomax, "Sharir returns to basics of dance," November 11, 1999. 

• 	
Austin American Statesman. review of "A Cart with Apples," by Sondra Lomax, "Sharir opener soars with humor, imagination," Monday, November 15, 1999. 

• 
Austin American-Statesman. dance review by Klym, Kendall of"Flight," Dance Works, "Dancers honor spirit of flight, friendship." May 13, 1999. 


REVIEWS and INTERVIEWS OF THEATRICAL AND 
ELECTRONIC WORKS/PERFORMANCES/continue 

•
The Salt Lake City Tribune. "Utah Repertory Dance Theatre Just Getting Better, Better, dance review of"More About Love" by Forsberg, Helen. October 2, 1998.," 

• 	
"Dancers work well in pairs." Lomax, Sondra. Austin American-Statesman. November 23, 1998. Dance review of "D_U_O_S," a work choreographed for members of the Sharir+Bustamante Danceworks. 

• 	
"Duos Danceworks: Double The Pleasure." Marshall, Cari. The Austin Chronicle. December 4, 1998. Dance review of "D_U_O_S" a work choreographed for members of Sharir+Bustamante Danceworks. 


PROFESSIONAL DIRECTING AND PERFORMING EXPERIENCE: 

• 	
Director Dance program Department ofTheatre and Dance, University ofTexas at Austin (1996-2000) 

• 	
Founder/Artistic Director; Sharir Dance Company (1982-present) Company in residence, University ofTexas at Austin, College ofFine Arts 

• 	
Founder/Artistic Director; American DeafDance Company (1977 -82) 

• 	
Founder; Kol Demama/Moshe Efrati Dance Company (1974 -76) 

• 	
Founder/ Artistic Director; Sharir Dance Company, a professional new dance company in residence at the University ofTexas at Austin College ofFine Arts with a home season in Austin Texas. SDC tours throughout the United States and abroad (1982 -present) 

• 	
Founder/Artistic Director; American Deaf Dance Company, the first professional company for deaf dancers in the USA, completing three national tours, numerous regional tours and five home seasons (1977 -82) 

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Artistic Director & Set/Costume Designer; Ballet School ofKiron, Demama/ Efrati Dance Company (1973 -1976) Rehearsal Director; Kol Demama/Moshe Efrati Dance Company (197 4 -1977) 

• 	
Member; Bat-Sheva Dance Company, performing leading roles in works by Martha Graham, Jerome Robbins, John Cranko, Pearl Lang, Jose Limon, Donald McKayle, Anna Sokolow, Glenn Tetley, John Butler, Brian McDonald and Norman Walker, among others; Toured Europe, Canada the United States and Scandinavia (1966-74) 


TEACIDNG EXPERIENCE 
WOKSHOP LEADER 
Professor Sharir is an internationally recognized master teacher of dance and dance and technology. As one of the pioneers in this emerging field be is often asked to conduct workshops, lectures, informances, and laboratories in the US and in major venues around the world 
• 	
Master Teacher/Workshop Leader art and interactive technologies, computer animation and 3D modeling programs at colleges, universities, and professional venues in the United States and around the world (1990-Present) 

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Master teacber/Workshop Leader in modem & cont~mporary dance technique, composition, contact improvisation, dance & new technologies at colleges, universities, and professional venues in the United States and around the world (1977 -present) 

• 	
Rubin Academy of Music & Dance summer faculty Jerusalem, Israel (1987-2002) 

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RENCONTRES CHOREGRAPHIQUES INTERNATIONALES DE BAGNOLET, taught master classes to all attendees at the choreography gathering in Paris, France (1994-2003) 


PANELS: 
N ational/lnternational 
• 	
Appointed to the Leonardo/International Society Board ofDirectors for Art, Science and Technology Network (2005) 

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Serves on the Yokohama Dance Council "Yokohama Dance Collection R" (2005) 

• 	
Dance/USA Roundtable, NIP AD 2002, June 19-23, 2002, Miami, Florida. 

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Panel member for 1999 and 2000 National Initiative to Preserve America's Dance (NIPAD). 

• 	
Serves on Austin Children's Museum Committee ofVisitors 1999-2000 

• 	
RENCONTRES CHOREGRAPHIQUES INTERNATIONALES DE BAGNOLET Arts Council Paris France (1994-2000) 

• 	
CERTAMEN COREOGRAFICO DE MADRID Arts Council (1994) Additional panel that I have continually served on are as follow: 

• 	
Texas Commission on the Arts Dance Panel 

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Mid-America Arts Alliance Dance On Tour Panel 

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National Endowment for the Arts Choreography Fellowship Panel 


Documentation of two recent 

significant awards 
1. 
· Inducted to Austin Arts Hall of Fame, June 6, 2005 

2. 	
University of Texas CO-op Fine Arts Award, March 23, 2005 



OFFICE OF THE PRESIDENT THE UNIVERSITY OF TEXAS AT AUSTIN 

P. 0. Box T • Austin, TX 78713-8920 
(512) 471-1232 • Fax: (512) 471-8102 
August 31, 2005 
Associate Professor Y acov Sharir Department of Theatre and Dance WfN 2.132D (D3900) 
DearYacov: 
Congratulations being selected for induction into the Austin Arts Hall ofFame by the .Critics Table. This honor is outstanding recognition and a reflection of your talented and significant artistic contributions to the Austin community. You distinguish yourself and the University. 
Best wishes for your continued success. 
With regards, 


Arts 
The Arts Hall of Fame: 6 inductees represent long investment in art scene 
By Jamie Smith Cantara June 2, 2005 
Six new members of the Austin Arts Hall of Fame will be inducted on Monday during the 13th annual Austin Critics Table awards night. 
As artists, patrons, critics, educators, administrators, or wearing multiple hats, the Hall of Famers have made significant and sustained contributions to Austin's cultural life. The event begins at 7 p .m. (doors open at 6: 30) at the Cap City Comedy Club, 8120 Research Blvd. Admission is free. 
Vacov Sharir 
Choreographer and educator Yacov Sharir first thought he was going to be a violinist, then a ceramicist and sculptor, and, finally, a dancer. With this background he has a sense of the wholeness of the arts, of their interconnectedness and dependence. 
A co-founder of Sharir+Bustamante Dance Company, with Jose Luis Bustamante, and a longtime professor at the University of Texas, Sharir has become increasingly interested in the intersection between the moving, breathing body and technology. In 1992 he received a two-year fellowship from the Banff Center for the Arts in Canada to develop "Virtual Bodies: Travels Within/' which linked virtual reality and live dance . He has lectured and performed throughout the world and has been a featured speaker for art and technology conferences. Although he has turned over the artistic directorship of Sharir+Bustamante to Bustamante) he is still teaching, lecturing and exploring. 
Photo bv Brian V. Diggrl"A·S 

ARTS 
On Culture• s Front Lines 
Tbe 2005 class ofthe Austin Arts Hall of Fame 

Thetre there where art is created, where new forms ofcreative expression are explored. They're there where young artists are nurtured and given room to let their talents take flight. They-re there where cultural institutions are born and support for them is pledged and affirmed. They ar the ar ists, the educators, the patrons, and the advocates on culturEts front lines, devoting their talents and energies and steadfast commitment to the arts to making this city a livelier and richer place to live. The six individuals being inducted into the Austin Arts Hall ofFame this year are not only on those front .lines today, but they have been for years, and their presence there has helped Austin~cultural scene flourish and grow into one ofthe most active and most watched in the country. The Austin Critics Table, that loose affiliation oflocal arts writers who recognize outstanding creative work in. the city, is proud to recognize the contributions of these cultural heroes and will welcome th:em into the Han ofFame·on Monday, June 6, at the cap City comedy Club. Here is an introduction to this year's honorees and why we honor them. 
Yacov Sharir 
We have seen the future ofdance, thanks to Yacov Sharir. This visionary choreographer was one of the first people in the field ofdance to explore the possibilities of technology and virtual reality in the creation of dance.. His work has made him an intern a tionally recognized pioneer in this 

area and earned him 
prestigious fellowships photo hy Bre.t Brook.shire. from the BanffCentre for the Arts and the National Endowment for the Arts, among others, and a place as featured speaker at conferences as far-flung as Lisbon, London, and Stockholm. At UT-Austin, he has furthered his studies and shared his findings by teaching courses in computer-aided art and virtual reality/cyberspace in the arts. A native oflsrael, Sharir moved to Austin in the 1970s and founded the American DeafDance Company, which helped pave the way fur deaf artists to dance professionally, and, later, Sharir Dance Company, which has evolved into Sharir + Bustamante Danceworks. Through the latter troupe, Sharir brought numerous important national and international choreographers to Austin: Merce Cunningham, Trisha Brown, Margaret Jenkins, Doug Varone, David Dorfman, Bella Lewitzky.. 
The 2005 class ofthe Austin Arts Hall of Fame 
8Y ROBERT FAIRES 
They're there where art is created, where new forms ofcreative expression are explored. They•re there where young artists are nurtured and given room to let their talents take flight. They're there where cultural institutions are born and support fur them is pledged and affirmed. They are the artists, the educators, the patrons, and the advocates on culturets front lines, devoting their talents and energies and steadfast commitment to the arts to making this city a livelier and richer place to live. The six individuals being inducted into the Austin Arts Hall of Fame this year are not only on those front lines today, but they have been fur years, and their presence there has helped Austin's cultural scene flourish and grow into one ofthe most active and most watched in the country. The .Austin Critics Table, that loose affiliation oflocal arts writers who recognize outstanding creative work in the city, is proud to recognize the contributions of 
these cultural heroes and will welcome them into the Hall ofFame on Monday, June 6, at the Cap City comedy Club. Here is an introduction to this year's honorees and why we honor them. 


Yacov Sharir 
We have seen the future 
ofdance, thanks to Yacov 
Sharir. This visionary 
choreographer was one of 
the first people in the 
field ofdance to explore 
the possibilities of 
technology and virtual 
reality in the creation of 
dance. His work has 
made him an internationally 
recognized pioneer in this 
area and earned him 
prestigious fellowships phct:c hy Bret Br()ck.shire 
from the BanffCentre for the Arts and the National Endowment for the Arts, among others, and a place as featured speaker at conferences as far.flung as Lisbon, London, and Stockholm. At UT-Austin, he has furthered his studies and shared his findings by teaching courses in computer-aided art and virtual reality/cyberspace in the arts. A native oflsrael, 
Sharir moved to Austin in the 1970s and founded the American Deaf Dance Company, which helped pave the way fur deaf artists to dance professionally, and, later, Sharir Dance Company, which has evolved into Sharir +Bustamante Danceworks. Through the latter troupe, Sharir brought numerous important national and international choreographers to Austin: Merce Cunningham, Trisha Brown, Margaret Jenkins, Doug Varone, David Dorfman, Bella Lewitzky. 

UNIVERSITY CO-OPERATIVE SOCIETY 
2244 Guadalupe Street• P.O. Drawer 7520 •Austin, Texas 78713 • 512-476-7211 Ext. 6316 
George H. Mitchell 
President 
Chief Executive Officer 
March 23, 2005 
Mr. Yacov Sharir Dept of Theatre & Dance UT College of Fine Arts WIN 2'.t32D Austin, TX 78712 
Dear Mr. Sharir: 
The University Co-op is honored to present to you the prestigious Fine Arts Award to recognize achievements of University of Texas faculty. Congratulations on receiving the $3,000 Fine Arts Award. 
We are enclosing a W-9 form that is required by our auditors and the Internal Revenue Service. Please send the completed form to: 
University Co-op 
ATTN: Marjorie Jones 
2244 Guadalupe 
Austiri, TX 78705 

Again, congratulations and best of luck in future endeavors. 
Sincerely, 
dZ.Mitchell 
President 
Enclosures: Check &W-9 


DR. LARRY R. FAULKNER 
President of 
1he Universlty ofTexas atAustin 


Wednesday, March 23~ 2005 6:00P.M 
FOUR SEASONS HOTEL BALLROOM 


Bound Materials; Three recently 
published papers 

1. "New Visions In Performance" 

2. 
"Convergence Identities" 

3. 
"Body Automatic" 



New Visions In Performance, 
The Impact of Digital Technologies 

The review of this book was commissioned by Professor Roy Ascott, published in Te.chnoetic Arts: a journal of speculative research, Editor, Roy Ascott, 2005 
Book edited by Gavin Carver and Colin Beardon Review by Yacov Sharir 
I know when I read a good, stimulating, and complicated book. I feel fully immersed; esoteric ideas and rhetoric are made clear, and I gradually become more informed about the subject of interest then I was at the start. 
Gavin Carver and Colin Beardon, the editors ofNew Visions in Performance. The Impact ofDigital Technologies rightfully point out that 
digital technologies have, until fairly recently, been principally employed in theatre as an invisible (behind the scenes) tool, contributing to the efficient or spectacular staging of performance. While of course it is the case that media such as film, television, and video have been integrated into performance throughout the twentieth century, particularly the last 40 years, the creative utilization of digital processing technology (often coupled with image or sound based media) is far more recent. (p. 1) 
This statement clearly serves as the reason why the gathering of such good papers written by a fine selective group ofperformance makers and academics shed much light on the field of art and interactive technologies, and on the ways they are used to augment performance related issues. In the last decade, clearly, the field is experiencing tremendous growth that has produced both a limited number of memorable and important works by Merce Cunningham, Gavin Brayars, Paul Kaiser, and Shelley Eshkar, "BIPED" (2000), and Stelarc's wired-up, memorable set of distributed events remotely stimulated over the internet by aud.iences around the world, "Fractal Flesh" (1995), Ping Body (1996), and. "ParaSite" (1997), alongside less accomplishments, thus, introducing a great deal of confusion and disappointments. 
It is important to note that because many of us in this medium of interactive performance are usually doing 
quite different things, I see remarkably little mutual understanding taking place, not just in aesthetic, but 
also in fundamental approach. Additionally, there is as yet not much of a workable critical theory around 
most of this work, and therefore there is little commonly understood language to describe what we are 
trying to do. Consequently, too much inevitable hype and rhetoric has been introduced without any 
apparent "product to showcase". Beyond that, this lack ofproductivity is exactly what is contributing to 
intensify some of these uncertainties and confusion that have accompanied the makers. 
In this book, however, past internal uncertainties and suspicions are transformed into long trajectories and 
passages leading to some final understanding, and a good sense of common ground is proposed. For 
example In Mark Coniglio's "The Importance ofBeing Interactive", he concludes.with the following 
important remark: 
By using new technology to allow our performers to become real-time creators, and by asking our audience to be present to their on the-fly artistry, we ensure that each performance of a work is absolutely unrepeatable, which may be the boldest move of all. (p.12) 
Coniglio establishes what we were trying to do for quite some time, that members of the public must be more involved as practitioners during performance in order to assure optimum level of a unique experience, and places equal responsibility on the viewers, too. He adds though "[t]his is not to say that an interactive work cannot be appreciated at face value" (p.10), nevertheless; performance experience becomes the mutual responsibility ofboth the performer and the viewer. 
It is also refreshing to find out how carefully "over-used" terms wear new skin. Kjell Yngve Peterson attempts to address issues related to "The Emergence ofHyper-Reality In Performance." He describes the process of computers being inserted into a media stream, "making it a telematic construct"; the purpose is to allow for a displacement in time, "capture an action and display it later" (p.37), thus adding/leaving an imprint. Peterson goes deeper with the following description: "The performer wanders between the real and virtual worlds. She leaves copies of herself, dances with her mirror image and plays together with a series ofher doubles". As she continues moving about the performance space, she is being seduced by "demon­like replicas of herself' (p.38). The left behind imprint, the copy ofthe self, and the physical body self­replica, is essential in this case, and serves as the raw material for justifying the development of 'the human real' (p. 35) as a notion, as an understanding, as data. 
What struck me in the most positive way is the careful selection process of the makers/authors/contributors, and how meticulously edited the papers appear to be. The multiple ideas, simple, and complex, are carefully woven into the very fabric of this contradictory world. It is written in a useful way, highly representative of some fine finished/complete works by artist's practitioners that most of them have been at it for over a decade. 
For example, I have been aware of fools Gilson-Ellis' and Richard Povall's work for quite some time; unfortunately I have never seen any of their creations. Richard Povall and I finally met in Monaco where we were commissioned to show our own respective work and conduct a workshop at the Monaco Dance Forum, in December 2002. Through reading/postings about their creations, lhave become familiar with the kind of collaborative work they make, more specifically with Richard's very interesting new sound, video production, and his important contribution to the development of intelligent, responsive, environments, and "phenomenally-aware systems" (p.57). It was quite a poetic transformation for me to get to read their well choreographed and uniquely arranged chapter in this book, entitled "Halving Angels: Technology's Poem". No matter what they write about, the poetic embrace and transformation is central to their mutual artistic pursuit. They use their "art and performance practice to analyze the ways in which digital technologies have altered processes ofmaking work" (p. 55). The following paragraph epitomizes the notion and understanding of true, productive, and mutually inspiring, collaborative work: 
Technology has made different kind of poets out ofus. Together we sing ghost songs. We have haunted mouths, and speaking flesh. Together we imagine impossible things that I can write, but not make: Together we make things that I can't imagine. We barter noisily like grandmothers. Because I am a writer, and trade in poetry, so I tempt technology to do the same. fools Gilson-Ellis, (p. 55). 
There are so many different ways that one can speak and write intelligently about the collaborative, creative, and multi-modal process. Without attempting to overemphasize the outcome/product, the mutual benefits that can arise as a consequence of a successful collaborative effort, and the deep-heightened sense ofpersonal self worth that accompany such success, are very familiar to those artists engaged in its practice. Gilson-Ellis' ability to articulate in such a personal, sensitive, coherent way the essence ofhis and Povall's collaborative process, brings about a new way of looking at it. 
Jackie Smarts chapter, "The technology ofthe real: Wayne McGregor's Nemesis and the ecology of 
perception" addresses important issues that are primarily meaningful to the way McGregor works. His 
choreography for Random Dance "places concepts of the body, time and space into fresh dimensfons". 
These three concepts and the ways they interrelate helps McGregor understand "what constitute reality" 
from which he then examines (with the use of technology), how he can "provoke new perceptual 
pathways". He challenges the viewer to reconfigure its traditional comprehension of the body in the way 
we know it "extending the location ofthese concepts into extra-human areas" (p.40). 
McGregor's enormous talents as a dancer/choreographer have earned him and his company a prestigious 
place as company in residence at London Sadler's Wells Theatre. The ways he explore the use of 
technology in the last decade has worked uniquely well for him; however, he is definitely engaged in his 
own personal brand of exploration, one that has generated some very interesting, and super energized 
works. I wonder though if his stated way of working derives from his fear/refusal to accept mediocrity in 
himself, or ifhe is engaged in a fundamentally different philosophical approach to collaboration and 
interdisciplinary work. 
I think my responsibility, as a choreographer is to work kinetically with every element, so I choreograph the film, I choreograph the lights. I work with choreographic form through all those processes. The collaborators all bring amazingly new things to the dialogue, but I do want them to look at their process from a choreographic point ofview. So they're not coming in just bringing their own language. They're actually approaching it from what I call a choreographic consensus. McGregor 2003 (p.45) 
Over the long run, I find that there is much to loose when one exercises that much authority/control over 
process and all elements related to the creation. It becomes somewhat incestuous. That is to say, one get 
used to ones comfort; too enamored with the desire for instant happiness. 
It is naive and somewhat stilted to think that all can be fixed, secured, and assured, ahead oftime? There's got to be a more inclusive input in a creative collaboration from all contributors. I think ... 
Christie Carson's chapter "Turning conventional theatre inside out: democratising the audience 
relationship" focuses on "the digital revolution that has not only changed our methods of communication, it 
has changed our vision of what kinds of communication are desirable". What is significant in this chapter 
however is her interest in how the use ofnew technologies impact "traditional theatre practices". In 
particular "the contrasting approaches taken by the National Theatre, The Royal Shakespeare Company and ·Shakespeare's Globe Theatre in terms of making their work more public and more accessible through new 
technologies" (p.153). 
Carson describes accurately how the important process of change has occurred gradually and inevitably. How mobile phones, and computers have gradually invaded the theatre back stage scene and finally, the interesting process of integration that took place. The on going pressure that most large institutional theatres are facing relates to the on going quest ofhow to "not only please current audiences but to develop new ones" (p.154). "Repertoire changes that facilitate a more personal experience" (p.156) are placed "by contrast" opposite more traditional practices from "mainstream commercial London theatre"(p.157). Shakespeare's Globe Theatre is parsed for attending to "a new model for the future", and " new ways of working" (p. 158). 
In conclusion, I all heartedly agree with Carson's suggestion that it is because ofthe shift and dismantling 
of"some power structures in the theatre" (p.164), that additional major changes will take place. 
In my opinion, good editing is one that you can barely see or feel. However, it is not the case in this fine collection of works and the breadth of ideas and practice covered in this book. I would go so far as to point out that by virtue of careful selection ofthe works and the curatorial/editing process represented in this case, it becomes clear that while the projects differ in range, content, and the technology use, common concerns and ideas emerge. 
This is not a book about what the authors and contributors have been thinking, or a 'snapshot' into their 
complex ideas and work making. It feels as if the makers have been lead into a process that demanded the 
delivery of clarity, understanding, and a good sense of place and practice. They possess a great 
understanding oftheir craft, ideas, thought, and what they are attempting to describe. 
Although I have selected to analyze a limited number of chapters from this book, it does not suggest in any way a lesser opinion ofthe chapters omitted. They are all worthy of attention. Time and length restrictions and the need to get a cohesive point across have informed my selection process. 
Gavin Carver and Colin Beardon rightfully note "the breath of examples covered in the book makes it unwise to attempt to extrapolate a unifying theory ofnew technology in performance from the examples cited" (p.2). However, as these performance makers and academics (in this book often one and the same), who are employing digital technologies, are recognized for their contribution to ''the efficient or spectacular staging of performance" (p. l ). Responsibilities are placed upon them to demonstrate, write, and speak clearly about what it is they are making. The opportunity to do so was provided, and they have delivered. The book is utterly inspiring. 
Professor Yacov Sharir Dance and Virtual Environments University of Texas at Austin 
Shaping Consciousness: New Media, Spirituality, and Identity Conference 
Y acov Sharir 
"Convergence Identities", 2005 

Abstract and Assertion: 
The seductive power and agency of interactive art and the emergence oftechnologically manufactured man-machine hybrids, simulated humans and cyborgs has stimulated my imagination and practice as an artist/performer for over a decade. A primary focus ofmy research and work is issues related to how disembodied self is re-embodied in cyber-bodies occupying increasingly immersive cyber-worlds have become a primary. They highlights the technological progress ofa development that begins with the implementation of machines as tools, leading to phenomenological experiences and further experiments with the use ofwearable computers, additional wearable devices, and high-end interactive systems. Earlier technological developments have already displayed various examples of future human bodies, visual prototypes ofbodies and virtual selves, and perceptually enabled intelligent agents, specifically as demonstrated in the works of Stelarc, Steve Mann, and Thad Starner among others. 
The use of such high end technological mediation in my own research and performance practice allows me to generate and manipulate manufactured cyber human/s counterpart/sin real time. During performance they are projected through several alternative see-through projection surfaces such as scrims, screens, fog, mist, and water, back into the performance area, allowing both myself and my counterpart/s to share, perform, and co-exist in a mutual space. Time and spatial consideration, emotional and spiritual connection, touch, partnering, organized structured improvisation, and by chance collisions are made on the fly and rarely planed ahead of time. 
Fm dance, practitioners t.1.e interface between mind and body is a field of energy "vital force" often referred to as the "Core". Through practice and performance dancers acquire the skill to apply and manage "vital force" by mobilizing several body and mind centering techniques, and acquire the ability through increased awareness to productively distribute this power where it is needed at a specific moment. Together they create a link between the physical existence and the spiritual state oftranscendent consciousness, assuring a coordinated operational continuum between the two. 
Dance, movement, yoga, and martial arts, are all forms of somatic practices. All can be used as physical 
performative communication modalities by uniting the physical and the spiritual as an integrated whole. It 
is important to note that although all ofthese practices require a simultaneous physical, and spiritual 
connection, it is the act ofperformance that grounds them in the body, which is continually engaged in a 
transformative process. Questions arises as to what are the opportunities presented to us when we consider 
interactive technological mediation? How can performance be augmented with the use ofthese 
technologies? How can the physical human body and the artificially constructed cyber body can operate 
autonomously? · 
"One ofthe aims ofthe cutting-edge French experimental performance group "The virtual Tightrope Walker" team ( 1 ),. Michel Bret, Marie-Helene Tramus and Alain Berthoz" is "to create arts installations showing virtual actors who are endowed with artificial perceptions that enable them to react in an autonomous way to the cues given by spectator (or by the physical performer/operator), thus opening art and cognitive science to a whole new range ofpossibilities for the exploration of virtual life". Further more, they now believe that "the sensorial aspect also may be envisaged from the point ofview ofthe work of art itself, as the work has become endowed with perceptions of its own". This raises one ofthe most crucial questions in contemporary digital arts: that of the relationships between natural and artificial "perception­movement-action" and "function". 
This important notion ofthe virtual actor endowed with "artificial perception and autonomy" is consistent 
with my attempt to share similar experiences that arises from many years of shared performance space and 
practice with multiple generations of computerized cyber human characters. I have continuously 
experienced the presence of a shared energy field (of sort) that is present in performance much similar to the energy shared between two physical human bodies/dancers as they interact in more traditional dance forms, partnering work, and as practiced in dance contact improvisation~ 
Steve Paxton. One the most influential pioneers of contact improvisation. Describe "Contact Improvisation (Cl) as a means to explore the physical forces imposed on the body by gravity, and by the physics of · momentum" (2). 
"Touch is a non-verbal language and very richly evocative in intention, direction, suggestion, and refusal, through the point of contact there is a two way system of communication, listening and responding, commitment and questioning, leading and waiting". 
In this situation, trust becomes a top priority. The improviser Paul Langland adds "the performers need to release tension and uncertainty and meet one another in an open, relaxed way, otherwise they will not be able to establish the connection that is essential to the process ofreciprocal improvisation" (3). Similarly to CI, in addition to the obvious electronic connection, the partnering movement actions between a physical human and a cyber-human is improvisational, and sensational. 
While in performance a 'reflection' of my own physical representation is projected on a see through surface in the form of a cyber-human. My physical actions, movements, and gestures are enacted; at this point, the wireless electronic and physical contact (from afar) between my cyber partner and myself become more intensely intertwined and committed to the moinent-by-moment unfolding ofthe "duet". Through repetition these enacted gestures and moves are muscle memorized and can be performed intentionally or unintentionally by either one ofus depending on the situation at hand. As in CI, the success of such tactile, physical, yirtual, and spiritual interaction necessitates mutual support and trust, which is to say that there are many levels by which we are interacting over and beyond the range of our ability, our experience, inhibition, and electronic connection. 
Definition: 
By attempting to define my shared experience, I am seeking to identify other artists and scientists that are 
conducting similar or related research that can shed some light or suggest ways for sharing similar performance experiences. 
I work in the context ofinteractive performance, and in relation to the artificial construction ofvirtual worlds and performers that eventually can take on life and actions of their own beyond the electronic 
connection. At this time I am speaking from my own performance experiences, but I am also relying on 
research, performances and a series ofreferences that I am now presenting (non exhaustively at first) by 
other practitioners, ·ultimately leading toward the delivery of clarity in definition and realization of my 
stated assertion, question and purpose. 
My research is not limited exclusively to how my assertion is supported through technological mediation; I am also looking at alternative communication modalities such as in "cognition", specifically in the realm of the body mind centering techniques, "energy expansion" within the context of dance, duet partnering, and contact improvisation, "transformational, and transcendental actions", researching exciting dormant powers, primitivist and spiritualized vision of "action patterns", zero gravity, inertia, friction (between two bodies), centrifugality, and momentum within the context of ever-varying internal and external states. Thus I hope to demonstrate the need for better understanding ofthis phenomenon. 
Interactivity and suggested "Second Interactivity" ( 4). 
I do not necessarily consider interactive art as highly communicative in its principal practice, but rather I am fascinated with the option for the construction of sort, and the introduction of certain type of sensorial understanding. More specifically, I am interested in the consequences of audience participation and their contribution to the process of shaping performance in real time. They too develop a point of view that may need to be considered more seriously. Although (traditionally) the same type of sensorial understanding and practice is primarily exercised by the physical actor/activator, I am looking at the model of arts installations emerging as a more suitable forum for attendees to better understand the importance oftheir contribution. 
In order to move toward what they suggest as "second interactivity," in reference to "second cybernetics" (5). "The Virtual Tightrope Walker" team, conducted research drawn "from cognitive science and biology, especially connectionism, genetics, and the physiology ofperception and action". "Second Cybernetics" as in dance improvisation also "deals with more complex and fuzzy relationships that are closer to intuitive human behavior, compared with previous cybernetics". 
Like in dance practice, Tramus leads us to an often unknown and undervalued form ofthought that she calls "body-thought" (6). To that notion I would add the term often used in dance practice as "muscle­memory" and unplanned "action-patterns", in order for us to better understand how an artificial construct/counterpart can begin to behave on his/her on. Berthoz calls this counterpart the "doppelganger". "To self-configtire, would be favorable for the development of experiments on the body-brain-environment and interactions of a virtual creature (7). 
It is within that context, that my artistic practice have converged-literally and figuratively-in this realm 
ofutilizing interactive sensorial based systems that are activated through human postures; gestures, movement and communication between real an:d the perceived/virtual. 
"Communication scholar Sheizaf Rafaeli suggests that "Interactivity is an expression ofthe extent that in a given series of communication exchanges, any third (or later) transmission (or message) is related to the degree to which previous exchanges referred to earlier transmissions". Sheizaf Rafaeli (8). 
Rafaeli's concept ofthree way communication exchanges clearly suggests that interactivity is not merely a mouse click-web surfing mechanism but rather a more complex con1...T..unication modality that must produce a three ways action/reaction in real time. Thus allowing a third party (of choice) to participate in contributing to the creative process. 
To this end in his article "The Importance ofBeing Interactive" technologist-artist Mark Coniglio suggest "By using new technology to allow our performers to become real-time creators, and by asking our audience to be present to their on the-fly artistry, we ensure that each performance of a work is absolutely unrepeatable, which may be the boldest move of all" (9). Interestingly Both Rafaeli's and Coniglio's notions (presented in this case from two very different sensibilities) requires the same technological support that can enable that high level ofparticipation. 
I am gradually realizing however that the technological exploration, tools and, sophisticated interactive systems alone will not lead to a fmal conclusion. A workable language must be developed to better understand and describe the interactive performance experience with an intelligent, autonomous, artificially constructed humans and how they can take action on their own. 
The self-descriptive, self-reflexive and recursive processes ofconsciousness reveal themselves as a dance ofreal.and computer manufactured (virtual), flesh and re-configuration, sensory presence and re­presentation, cognition and re-cognition. In the ordinary flow of conscious experience, these pairs are not encountered as binary oppositions in conflict, but in a continual dance oftransformation, one into the other. I converge with my own creations-the technological tools-and give birth to untested tools and new gestures of both consciousness, leading to physical actions. 
The Emotional, Poetic, and Spiritual Connection 
The emotional engagement for which I can attest to is most potent while the physical and the virtual characters are engaged in attempting to touch, interact and or fmd ways for manipulating each other. These emotions and feelings· are affecting the actions and the outcome ofperformance in ways that are unpredicted prior to the act oftouching. They are situated within the phenomena of"autonomy" (for both the real and the virtual actor). According to Varela "autonomy means internal law related to self­generation, self organization and the affirmation of identity" (10). 
The online Magazine for artists embracing technology "Digital Performance" fall 2004 conducted a conversation with Sarah Smirnoff and Hal Eagar the creators of"The Adaptation of The Sandmann". 
"Terra, the performer manipulating the digital puppets, mentioned that she was better able to synchronize her manipulation ofthe digital characters when she was looking at Tony, her fellow performer, and making an emotional connection with him on stage" "I did not feel that the characters were successful in making an emotional connection -BUT -I do think we are closer to figuring out the steps to understanding how and what the actors need to connect to each other while using the technology" 
Joo ls Gilson-Ellis asserts, "Technology has made different kind ofpoets out of us, referring to his collaborator Richard Povall. Together we sing ghost songs. We have haunted mouths, and speaking flesh. Together we imagine impossible things that I can write, but not make" (11). 
Alternatively, in my work I can make things that are possible to experience but difficult to describe. They can be seen they can be felt but are lacking the technological and scientific justification that can support clear definition. By that I mean what exactly takes place when a cyber counterpart behaves autonomously and take life/behavior on it's own? What (if any) is the combined mechanism that facilitate for such a phenomena? 
"Together we make things that I can't imagine. We barter noisily like grandmothers. Because I am a writer, and trade in poetry, so I tempt technology to do the same" (12). 
Rational: 
It is important to note that because many of us in this medium of interactive performance, are usually doing quite different things, I see remarkably little mutual understanding taking place, not just in aesthetic, but also in fundamental approach. There is as yet not much of a workable critical theory around most ofthis work, and therefore there is little commonly understood language to describe what we are all trying to do. Consequently, too much inevitable hype and rhetoric has been introduced without any apparent "product to showcase". Beyond that, this lack of productivity is only serving to intensify some ofthis uncertainty and confusion that have accompanied most ofthe makers. 
That said, great advances have been made in several areas related to performance arts and interactive "intelligent installations". Internationally recognized collaborative teams conducting important experiments at these crossroads include the following unusual combinations: cognitive science and biology (1 ), connectionism, genetics, and physiology of perception and action (2), neural science and networks (3), and artificial, "haptic teleoperation" (3). Also the introduction ofnotions such as "Second Interactivity" (4), and "Body-Thought" ( 5) are very important and intriguing, they can potentially lead to some very important different research areas and combinations · 
References: 
(1) 
"Interacting with an Intelligent Dancing Figure": Artistic Experiments at the Crossroads between Art and Cognitive Science Michel Bret, Marie-Helene Tramus and Alain Berthoz, 2005 ISAST LEONARDO, Vol. 38, No. 1, pp. 46-53, 2005 47 

(2) 
Steven Paxton, "My Rise and fall in Contact Improvisation" Contact Quarterly winter, 1990 

(3) 
Paul Langland, The Illustrated Encyclopedia ofBody-Mind Disciplines, Nancy Allison, CMA Editor, "The Develpment of Contact Improvisation" 

(4) 
"Interacting with an Intelligent Dancing Figure": Artistic Experiments at the Crossroads between Art and Cognitive Science Michel Bret, Marie-Helene Tramus and Alain Berthoz, 2005 ISAST LEONARDO, Vol. 38, No. 1, pp. 46-53, 2005 47 

(5) 
E. Couchot, M.H. Tramus and M. Bret, "La seconde interactivite," in Arte e vida no seculo XXI, Organizadora Diana Domingues (Brasil: Edition UNESP, 

(6) 
M.H. Tramus, "La question de la multisensorialite dans les arts nunieriques interactifs," paper presented at ISEA 2000, available on-line at Actes ISEA 2000 <http://www.isea2000.com>. 

(7) 
A. Berthoz, La decision (Paris: Editions Odile Jacob, 2003). 

(8) 
Sheizaf. Rafaeli "Wikipedia" paper, Interactivity: From new media to communication, In Sage Annual Review ofCommunication Research: Advancing Communication Science, Vol. 16, eds R. P. Hawkins, J. 

M. 
Wiemann and S. Pingree, 110-134. Beverly Hills, CA: Sage. 

(9) 
Mark Coniglio, "New Visions In Performance" 2004, "The Impact of Digital Technologies" (p.12). 

(10) 
F.J. Varela, Autonomie et Conp.aissance. Essai sur le vivant, edit (Paris: Le Seuil, 1989). 

(11) 
fools Gilson-Ellis and Richard Povall, "New Visions In Performance", "The Impact ofDigital Technologies" 2004, (p. 55). 


Yacov Sharir "Body Automatic" 
Visualizing the Real and the Virtual in a High Performance Interactive Dance Environment 
Abstract 
This paper analyzes visualization and participatory experiences within a high-performance interactive dance environment. To avoid confusion, we differentiate between the terms 'VR' and 'virtual reality.' We use the term VR when referring to the traditional technology of head-mounted goggles, data gloves, and other technological mediations that disconnect some ofthe senses (primarily visual) from real space and immerse the participant in a fully virtual world. We use the term 'virtual reality' to describe the full range of experiences that result from the connection between real and virtual input. Though the dance performance does not use VR technology in the traditional sense, performing within this space proves to be a profoundly immersive experience; the difference is that both real and virtual spaces and events are present to the senses ofboth performer and audience simultaneously. This creates a coincidence of worlds, a virtual reality in the second sense, that, when analyzed, sheds light on the nature of and the relationship between the real (physical) and the virtual (perceived). The experience of moving through and sensing a real space while at the same time wired to create a tightly linked interactivity in a virtual space, is in itself a visualization of virtual reality and reveals properties of a self-describing system, a Godelian 'strange loop.' The exploration ofhighly interactive visualizations, where the real and the virtual inform and determine each other, requires an ana~ysis of design issues related to the development and use of cyberspatial environments. 
1. Introduction. 
The dance work-in-progress, Body Automatic, centers on the computer-mediated interaction between a physical dancer and computer.;.generated cyber dancers. Real and virtual worlds are blended and simultaneously experienced, distinguishing the system from a full immersion using VR technologies where the visual input of the immersant is wholly algorithmically generated. The term virtual reality itself (using the term to refer to a range of experiences distinguished from VR as a specific set oftechnologies) suggests a non-contradictory, but paradoxical blending of two worlds. [1] Virtual realities vary in degree of immersion from web surfing (and relationship building) in cyberspace to the full sensory immersion of a VR constructs. [2] These experiences often call into question fundamental perceptions of space, time, embodiment, and identity: the building blocks of how we cognitively construct (visualize) the world in which we operate. [3, 4] These experiences can be powerfully affecting to the participant. Ifvirtual realities of increasingly immersive power are to be used for scientific and educational visualization, an understanding ofthese subjective human experiences needs to be factored into the design process. [5] This analysis steps outside of a dance performance experience as aesthetic object per se and examines it as a visualization whose subject is the interaction of the virtual (perceived) and the real (physical) as categories by which we organize and describe experience. The data visualized is created in real-time by the visible interaction of human and cyber-dancers. The abstract and elusive categories of 'real' and 'virtual' are modeled in the multi-sensory modalities of dance: visual, sonic, kinesthetic, and proprioceptive. Visualization reveals and deepens the complexity ofthe interaction between the physical dancer and the cyber dancer. 
2. The technological environment. 
Although virtual reality has been employed for years in such applications as pilot training, CAD, and scientific data visualization, and is increasingly common in movies and video games, the use of VR in the fine arts and performance has been very limited. This is largely due to the fact that it requires expensive facilities, large scale interdisciplinary collaborations, and the development of collaborative skills and conversation. Body Automatic is a collaborative effort between a dancer/choreographer and a composer/programmer. A touch sensitive dance floor/MIDI controller (which is capable oftransmitting precise position coordinates, velocity, and pressure information in the form of standard MIDI messages) has been developed as an environment for the creation of interactive dance works. The surface consists of a large number of Force Sensing Resistors (FSRs) which are attached to heavy-duty plastic sheeting and covered with polyethylene foam. The sheets may either be placed on top of or beneath a standard dance floor. The FSRs are typically arranged in a grid with 16 columns (left to right) and 4 rows (front to back), which result in a 16' square dance surface with 64 (l' x 4 ') velocity and press.ure sensitive regions. Each is assigned a separate input channel of a Voltage-to-MIDI Interface Box which has 64 analog inputs, plus MIDI Out. The MIDI Box incorporates a Motorola MC68HC 11 microprocessor and can be programmed to convert input and output analog signals to and from any desired MIDI messages, on multiple MIDI channels. Hence, used in conjunction with an "intelligent" external video motion tracking MIDI processing system, it is ideal for use in interactive dance compositions. One or more dancers/choreographers can affect music, lighting, and the motions ofthe cyber-dancers by the nature oftheir movements through three­dimensional space as well as by their precise position(s) on the FSR surface. 
3. Description of the dance performance. 
The work-in-progress analyzed here was presented at the seventh Biennial Symposium on Arts and Technology at Connecticut College, March 4:.7. 1999. We will describe the event from two different viewpoints: that of an outside observer, and from the perspective ofthe dancer/choreographer. The dancer/choreographer used the interactive MIDI dance surface in conjunction with a video motion tracking system. Movement in the dance space interactively triggered the dance movements of four animated cyberhuman dancers. Their images were projected on a large screen. The dancer controlled his performer partners, the cyberdancers, triggering movement in their bodies that varies with his own, as well as musical sounds. The movements of the cyber dancers, though tightly linked with those ofthe live dancer, differ in several ways. The cyber humans exist in a virtual space with no defined boundaries. At times, their movements can defy both gravity and the articulation ofthe human body, thus expanding the possibilities of dance and movement, though never going beyond the human so far as to break with the essential 'humanity' of the representation. The term 'cyber human' is applied to these entities and their imagistic representation. Even though one knows, in the audience, that the movements ofthe live dancer are generating the movements of the cyber dancer, that distinction of causality rapidly blurs. Who is leading whom? becomes a question for two reasons. First, the 'humanity' ofthe representation of the cyber dancers invites the attribution of agency to their dance movements in affecting the live dancer. Secondly, the fundamental operation of mimesis, the way a dancer will respond to another dancer's (live or cyber) movements, tightens the linking by developing interaction on this second, non-mechanical level. The creation of this second level of interaction also makes the influence of live and cyber dancers a two-way street, and by responding, as to a human, helps to create the perception of 'humanity' in the cyberdancer. As such, a recursive feed-back loop is created: 1. the dancer moves in the space; 2. the motion triggers the movements of the cyberdancers; 3. the movements ofthe cyberdancers draw response from the live dancer, influencing his motions in tum; 4. these new motions on the part ofthe live dancer trigger a different set of motions on the part of the cyberdancer, continuingthe loop. The fact that the linkages exist both on the mechanical (motion sensing, signal transmitting) level and on the cognitive, intentional and responsive level ofthe live dancer's choices in the interaction is important to this analysis of the real and the virtual. How is this multidimensional, multisensory looping experienced by the dancer? An excerpt from the dancer's report illustrates how the dancer both visualizes the event and analyzes the visualization. Both visualization and interpretation deepen the complexity ofthe interaction between 'real' and 'virtual' dancers. 
The multiple sensory systems enabled me to fully immerse in some kind of a future body, physically, emotionally, and virtually. At times, as I was physically moving about and around the .cacophonic performance space, I was able to fully manipulate my performer partner, a cyber dancer, either each of its elements one at the time or the whole body at other times. As I progressed, I felt as if I had become increasingly very clear and clean, accompanied by illuminated bright and clear images. As a 'body without organs,' [6] in such resembling the cyber dancers themselves, I inhabited some kind of a search engine or browser which produced my historical visual images. These images could lend themselves to other spaces or other humans or cyber humans and in couplings. These images bring back dim memories of my early cyber images as if they were ancestries, located elsewhere, in another space, yet completely and entirely accessible. I felt illuminated, accessible, and at times clearly disembodied, experiencing life on another level altogether. When I am totally immersed in such a complex computerized physical and virtual performance environment, at the very least I feel subversive, intertwined within the theatrics and automatics of the machinery. There is no when, no . now, and maybe no then. It was a performance environment where time, like space, is a becoming­coagulation, a confluence of an event that passes into chaos. I am overwhelmed by strong and somewhat conflicting emotions; I feel immersed in a cyberspace where the automated bodies ofthe cyber dancers emerge as beings, as bodies always do. 
4. Analysis ofthe dance performance. 
The analysis of the dance event in an interactive environment as a visualization seeks to reveal the object of visualization as virtual reality itself. To this end, the complexities of visualization, the problematic term 'virtual reality,' and the paradoxes inherent in self-descriptive systems will be discussed. The questions raised by the analysis range from the philosophical to the psychological to the technological. They are raised, not in the expectation of answers, but as probes to incite discovery and heighten awareness ofthe complex issues at stake in the design of increasingly immersive interactive environments, whether the intended use be scientific visualization, education, art, or entertainment and games. 
4.1. Visualization 
In speaking of "visualization," are we referring to the output ofthe computer in the form of visible, dynamic images, algorithmically generated from data gathered by motion-sensing devices? Are we talking about the cognitive models (mental images} of the designers ofthese systems, the prior modeling or visualizing of data on the part of the engineers, scientists, and/or artists? Or when we use the term "visualization," are we referring to the interpretive models, again, the cognitive creations ofthe data analyst, whether that analyst is called scientist, audience observer, or interactive participant? Ifthe answer is "all ofthe above," as it is in the case ofthe dance event, we are describing a complex system of interlocking cognitive, bodily, and computational events. These events are perceptual, representational, and interpretive couplings ofthe human and the technological. Under the umbrella of multiple meanings, visualization as a process both creates and uses virtual realities. The use ofthe same term, visualization, for actions and events in both human and machine worlds, the blending, in fact, ofthose worlds when the term is used without specification, points to seamless nature of the experience. The dancer reports, "IfI am immersed in the virtual space, I am always still existing in the physical space. That duality is a very interesting thing. When you are immersed in a traditional VR construct you lose the physicality, lose the sense of your physical being, or at other times you are reminded of it because of disjunctive circumstances happening in the virtual space, causing feelings of instability, light-headedness, or nausea. [5] In Body Automatic, I experience something closer to an optimum balance between the real and the perceived because my body is the activator, not the conduit for the virtual experience." 
The virtuality ofthe cyber dancers becomes an augmented layer ofexperience, not a replacement for the physical experience. A key property ofthe interactivity in general is the multi-layered quality ofthe experience. [l] As in all immersive virtual experiences, real space and virtual space coincide, cognitively blended by the participant. A simple example of world-blending occurs when a person walking down the street is wearing headphones and listening to music. He is in an electronic sound-space; he is moving to the music, perhaps semi-dancing, humming, or mumbling the lyrics in real space in response to the music. For him, the worlds are blended seamlessly. For an outside observer, the distinction between worlds is visible in the disjunction created between movements in real space to sounds that are invisible from the outside. If you did not see the headphones, the behavior could look similar to that ofhallucinating schizophrenics, themselves in tight communication with a world perceived only to themselves. In Body Automatic the dancer is not only contiguous with an interface (the dance mat) but is within the interface ofthe video tracking system. His movements, however, are not disjunctive; the audience can see the effects created in the cyberdancers, as well as the interactive relationship between real and virtual movements. The real and the virtual worlds are both blended and shared. Some, but not all, ofthe virtual realities in play, are available to the audience, as evidenced by the dancer's description of a far deeper immersion. This disparity raises questions as to the means of assessment ofvisualization tools using varying degrees of immersion: will wholly objective (observable from outside) methods suffice in evaluating effectiveness, ifthis disparity between 'inside' and 'outside' experience proves a critical factor? What are the differences between virtual and real space? What is the-possibility ofa blurred distinction between two intersecting complex worlds? What is the connection between the humans and their representational counterparts in cyberspace? How 
can an articulation ofthe design process for the cyber dancer address these questions? 
4 .2. Reality and virtuality. 
Asking an engineer "What is reality?" often elicits a knuckles-rapped-on-table demonstration ofwhat, for all practical purposes, is the answer to a non-problematic question. Nor is the question often relevant to the task at hand. However; the real and the virtual are increasingly significant categories by which experience is being described, not just in classrooms and labs, but in general usage. These descriptors have conjoined in the powerful meme "virtual reality." This term, composed ofwords from the domain of philosophy as well as our common-sense usage of 'reality,' now denotes a cluster of emergent technologies: data-gloves, goggles, electronics signals and sensors, VRML, for the dynamic, interactive creation of inhabitable worlds. 'Virtual reality' is a term embodying a viral idea, conjuring worlds ofpotential technological creation and inhabitation in the minds of scientists and computer gamers (future scientists, in many cases) alike, worlds that the imagination carries far beyond those which are currently technically or economically capable of actualization. We are building the worlds we imagine VR can let us physically inhabit in the virtual reality we call the mind's eye. We are visualizing these worlds in scientific and mass market articles, in speculative fiction, and in cinematic special effects. This phenomenon gives the impression that the term itself, and the imaginative world-building notions it den9tes and connotes, contains the agency to give birth to that which it describes. What are the issues oftime, space, and physicality we must visit in asking the question ofhow the body is to be represented and inhabited in a virtual space? How can a sense of bounded space be accommodated within an environment defmed through its lack of edges? What are the laws of motion in a non-physical universe? What metaphors are possible for the construction of virtual spaces? 
4.3. Self-describing systems and virtual reality. 
Douglas Hofstadter, in the twentieth-anniversary preface to GOdel, Escher, Bach: an Eternal Golden Braid, 
[8] defines his main thesis thus: "In a word, GEB is a very personal attempt to say how it is that animate beings can come out of inanimate matter." Strange loops are the distinguishing factor between inanimate matter and the selfhood ofthe animate. Strange loops are self-describing systems, the "swirly, twisty, vortex-like, and meaningful patterns that arise only in particular types of systems of meaningless symbols." The dance between real-dancer-body and cyber-dancer-body occurs in a technologically mediated, recursive feedback loop. Body Automatic suggests a complex metaphor ofthe self-reflexive visualizations of consciousness (the self observing, thinking, and modeling itself). The recursive process ofthe construction of identity through bodily expression between real and virtual dancers also recalls Turkle's descriptions of self-knowledge-seeking social interactions on the internet. [7] This impulse toward self and self-knowledge inherent in self-describing systems is evident in the choreographer's intention toward his art. Short manifesto 
"I am seeking to create works that are very clean and clear with illuminated passages and transitions, works that will never have a plot, but rather, will inhabit a browser or a search engine attempting to search for the performer's past experiences and knowledge, works that do not need to be choreographed, since they will have neither beginnings nor ends. I am trying to conceive a choreographic system that will arrange and rearrange itself by itself, for itself. It will adhere to a pre-conceived code producing non-linear hypertextual content that will provide structure and allow the work to progress gracefully. It will take on a life of its own, recognizing its community of cyber dancers, continually examining their ageless bodies and superb condition; bodies that will stop at a specified magnification ofdesired size, speed; and astonishing liquidity, The bodies will be placed against or adjacent to each other .. They will gracefully and happily defy gravity and introduce a whole new vocabulary .ofraw movement material, organically and generously carving space for each other. These dancers will co-exist in peace and harmony." 
Hofstadter theorizes, "the Godelian strange loop that arises in formal systems in mathematics...is a loop that allows such a system to 'perceive itself, to talk about itself, to become "self-aware", and in a sense it would not be going too far to say that by virtue ofhaving such a loop, a formal system acquires a self." In Body Automatic, this capacity of a looping system for self-description is visualized. Ifvirtual realities­that range of experiences we have been attempting to describe from many angles-are self-describing, what is the epistemelogical potency of such a self-describing system? 
Self-desciption involves a shift between self as subject describing, and self as object described. The work 
itself, Body Automatic, can further be seen both as an it and a self, or more concretely, a dance between the 
two. The it, or object (interactively animated cyber dancer) is initially acted upon by the self, or subject, 
(live dancer). However, it takes on a self-hood and agency as the dancer responds to its motions. Clearly 
they interact, they influence each other, in a world that is (despite the visible machinery of mediation) 
experientially seamlessly meshed as a single world. In the dance, the virtual and the real act and interact, 
'observe' each other (through real senses and virtual sensors), and respond (react) to each other. The body is 
the world that is most intimate (though 'virtually' invisible) to ourselves. A virtual world is being created 
and experienced by way of the body. When we link the live body to a cyber body in the dance, we begin to 
understand -notions of interactivity as an extension ofthe human body and condition. 
This work presents a body informed by computer extrapolations that presents a relatively coherent view of 
an emergent art world. In the words ofthe dancer, "Questions arise from the physical body, which at times 
resists the automation ofthe body, or embodiment in or as machines, and at other times flirts with the 
subversive qualities ofsuggested magnified performance with the pleasurable pain it elicits. Questions 
emerge suggesting topologies oftemporality. No matter how deeply involved I am in this process the major 
issues and questions remain about the dramaturgy ofperformance content, and internal and external 
consciousness oftime, new topologies oftemporality." In considering the real and the virtual, a 
fundamental question arises: what, exactly, does it mean to be cyber human? 
5. Conclusion. 
Technologically mediated visualization is an epistemologically potent set ofrepresentational tools by which we are creating knowledge about the world we live in. Use ofthese tools enables us not only to analyze complex data of what-is, but to imagine worlds ofcould-be and what-if, the utopias and dystopias ofthe imagination. The visualizations of the tool builders, the programmers, the designers and artists engaged in the building ofvirtual yet inhabitable worlds, create knowledge about how we as humans construct the worlds, internal and external, that we inhabit, through the complex, dynamic intertwining of reality and virtuality. Interactive virtual realities of varying degrees of immersivity are among the most powerful tools in terms ofthe human experiences reported and observed. The mtegration ofthe working methods ofa group of individuals trained in different aspects ofthe arts and sciences offers insight into a range of design methodologies; the inter-disciplinary cross-pollination infuses the collaborations with the energy of human discovery. The authors collaborate with artists that are increasingly considering metaphors of science and scientists that are employing metaphors ofrepresentation, visualization, and imagery which owe much to the world ofthe digital arts. As art is transformed by interactivity, science increasingly recognizes the subjectivity ofthe observer. In tum, technology informs our aesthetic and structures and is engendering new processes and genre ofperceived and real performance. 
We close with the dancer/choreographer's words: "The Body Automatic makes me reconsider dance, while longing for what I have left behind and dreaming ahead. Without the electronic disturbance, the signal from the live dancer, the automatic body wiil not be able to function. Is the automatic body some kind of an electronic disturbance (or perfect order) where perhaps there is no perceived performance or no one is observing? 
Citations 
1. 	
Benedikt, Michael, "Cyberspace: Some Proposals." Cyberspace: First Steps. Ed. Michael Benedikt. Cambridge: The MIT Press, 1993. 

2. 	
Bricken, Meredith. "Virtual Worlds: No Interface to Design." Ed. Benedikt, Cyberspace. 

3. 	
Varela, Francisco J., Evan Thompson, and Eleanor Rosch. The Embodied Mind: Cognitive Science and Human Experience. Cambridge: The MIT Press, 1996. 

4. 	
Johnson, M. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: The University of Chicago Press, 1990. 

5. 	
Pesce, Mark. "Final Amputation: Pathogenic Ontology in Cyberspace." Presented at the Third International Conference on Cyberspace, University of Texas, May 1993. Online: http://www.hyperreal.org/~mpesce/fa.html. 

6. 	
Deleuze, Gilles, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: University ofMinnesota Press, 1994. 

7. 	
Turkle, Sherry. Life on the Screen: Identity in the Age of the Internet. New York: Simon & Schuster, 1995. 

8. 	
Hofstadter, Douglas R. GOdel, Escher, Bach: an Eternal Golden Braid. New York: Random House, 1999. 


Professor Y acov Sharir 
Choreographer, Multimedia, Dance and Virtual environments 
University of Texas at Austin, Department ofTheatre & Dance, Austin, Texas 
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Continued from Fl 
magazines line the upper shelves as Sharir, head ofUT's dance department, works quietly, assembling the parts of a 3D-rendered human form on screen. 
Every few minutes he will watch a few seconds of the video he is creating: The faceless form ofa woman's body, cast in metallic textures, bending and turning in recognizable dance forms. The 3D model repeats the movements again and again, adjusting to the tweaks, never tiring. She is a cyber Pinnocchio, carved from the wood of imagination and Adobe After Effects. 
When he takes a break, Sharir, glasses and curly gray­ing hair belieing his youthful energy, begins to explain what's coming. 
"I'm so swamped, I wanna cry," Sharir says, smiling. But ultimately, it will come together. It's a performance. It's all about the performance, he says. 
Next week, Sharir's dance company, Sharir + Busta­mante Danceworks will present the latest cyber experi­ment, "Automated Body Project," from Sharir. For more than a decade, Sharir has been exploring the link be­tween art and technology, fusing virtual performers, digital cameras and touch sensors into already avant garde performances. 
His latest is even more ambitious. In the show, Sharir 

Peter Yang photos/ American-Statesman Yacov Sharir, head of the University of Texas at Austin's dance department, has worked for years to bridge the gap between technology and the arts. In his latest perfor­mance, Yacov will don a wearable computer (prototype pictured here) that will communicate wirelessly via sen­sors in the suit, allowing Sharir to interact with projected 30 images on screen. The wearable compuer was de­signed by Sharir and a team of UT engineering students. 
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will don a specially built motion capture suit and inter­act with a virtual dancer projected onto one of about a half-dozen cube-shaped screens. Glass beads holding up the cubes will refract, giving the illusion ofthree­dimensional images. Proximity sensors will detect where Sharir is on stage. A wearable computer integrat­ed into Sharir's unitard (including in the prototype ver­sion a trackball mouse, headset, USB hub and a wrist­based minikeyboard) will be the latest bits of technology to find themselves in the pioneer's artistic work. 
For a man who surrounds himself in Sony products at the office and who takes obvious delight in knowing how to compress Quicktime video, is it simply tech fetish­ism? How does technology fit into a rigorous art form that is clearly about human (and not necessarily me­chanical) expression? "I don't want to lose sight that this is a dance event and not a technology event. What we are investigating is how interactive or reactive technol­ogy can upgrade performance," Sharir says. 
What Sharir is also interested in is interdisciplinary work. For this show, Sharir and the Department of The­ater and Dance have assembled not only a team of stu­dents and faculty who worked on the show for two se­mesters, but also a group of engineering grads who, for all the similarities in disciplines, may as well be from another planet. 
Stagecrafters 
They work on the top floor of a flat university build­ing, in studio 4B. The room is grotty, with exposed light­ing sockets lining the ceiling and backpacks strewn across the hard, exposed floors. It's a big empty room. Lots of computers. Lots of wires, tools and a fast Internet connection. Add some pizza, and it's an engineer's ideal environment. 
Wei Yeh, a Ph.D student in UT's convergent media program, has been working with Sharir on the wearable computer, and even shared a panel on wearable devices at this year's South by Southwest Interactive confer­ence. Yeh, polite, friendly and quietly intense in his en· thusiasm for the project, first met Sharir during his in­volvement with a 3D virtual space class. Both men share a passion for not only technology, but the ways in which technology can enhance a lifestyle, or even a single per­formance. 
"Yacov's previous works have been about the interac­tion between the virtual and the real," Yeh says. "He wants to reach into the holographic cube and pull out a virtual dancer. He wants to break that barrier." 
Yeh helped assemble a small team skilled in engineer­ing, programming and some physical construction of circuit boards. The components, built in-house, include several one-inch by one-inch "accelerometers," which detect movement on stage wirelessly. There are also bendable sensors, which look like strips of celluloid, that can sense the movement of bending joints. And then there's the eye-piece, a glorified camcorder view­finder. 
The wearable computer suit is built from these pieces as well as old-fashioned telephone cable, a serial port and of course, the unitard itself. It will function similar­ly to what is used on big-budget Hollywood films to cap­ture human movement for computer animation. The price tag on a suit like that is usually about $110,000. 
The UT team spent about $500 to construct their ver­sion, spending about $25 per accelerometer and $2.25 per flex sensor. 
"All these components are really cheap and the prom­
ise is incredible," Yeh says. "The technology is out 
there. It's just putting together a team to figure out what to do with it." 
While Yeh enthuses about the technological research the team is doing, one break from convention for them is the deadlines and pressure inherent in live perfor­mance. The team will work long hours to get their work done on time, while also keeping an eye on leaving the system's architecture adaptable for future projects. Then there is the matter of the stage performance itself. 
"It can't be buggy. It has to work," Yeh says, two weeks before the performance. "It's either going to work or there's no show." 
Performance 
When the last movement, virtual or other­wise, has ended in the Winship Building Theater Room, the next step in Yacov's jour­ney into cyber themes will be completed. But 

The brains of I
Yeh and Sharir plan to continue their work 
suit: the small• 
together on future projects. 
board is an a1
For his part, Yeh believes this perfor­
log to digital c
mance is an important step in realizing a 
verter; the lar!
world where art and the art of living the hu­
board is a pe1
man life can live peacefully with emerging 
mance interfa 
technology, without the information over­
multiplexer.
load we've become accustomed to. "My per­sonal goal is the enhance the wearable computer and create a pervasive informa­tion network. We'll have data coming at us all the time, but it won't be intrusive like cell phones," Yeh says. 
Yeh's work will continue through his dis­sertation on the subject and he expects infor­mation networks like the one he envisions The suit's flex may hit the mainstream in the next five to 10 sensors sense years. "It just needs to be rethought. We've movement of accepted the innovations of technology with-bending jointi out seeing why. Systems will adapt, and work for us." That future may include such retro sci-fi imaginings as heads-up projected screen glasses, network-ready jewelry and wearable computers that can exchange infor­mation with'anyone you come in contact with. 

For Sharir, who was already painting a staged canvas that included virtual perform­ers by the mid-'90s, the future will continue to be about stages that are "intelligent" and Acceleromete that enhance the overall performance for an wirelessly det audience. The migration for the artform by movement on others, he believes, will be similar to the use stage. of video projection for performances today: 25 years ago, it wasn't part of the world of dance. Now, many troupes use the technology for shows. 

The only difference, he says, is that the tools to create these artistic frontiers will be more readily available, and won't need to be built from scratch. 
"You don't start a dance until xou have the space and the choreography. The technologies willl have to arrive at the same time that everything else does, and we'll be able to explore it from day one instead of just imagining it." 
You may contact Omar L Gallaga at ogallaga@statesman 
.com or 445-3672. 


HOME : MAY 13, 2005 : ARTS : DANCING THROUGH UNCHARTED TERRITORY 
Dancing Through Uncharted Territory 
Choreographic explorers Sharir & Bustamante and their 20-year expedition of discovery 
BY ROBERT FAIRES 

Bustamante's Rain Drops, with the choreographer 
(I) 
On Sept. 23, 1806, Meriwether Lewis and William Clark returned to St. Louis after more than 20 months of leading an expedition through the uncharted wilderness of the Louisiana Purchase. The boldness with which they headed into unknown lands, the courage they showed along the way, and the wealth of knowledge they brought back were such that from that time forward, their names have been linked as explorers. 
On May 13 and 14, 2005, a couple of Austin explorers bring to a close their 22nd season of pushing through uncharted territory. Like Lewis and Clark, they've led a Corps of Discovery that's shown bravery and daring on their journey, they've shared much that has enriched the lives of their countrymen, and what they've done has caused their names to be bound together in the public mind. Choreographers Yacov Sharir and Jose Luis Bustamante have had their names joined in the name of the company for seven seasons, but their expedition through the frontiers of modern dance has been going on for more than two decades. During that time, these men have taken us into new realms regarding site-specific performance, video and dance, performance in cyberspace, and computerized 
choreography. Our city has been blessed with many pioneering modern dance artists -Deborah Hay, Sally Jacques, Heloise Gold, Diana Prechter, Andrea Ariel, Darla Johnson and Andrew Long, Ellen Bartel, to name a few -but none who have done so much for so long at the head of one company as Sharir and Bustamante. With Sharir receiving recognition for his achievements -the 2005 University Cooperative Society Fine Arts Award in March, induction into the Austin Arts Hall of Fame on June 6 -and Bustamante closing Sharir+Bustamante Danceworks' current season with a look back at some of his previous work in addition to the premiere of a new dance, it seems fitting to take note of their journey of exploration. 
In some ways, the partnership of Yacov Sharir and Jose Luis Bustamante seems almost fated; their lives have run on parallel tracks. Both men are emigres who came to the United States as adults. Both also came to dance as adults, after years of study in other fields -Sharir in ceramics and sculpture, Bustamante in biochemical engineering and marine biology. That may help explain why they haven't been content to stay within the boundaries of modern dance as they'd been defined; they were both accustomed to venturing into unfamiliar territory. 
It was Sharir who brought Bustamante into the Austin fold. In the early Eighties, the Israeli native had just launched his second dance troupe in the city -his first, the American Deaf Dance Company, had helped pave the way for deaf artists to dance professionally in the late Seventies -and here was this talented young dancer from Monterrey who had been driving up to Austin whenever some great American dance company appeared at the lIT Performing Arts Center and taking the occasional class here. Impressed with his talent, Sharir offered Bustamante a position with the then new Sharir Dance Company. Bustamante declined, saying he needed to finish his degree at the Tecnol6gico de Monterrey. But the two stayed in touch and a year later, with his studies completed and the offer still open, the younger man said yes and moved to Austin. 

Sharir's The Egg 
Bustamante characterizes the company as always being a place for seeking out the new, the untried, the experimental. "There's always been a sense of discovecy: What if we do this? What ifwe tcy this?"' he says. "There was always something stimulating. Yacov was always bringing these really important choreographers into Austin. When you think about the modern choreographers that have come into this town" -Merce Cunningham, Trisha Brown, Margaret Jenkins, Doug Varone, David Dorfman, Bella Lewitzky, et al. -"there aren't that many cities in the United States that have had that kind of exposure. Then Yacov got into technology, and I was like, •oh, I don't know about this,' but maybe because of that I found my way of relating to that through video. Ifs kept me vecy interested and comfortable with the idea that it's important as a human being to question, to look for alternatives." 
One of the questions that Sharir began asking in the 1980s was "What kind of dance can be made in a world without physical limitations?" As computers became more and more a part of our evecyday lives, the choreographer grew fascinated with the new frontier of cyberspace. No laws of gravity or biological constraints to hold a dancer in check. A dancer could stretch her leg 12 feet or spin at 120 miles per hour. What were the implications for choreography? He set about to investigate, collaborating with artists in other disciplines who were similarly intrigued by this new territocy and computer scientists, software designers, and technicians. By the time most of us were just catching wind of this newfangled thing called ''e~mail," Sharir was already an internationally recognized leader in the field of virtual reality and interactive technologies. In 1992, he scored a two-year fellowship from the Banff Centre for the Arts and was able to produce Virtual Bodies: Travels Within, a collaborative work involving live dance and a virtual reality environment. Two years later, he was a featured speaker at Art 21: Art Reaches Into the 21st Centucy, a conference sponsored by the National Endowment for the Arts, then it was on to ACARTE 97 in Lisbon, Portugal, and the Man, Technology, and Society conference in Stockholm, Sweden. He's hardly stopped traveling since, in meatspace or cyberspace. And his work with wearable computers continues to keep him on the vanguard of art/technology exploration. 
Meanwhile, Bustamante was developing his own career as a choreographer. Just a year after he joined Sharir's company, Bustamante was one of five finalists in a Dance Umbrella choreography competition, which prompted Sharir to have him start setting his work on the company and name him resident choreographer. Within five years, he was one of 10 young American choreographers chosen to go to France as part .of an exchange program sponsored by the American Dance Festival. By the early Nineties, Bustamante was landing in the finals of national competitions and winning prestigious residencies here and by the end of the decade he was achieving the same abroad, as evidenced by his selection for the Suzanne Dellal International Dance Competition in Tel Aviv, the International Computer Music Festival in Greece, and ACARTE 97. His exploration of dance in nontraditional performance spaces won the support of the National Endowment for the Arts through a New Forms Regional Initiative Grant awarded to him and performance artist Sally Jacques. Works such as Court 6, his dance performed inside a racquetball court with two glass walls revealed an uncommon ingenuity in translating choreographed movement to unusual environments. And he's made his own investigations into the use of technology with dance, though less with virtual reality and more with video and computerized lighting. 
The retrospective of Bustamante's work in this week's S+B Danceworks production revisits some of his technological adventures, what the choreographer calls "pieces in the past that were important to me for a particular discovery -that changed my way of thinking or opened my mind to other possibilities." One involving interaction between a live dancer and animation was, he says, the seed for all his work with video; another involves the use of a single source of light to illuminate the piece, with the pattern and design of the light images determining the spacing of the dancers. 
Bustamante likens the process of making some of these pieces to solving puzzles and offers that the discoveries that come through these kinds of explorations may have more to do with formal concerns of movement than the artistic content. That isn't always the case, he says, and one of the challenges in creating new work is finding that balance in the relationship between content and formal aspects. Another is to push yourself beyond what you've done before, what's comfortable and familiar. The new work, Snake Rock, builds on Bustamante's recent exploration of Indian Kathak dance and its complicated rhythms and gestures, but he doesn't want the piece to run back over the territory he explored in a work such as Rain Dance. "When you're trying to look for something deliberately new, something that you have not done before, you set it to your mind that as you look for solutions, you don't want to fall into familiar solutions. What are you going to do to make it feel like we haven't been there before? Or there is this set of movements that are part of another vocabulary, and how are we going to marry them there?" 

court6 
Part of the responsibility of being an explorer is to keep pushing forward and finding new ground to cover, and that weighs on Bustamante. But to look at the men at the helm of Sharir+ Bustamante Danceworks, that doesn't appear to be an issue. Sharir has left the artistic direction of the company to Bustamante, giving him more time to continue to explore cyberspace. And Bustamante himself talks about being "pulled in different areas. The dancing is still very exciting to me, 
but I see it in connection with other elements. I'm intrigued by formats for the presentation of dance in combination with something else, and I don't know what that means. Is there something like a choreographic installation? What is that? What elements are involved in it? Who designs those elements? Those are the kinds of questions I want to answer, but you kind of have to start from scratch." That sounds a lot like someone with new territory staked out to explore. Snake Rock is based on a poem about a curious being that combines characteristics of different kingdoms and is constantly shifting in form: s:qake rock, flower with feet, animal with fruit, and so on. That could easily describe the modern dance company that is premiering it: still evolving, still creating something new. 
Bustamante is pleased and proud that that's the case, though he feels it's not about the explorers so much as the expedition they're on. "I think it provides a very vital service in the community still," he says. ''Yacov always said it's really not about him, it's really not about me, it's about an organization that believes in new works and the importance of that process." II 
Dance 
S+B FLOATS BUOYANT DANCE 
One of the longest-standing modern dance troupes in Texas, Sharir 
+ Bustamante Danceworks completed its 21st season in a fitting manner Saturday at the McCullough Theatre. Jose Bustamante reprised his 1997 "Songs of the Sea." Alluring and introspective, the piece unfolded through nine very different movements. Beautifully dressed mermaids floated and swayed as if underwater, for instance, and a strange crustacean-like creature groped and clamored about. Altogether, Bustamante's short dances added up to a shimmering, sensuous portrait of the undersea world. 
But the standout of the evening was "Silence Erupted, 11 a new piece by Yacov Sharir. A dance in five movements, it took a cue from American Sign Language to create a physically intense series of duets, trios, solos and sextets. Performed to a original composition by Graham Reynolds (the music was sometimes haunting, sometimes pulsating and percussive), the dancers rose and fell, twisted and turned, their entire bodies shadowing the angularity and surprising formations that sign language demanded of their hands. 
XL I Arts I Reviews -May 20, 2004 
Most compelling were the ensemble movements, especially in the finale, "The Return .. " The very nimble dancers twisted in twos or leapt as a uniform group. Then, like a fugue, they began to mirror, echo and answer each 
. other's increasingly intricate moves. 
In more than two decades at the forefront of the Austin dance scene, Sharir has experimented with virtual reality and other communication technologies to explore their possible intersections with modern dance. "Silence Erupted" capped that journey with an exploration of another body-based language and its potential relationship to dance. 
.... 
--Jeanne Claire van Ryzin 

Austin American-Statesman LIFE & ARTS Monday, May 12, 2003 
l · WEEKEND REVIEWS 
DANCE 
g3Perfect fusion of 
~~dance, technology

:·~...~/ ~=:~:: For years, critics have complained that Yacov , .... Sharir's marriage of dance and technology showed . " promise, butdisappointedinperformance. Friday, · his Frankenstein efforts paid off with a revelatory · two-part dance presented as part of Sharir + Busta­mante Danceworks 20th anniversary gala. In "The Absent Body: A Cyberhuman Dance," Sharir alone moved mini­mally behind a screen that exhibited computer­generated images con­trolled by electronic at­tachments to the dancer's · body. The sophisticat.ed onscreen permutations of 
.1 

human figures twisted into 
Henry Moore sculptures, 
stretched into reptilian 
creatures and generally 
performed as a body might 
in an alien gravitational . 
field. 
Frank Curry 
Then, in "The Absent 
Laura Cannon 
Body Suite," the company performs at the Sha­performed solos, duets and rir + Bustamante group pieces clearly ani­Danceworks 20th an­mated by the distorted fig­niversary gala ures previously viewed. Friday. Bodies balanced, extended 
and interacted in novel
For more weekend 
ways, sometimes related to 
reviews, turn to 
recognizable modem
page E3. 
dance moves, but uncan­nily non-human at the same time. Graham Rey­nolds helped to unify the movement with a score of sweet melodies, pummeling rhythms and spiky clusters of sound, while Lisa D'Amour contributed dreamlike verbal images to an associatively 
See REVIEWS, E3 
Continued from El 
themed voice-over. 
Jose's Luis Bustamante's dances are almost always gor­geous, emotion-soaked and·more thanalittlearcane. "RainDance" was no exception. 
Dancers emerged from white, rain-like columns of filaments to combine North Indian Kathak­style motions -coiled arms and hands, angled postures and floor slapping -with the energy and locomotion of modemdance. The unlikely pairing of styles pro­duced lovely variations from dancers in striking skirted suits. Regaled in peacock blue, Busta­mante performed the central so­los in "Rain Dance," always re­storing the more traditional techniques. 
-Michael Barnes 

LIFE & ARTS Mond~y. January 20, 2003 E3 
DANCE REVIEW 
New dances lift Sharir 
into another 20 years 

By Michael Barnes 
AMERICAl'l'-STATESMAN ARTS CRITIC 
Sharir + Bustamante Dance Company, the city's finest mod­ern dance troupe, marked its 20th anniversary Friday by looking forward t -tther than backward. At the McCullough Theatre, "States of Grace" showcased eight up-and-coming choreographers rather than veterans Yacov Sharir and Jose Luis Bustamante. 
For"Garden ofDreams," Gina Lalli patterned a stiffly sym­metrical duet after the Indian Kathak style, enhanced by Bus­tamante's dolilike expressions andLalli's beatific countenance. 
Andrea Beckham's generous­
/ 
hearted "Skin Bubble" loosened ~dividual movements into ten­der contact, then crimped social groupings into mature kines­thetic themes and variations. 
Holly Williams took a risk by 
___,-·-~ingRavel's insistent "Bolero" fof\a dance by the same name. Scott Marlowe and MoHy MacGregor applied a constrict­ed idiom of motions, while a projected video mirrored their actions previously recorded in Austin settings. Duets turned into quartets as the vocabulary increased in relational complexity. 
Allison Orr never fails to in~ 
vent. Her "Sextet" employed two trained, female dancers, two 
descriptive voice-over. 
Laura Cannon revived a technology that lillks -the danc­ers' movements to digital noisemaking, · a -strategy that rarely translates satisfactorily. Two dancers, dressed ·in Mardi Gras costumes, waved · their wings monotonously, tlien Beckham balanced herselfl>Q multicolored skulls. At least Cannon established an u:O:. equivocal atmosphere. '' : 
Kent de Spain's "Sentinel~ contrasted a soundtrack of ver­bal violence with martial arts movements. The black cos­tumes, red lights and blindfold$ establL:~hed a framework of art­ful seri:.-iusness; but the angular manipulation of weapolllike dowels did not become compel­ling until midway through the dance. 
Andee Scott modestly drama­tized intimate affection between two female dancers as they kissed, spooned and rolled off each other's bodies. In Theresa Hardy's "Absurd Heroes," Can­non and Scott repeated histri­onic_ agitations at a table as Bustamante moved a Sisyphean stone on a rope. 
Not all the dances held one's attention, but there is no ques­tion that Sharir +Bustamante is a fertile incubator of dance ideas and dance-makers. 
mbarnes@statesman.com; 445-3647 
middle-aged men and two La-1---­brador retrievers in linear de­signs to an amusingly 
Invisible Fence 
KeeninQ" vour familv 
A GUY THING (PG-13)DiaV(12:15 5:00) 7:20 9:40 KANGAROO JACK(PG)o1aV(11:55 2:20 4:35) 
7:109:35 NATIONAL SECURITY (PG-13) DIG V (12!10 
2:25 4:50) 7:40 10:15 THE HOURS (PG-13) 01a v (11 :30 2:05 4:40) 7:15 9:50 25TH HOUR (R)-ID REQUIRED 010 V (1 :00 
4:00) 7:00 10:00 JUST MARRIED(PG-13)010V(12:30 2:45 5:10) 
7:35 9:50 NARC(R)-ID REQUIRED 010V'(12:00 2:30 5:15) 
7:45 10:15 ABOUT SCHMIDT (R) -ID REQUIRED D10 
(11:30 2:15 5:00) 7:45 10:30 CHICAGO (PG-13) 01G(11:30 2:00 2:45 4:30 5:10) 
7:00 7:35 9:30 10:00 CATCH ME IF YOU CAN (PG-13) 01G (12:45 
3:45) 7:00 10:00 ADAPTATION (R)-ID REQUIRED 01G ( 12:15 
2:45 5:20) 7:!:0 10:20 GANGS OF NEW YORK(R)-ID REQUIRED 010 
(11:45 3:15) 7_:00 10:20 TWO WEEKS NOTICE (PG-13) DIG (12:30 3:1 5 
5:30) 7:50 10:10 LORD OF THE RINGS 2(PG-13) D1a(1 :00 5:00) S:OO HARRY POTTER 2 (PG) DIG (11 :30) A.M. 
BIG FAT GREEK WEDDING .(f'..C}t~'!': ~~~1~:~9 

Best Bets 

·Saturday, January 19, 2003 statesman.com E2 
Amazing 'Grace' from 
Sharir + Bustamante 

Fully recovered from its much-publicized 200lbattle with the City of Austin subsidy system, Sharir +Bustamante Danceworks is back with its 20th anniversary performance, "States of Grace." The showcase features the work of eight choreographers representing a variety of traditions and performing experiences. Andrea Beck­Where: McCul­ham's "Skin Bubble" augments original music and dance with vi­lough Theatre, . suals by sculptor John Christiansen to create a "piece about touch." 23rd Street and In Laura Canon's "Transmigration of Angles/70 years," dancers Robert Dedman trigger the sound score through the use of motion~sensitive cam­.Drive eras. Kent De Spain's quartet, "Sentinel," uses martialarts-inspired movements and a "found sourid" score to· explore the "psychic landscape between abusers and the abused;" Theresa Hardy's "Absurd Heroes" l.s inspired by Albert Camus' "The Myth of Sisy~ pbus." "Garden of Dreams," by Gina Lalli, is a lighthearted, ro" mantic duet in the Lucknow Kathak style of Indian dance. Other works include "and so it goes," "Bolero,"· which juxtaposes:video 
· arid live movemen,t with Ravel's masterpiece, and Allison ·orr's · 
"Sextet," an innovative dance for "an English professor, .a Zen 
priest, their two guide dogs and two trained dancers." 

-Jeremy Egner Andee Scott is one of eight choreographers rep­resented in 'States of Grace,' the 20th anniversary performance by Sharir +Bustamante Danceworks. 
Only on the Web: Find the exhibit you're looking for in the Austin Gallery Guide.
The Arts·I Au§fn~Go
../ 	on statesman.com Plus: Search for theater events by name and venue. Austin360.com/events 
TO UST YOutl ARTS EVENTS: e-mail xlgrids@statesman.com, fax 445-3968, voicemail 912-2987. Deadline is Thursday at 5 p.m. 
TROUPE THRIVES BY STAVING ON ITS TOES 

BY SONDHA LOMAX 
A 
round the country, avant-garde dance troupes are endangered spe­cies. Yet Austin's Sharir+Busta­mante Danceworks, which on Friday 
'\ opens its latest production, "Sex, Lies and Fairytales," survives. It continues surfing the experimental fringes ofthe dance world, opening its 21st season this week with edgy dances by six local choreogra­phers. How is the company making its way through the arts recession? · When the economy nosedived, the com­pany downsized. Yacov Sharir, the troupe's founder and artistic director, spent 20 years building his company's reputation a:s Texas' lead­ing postmodern dance troupe. After two . decades of expansion, encouraged by ad­vancement grants from the National En­dowment for the Arts, Sharir finds him­self heading a small, grassroots organization. Two years ago, the troupe entered its 19th season with strong attendance, criti­cal accolades and solid finances. Then funding plummeted. Although the company ended the season debt-free, by the beginning of the 2002-03 season, tough decisions had to be made. "We knew change was inevitable," Sha" ~ rir said. "We had to be proactive, which meant drastically altering oU.r operation­al structure." · 
Sharir+Bustamante Danceworks 'Sex, Lies and Fairytales' _ When: 8 p.m., Jan. 30-31 
.	Where: McCullough Theatre, 23rd Street and Robert Dedman Drive How much: $12-$16 Information: 474-2453 
Firstto go was the business office and the full-time executive director. Annual productions dropped from three to two; then co-artistic director Jose LU:is Busta­mante stepped down to became resident choreographer, which came with a salary cut. Dancers, formerly salaried for nine months of the year, were paid hourly. 
For Sharir, returning to administrative and managerial duties was a shock. 
"Last season was intensely difficult. It took me over a year to get back into the mindset of a dance company administra­tor," he said. "Artistically, we were soar­ing, but we had to remain in the black fi­·nancially. To do otherwise was unthipk­able." · 
Ironically, the situation looked bleakest . during the middle of the company's 20th · anniversary season. 
"We had no idea ifour fund-raising · campaign would be successful and 'weren't certain how much government funding would be cut," he said. "We had to cancel our annual auction, which meant losing another 12 percent of our usual mcome." 
The company's operating budget fell from $300,000 to $175,000, so dancers and volunteers took on administrative duties. 
"For me, the biggest change was that I became the company's general manager and moved the business office into my home;" said dancer Laura Cannon~ "But the restructuring also a:llowed,me and oth-. er dancers more input into artistic mat_. ters." 
Although the company's future seemed uncertain, the light at the end of the' tun­nel came with the spring 2003 productions. 
"When I realized the downsizing didn't affect the artistic quality or the tremen­dous audience response, I thought, 'OK, this is possible.' Ifs amazing how artistic energy can turn a bad situation into a good one," Sharir said. 

"Most ofmy peers from the NEA ad­vancement days no longer have compa­nies," Sharir explained. "I'm one of the few who survived. What we discovered al­most too late is that forcing limited­support institutions to grow using stan­dard business-models isn't always viable. And it certainly isn't safe." 
Now the trend is in the opposite direc­tion, he says. Companies must focus on artistic development, not organizational growth. 
"Size doesn't affect our ability to gener­ate new ideas," he said. "Thematkally, · 
From left, Terry Hardy, Donnie Roberts, Allison Orr and Karly Dillard perform in ·sex, Lies and Fairytales,' t he latest pro­duction from Sharir+Busta­mante Dance­works. 
Jose Bustamante and Blake Trabulsi 
we are committed to researching and augmenting dance with new tecluiolo­gies, and we believe strongly in support-. ing the next generation of artists." 
So where does Sharir+ Bustamante fit in? 
"We found our niche in Austin years ago," Sharir says. "And now that Ballet Austin and the UT Performing Arts Cen­ter are providing artistic leadership by presenting a variety of new and classical dance, it anows us to experiment and avoid plunging into the safe, pretty and traditional:" 

most straightforward of the journeys -we went on a pil­grimage with Cannon and fellow dancers Shonna Walden and Jillian Ardoin. The three very simply made their way from the front of the bare stage to the back down a pathway of light, occasionally being blown down or off the path into darkness and struggling to get back. The dance's simplicity gave it a mythic scope -the feel of a journey through life -with the dancers' persistence, marked in Beckham's slow, determined movements and the melancholy score by 'pianist Billy Wolfe, providing poignant resonance. 
We went on a journey into the underworld to re-examine the plight of the Greek heroine loved by Orpheus. In "A Few Questions About Eurydice," a narrator recounted the names of women who had been raped in the tales and dramas of ancient Greece as images of violence were projected on a screen and on choreog­rapher Andee Scott, who moved slowly inside a large white con­struction resembling a lacy cage. Emerging from it and shedding her dress, the naked Scott underscored the vulnerability of all women and the lack of safety for them in our violent upper world. 
We took a journey through a day, with a patient on an operat­ing table; a drunken, possibly suicidal cowboy; a couple in a bedroom; and someone encountering a traffic accident while driving to work. Holly Williams' "Extraordinary Day" combined video projections of her characters' experiences with images of flowing water and the moon and spoken word by Zell Miller Ill to supplement danced expressions of anxiety and tenderness. In showing us these five different individuals independently con­fronting their mortality, Williams opened our eyes to their shared humanity and the extraordinary in every day. 
We took a journey inside our heads, with Theresa Hardy's "Compassionate Resolution of the Psychological Dilemma," which linked a projected drawing of a brain with the labyrinth that housed the Minotaur of Greek legend. Hardy and dancers Laura Cannon and Allison Orr appeared wearing bolero jackets and affecting the moves of a matador, suggesting daring heroes of the psyche -agents of reason or compassion, perhaps ­braving the maze of the mind to face down the beast within . 
Even in as abstract a work as choreographer Leslie Dworkin's "Rise," there was a journey: Four dancers started out performing rolls, flips, twists, and poses independently in sequence, then moved to performing them simultaneously, then to performing them with partners -a progression from solitude to community. 
The final dance seemed least like a journey, but it did take us on a walk with the King. For "The King and I," Allison Orr utilized three women and a trio of Elvis impersonators (late Vegas era, thankyaverramuch) to playfully delve into our relationship with this seminal pop culture figu re. Orr mixed silly images -three Elvises gliding across the stage on scooters, women being knocked down by flying footballs -with windmill arms, popping knees, and twitching buttocks made legendary by the King. As the women re-created these and other gestures, it became clear what we have taken from Elvis and absorbed into ourselves. Yes, Elvis has left the building, but doesn't he rock on in us? A pleas­ant thought to ponder on the journey home from this string of intriguing journeys. -Robert Faires 
. . 

.. 

"l'RB AIJsTJN 
CHRONICLE 

I 
·-. I
d a·:r1 
. -' . 
L
BY WAYNE ALAN BREN~ER AND KATE X MESSER 
Friday 08 
It's midmonth again, yes; but let's merely. mention No Shame Theatre this time, lest that popular performance open mic at the Hideout become packed beyond what the fire ma·rshail might consid­er the parameters of safety ... Instead, let's focus our spotlight on Personals from Naughty Austin. Yes, the folks who brought us Making Porn are back with another hot ticket -albeit probably a lit­tle less fiery than that last one -·written by the team who introduced the world to Ross, Rachel, Joey, Chandler, Phoebe, et al. What's that? You don't recognize that group of names? Huh. Well. We'fl bet you'll still enjoy this new musical comedy from your naughty friends at Penn Field ... <;THEATRE) . 
The ca;p Fig·Gallery on Fifth Street Downtown has a new show opening tonight, and you know they hold such congenial receptions ... (VISUAL ARTS) 
4t • Music Recommended: 8 ti 
Steve Earle, La Zona Rosa 
Richard Buckner, Privilege 
Saturday OG 
Not just any dance event, Sharlr + Bustamante Danceworks' latest offering, States of Grace, is a showcase of local choreogra-­phers' most recent and compelling v1ork. We're especially looking for­ward to seeing Allison Orr's Sextet, featuring a pair of dancers per­forming with two blind men and their guide dogs, and Laura Cannon's incorporation of digital cameras and MIDI interfacing. Works of mod­em kinetic wonder, there at UT's McCullough Theatre ... (QANCE) 
Join the Chronicle's own Erina Duganne, curator of Arthouse's new "Beyond the Academy: Encouraging New Talent From . Texas" collection, for a talk with the dozen fresh talents (and their mentors) showcased at the Jones Center ... (VISUAL ARTS) 
Time's running out. This is the very last night. During which you can experience Dead Man Walking from Austin Lyric Opera ... (CLAS­~~LJ . 




THE AUTOMATED BODV~PROJECT: 
BACf< id T~IE FUTURE . . 

· Brock~tt The~tre, 
April .28 

Technology is.finally beginning to catch up with Yacov"Sharir's. · imagination. S,har-lr+ Bustam~nte panceworks .has b~en experi­m~nt_ing with computer animation and dance performance for the better·parfof a decade. and I think they are onto something that current te~hnol()gy can suppOrt. The AlitomatedBody Project filled the UT Department of Theatre & Oance's,Brockett Theatre (formerly the Theatre Room) with first-time audience members, longtime fans;,·a~d a glass bead curtain sculpture that shimmered in the light 
. like fiber ~ptic threads. Noticeably absen.t from view were the 
.· :'. 	computer equipment and crew~ they w~r·e tucked comfortably into the corners of the theatre and the booth. Silently filtering data from EKG and EEG electrodes placed ·oil Sharif's body, the CyberPRINi . ·'.· 
. systerrl'displayed minute fluctuations graphi~ally on the screens behind him. In ano.ther piece, movement...sensitive video equipment triggered text and so"und collages as dan¢ers play~d wilt\ the zone where sound occurred. The choreography juxtaposed sequential · 
·movement ripplinq through flexible spines with .complete stillness. · , t_he start/stop nature of the.chor·eography proau~ing astirring duet betwe~n cac"ophony _and silence, Sharir's ·glow-in-the-dark wearable corrlputer"'housed stored ,?nimati9_ns ·he could manipulate !n reaUirhe to·alloy.i cyber dancers projected on rnovable screens to interaeiwith.the.real dancers .. · , moving behi~d Jhe screen.. Choreo.grapl~i¢ ectloe~-ricocheted 
b'etwe~n th~ tw·o worlds. Traveling farther into the cybe.r realm.~ 
duo of real dancers attached to the ends of one bungee cord inter­
acted with two weightless cyber dancers on the sere.ens ·in front o.f 
them. "fhe real dancers. bound to each other in a constant state of 
precarious balance. leaned and hung, floated and dove headfirst 
toward the ground, mimicking the weig~tless counterpoint of the 

. cyber dancers. The b~ngee idea is not new -it has allowed dancers to perform weightless featsand partnering from the moon -but in · the context of cyber-partner.ing~ it is fresh and inventive and begs for the creation of deliciously thorny classifica_tions of "real" and "not-real'' danc~rs. This company has gone.from performing in smaller. more inti-
I 
mate venues like Synergy Studio'and Capitol City Playhouse to . pro9uctiqns In lar'ger pr~sceniurn venues like the McCullough · 
I
Theatre, yet, as an audien~e member. my vi'sceral connection with this work has ~aned over the years. I have not been able to identify . i it until _nbw. bu{'the.missing element that nagged me with iJs absence was intimacy. Subtle connections among the dancers and . ;: , 
I
. low-key facial ~t<pression·s had been previously swallowed up by increased dista~ce fron:i the audience at larger venues. Up clo~e;· . o.ne:can fully appreciate the qancers' expansive and expressive arms, the thr~e~dimensi6nal use of space and the intense'focus on . 
. each other thrc>ughout smoothly acrobatic partnering. This work would not hav~ benefited from a larger space -it needed immedi­ate conta~·t witl1 ttie audience. Let the acc~untants rec~nCil~ the dilemma of nesding larger spaces to ,house performances and ,I satisfy budgets: I find it gloriously ironic that th~ tiresome but info 
-_ 	adage that ydu have to go backward to go.forward applies to tech· nology a~ well. In order to move forward with the act of synthesiz­ing dance and technology, S+ B Danceworks had to step·back from 
" between flesh and ether as real dancers effortiessly partnered their •'. : larger vehues ahd embrace a smaller space and as·a result~ the .: cyber Counterparts. It was simp.ly beau.tiful and.!mpossible in the::··. .· humanness ()n~ beauty within the movement becafTie more ' real world of gravity, but this piece actually exi~ted on the screen .·, · ·eviqent. · · · · -.Dawn Davis Loring 
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4~ .· /he Austin Chronicle. May 4. 2001 · · . · · · · 	· · · · · · ­
• .• 	'•' I: : 
~pecial Thanksgivingedi~i~on ­

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1 :.• 
··oan'ce review 
Danceworks' beauty surprises, delights 

. BY MICHAEL BARNES 
American·Statesman Arts Critic 

When did modern dance be­. coine so beautif,W.?_.. 
j_. · 
Avoiding the severity, pompos~ ity and contentiousness that has pfagued rn.odern danc.e -and its offspring, postmodern dance ­
. fot·decades, Sharir + Bustamante Danceworks deiivered an eve-. ning of atmosphere:'poetry, mu­sicand~yes! -movement Fri­day at the McCullough Theatre: 
·	NOt that dance-mak.ers Yacov Sharir. and Jose Luis Bustamante abJifred narration, technological tricks or cultural commentary, but rather, they have recommit­
:tecfto thelanguage of d~nce. In some sense, Sharir'and Bus­tamante never lost their fluency. Witness the revival ofBusta­mante's 1988 "Henrietta & Alex­andn1," an exquisit~ly sensual · duet. With Donald Barthelme's stream-of-consciousness ·story ­read by Ti.µa Marsh' -floating over th~ action, Carolyn Pavlik and Andee Scott interacted with startling intimacy as two friends. 
· . Pavlik's cold~r, taut mc.isculinity bolted in jabs frorµ her petite . frame, while Scott undulated in silky pajamas; together, they · merged to the lightest touch. · "Entre Lo Que Me Quieres y Te Quiero," i:;een for the first time during the Rencontres competi­tion last spring, demonstrated Bustamante's continually dis­tilled and enriched style. On­
stage, the choreographer joined 
four women, two dressed as com­
moners, two as aristocrats (or so · 
Amy Burrell's high-fashion, lay­
ered costumes suggested).· Using 
a flamenco idiom and Federico 
Garcia Lorca's image-thick poet­
ry, Bustamante turned the dance 
into a stomping, chasing, weav­
ing romance about disconnec­
tion. Particularly incisive was 
the delivery of red apples, which 
became, figuratively, ideas, feel­
ings, fruits of temptation and, of 
course, hearts. · 
·The debutof "Six Distances" 
seemed like a (partly. erotic) exer­
cise, as Bustamante and collal:>o­. rator Michael Aaron contrasted handsome, .penetrating .martial arts movements with more deii­
. cate poses an.ct motions. The eve­ning concluded with Sharir's new "Drums Suite," which not only utilized a rhythm score and 
· Hebrew songs, but also the partly whispered phrases of Ruth Mar­graff, delivered shyly by the play­wright. Overplaying the mime, Sharir joined the other dancers for varied s_egments -some less alert than others -culminating . in a vigorous foursome overlap­ping Pavlik and Scott along with ·isolation expert Laura Cannon and noble-postured Terry Hardy. Just-'-:-or rather, far more than just -beautiful.. 
You may contact arts critic Michael Barnes at mbarnes@statesman.com or 
445-3647. 

....
~Shat.ir returns to basics ofdance 
II ·~ 
'f. .ii) 
:Ii.After mixing art . ~withtechnology, ~Austintroupe seeks : meaning in its roots 
t; 
'­
Ii 
.. 
: BY SONDRA LOMAX 

: Special to the American-Statesman 
I 
: · Forget computer glitche~ and : Y2K meltdown. On the brink of the : 21~tcentury, Sharir + Bustamante 11 Danceworks pulls the plug on : technology. ~ Instead of computer-assisted ~choreography and other experi­~ mental blends of art and technol­; ogy, the popular modern-dance ;, troupe returns to pure dance for ~ its 17th season. ~ ~ Company founder and artistic ,, co-director Yacov Sharir's explo­~ rations into dance and virtual : reality have established his repu­: tation as a pioneer of dance and ~new technologies. But after sev­~ eralyears of combining.dance and 
. cyberspace onstage, Sharir and 
~~~director Jose Luis Bustamante 
!te.turn to basics this season, with 
~~~ncinginspired by their cultural 
:roots. · 
:;For the company's season ~~pener, Sharir's "Cart With ~pples Project" retraces his ;rs·raeli background in movements ~rhythJnically reminiscent. of the :roik dance..s of his youth. Sharir, :who came to the United States 1from Israel in 1978 to teach at the :university of Texas, says return­
:mg to his ethnic roots is both .--­
, :challenging and comforting. : "Sometimes we have ·to i;e­1examine the past in order to move . :rorward," Sharir said. ".Going :back to piy cultural base is such a :natural place, yet reinventing th~ _ :material and taking the steps to a new level is a complex process." 
Watching dancers stamp, swirl and hop through complicated footwork and tricky rhythms is a hallmark of recent Sharir dances. "Cart With Apples Project" sets Sharir' s signature fast footwork to the pulsating cadence of klezmer, Jewish folk music. 
"The music is great for dancing, 
. very fun and upbeat, and Yacov's choreography is pretty rigorous,'' said dancer ·Jeffery Bullock, who is appearing with the company as a guest artist this season. 
Bustamante, who is a native of Mexico, will . present ·"Songs of Sea," a dance he says is inspired by Spanish poetry and his childhood memories of growing up by the ocean in Acapulco. In contrast to Sharir's boisterous "Cart With Apples Project," , Bustamante describes his dance as quiet and meditative. 
"The ocean is a symbol for large, unbounded space. My dance refers to this space and, in abstract ways, to the sea creatures who inhabit it. . It is very nature-oriented and. calming," Bustamante said. 
Although Sharir's choreogra­phy forms the bulk 9f this week-1 end's concert, Bustamante says he 
is creating a full evening of his own work that will premiere next spring. His new dances will con­tinue this season's theme of exploring cultural heritage. and will feature a collaboration with, Puerto Rican musician Lourdes Perez .. 
Sharir + Bustamante 
Danceworks 

When: 8 p.m. Friday, 2 · 
p.m. Sunday Where: McCullough Theatre, 23rd Street and East Campus Drive 
Tickets: $10-$15 
· Information: 4 77 -6060 
While Sharir has spent the past decade researching new technol­ogies and travels extensively to lecture on cyberdance, he feels no conflict in separating his aca­demic research and artistic endeavors. 
And what about the new look of Sharir + Bustamante unplugged? 
"The more technologically ori­ented our society becomes, the more rarified are the natural, organic components of our lives," Sharir said. "Strong technical dancing has always been the-basis of our company. We've never abandoned that aspect. In fact, we're looking stronger than ever." 
Owen Laracuente Theresa·' Hardy4 is part of the Sharir + Bustamante Dance­works, which is stretching into new areas . 
·E2 Tuesday, November 16, 1999
LIFE Be ARTS 	@ Austin American-Statesman 
---------------.._ , ______________________ 
Sbarir opener soars with humor, imaginatio1;1_-. 

j Bv SONDRA LOMAX 
i' American-Statesman Staff 
! 
i Think modern dance is too eso-
I teric for mainstream audiences? 
j Think again. 
Humor, athleticism, and toe-tapping music permeated the Sharir + Bustamante Danceworks season opener Friday night in a performance that surprised as much
D.a nc e 	as it delighted. 
• After 16 years of
reV1ew 	pushing the artistic envelope with avant-garde dance 
and computer-assisted choreog­raphy, Sharir + Bustamante Danceworks offered an evening o( good-ole nonstop dancing that proved the boundless artistic ere­ativity of co-directors Yacov Sharir and Jose Luis Bustamante. 
Sharir's premiere of ''Cart with Apples Project #2," a funny, · ac­cessible romp of fancy footwork 
·and tongue-in-cheek humor, of­fered dancing influenced by · · Sharir's Jewish heritage. Aecom­
1 
panied byraucousklezmermusic, deadpan dancers preened and posed through opening sections reminiscent of a second-rate, one-ring circus. ·Colorful, gaudy cos­tumes, pseudo-acrobatics and magic tricks such as disappeaFing and levitating performers were interspersed with sycopated steps and seamless choreography. After 
1------­~ 
the playful beginning, the dance segued into more serious and so­phisticated movements in the closing section, "Quadroped·," whicl¥-showcased the dancers' in­credible technical and athletic 
. skills. 
"Cart" is whimsical, imagina­tive and totally unlike anything Sharir has choreographed in re­cent years. After more than a de­cade of scrutinizing Sharir's work, this critic was surprised ­and delighted -by this unex · pected, new artistic direction. Sharir's ability to invent and re­invent movement verifies his choreographic brilliance. 
Sharir's genius for moving bod­ies through space includes a mas­tery of showcasing individual tal­ents. The McCullough Theatre stage seemed almost too small for Jeffery Bullock's supersmooth moves as he sailed across the space opposite Luis Manuel Navarez. The men adroitly zigzagged and scampered through fast, complex steps and complicated rhythms in an exciting display of good-natured rivalry. . 
Look-alikes Theresa Hardy and newcomer Andee Scott excelled _ ·-­
1 , 
· 
' 
· first in their duet, then in a trip with feisty Laura Cannon. Sharir made a raie stage appearance··to partner Amy Burrell in a short, clever ballroom duet. ~ ._:{ · 
In contrast to the boisterous· "Cart," Bustamante's reprise of his soothing "Songs of Sea" (1997) used slippery, surreal movements to conjure up ocean images. Bryan 
. Green's 'imaginative solo as a . wave-tossed sea creature elicited delighted giggles' from the young­est members of the audience as he rolled and undulated through various poses dressed in leotard, bicycle helmet and knee pads. A languous duet by Cannon and Navarez was reminiscent of sea-. weed caught in the currents. Both dances · .f displayed the troupe's signature attention to · detail, from the well-rehearsed moves to Amarante Lucero's sub­tle lighting and Burrell's inven­tive costumes for "Cart." Kudos to Sharir and Bustamante for an­other top-notch evenmg of unpre_. dictable and entertaining dance. With this level of talent, it's no · surprise the company ranks as Texac;;' leading. modern dance· troupe. 

: 

. 
Dancers Amy Barrell, Jeffery Bullock, Laura Cannon and Luis Narvaez perform 'Cart With Apples.' 
\ 
New season of cultural fusion 

BY SONDRA LOMAX 
Speci<'!I to the American-Statesman 
W 
here can you see dancers ricochet 
through a rac­
quetball court, 
float through cyberspace or intertwine bodies into moving sculpture? 
For more than 17 years, Sharir + Bustamante Dance­works has entertained, engaged and surprised audiences with its physical choreography and dis­tinctively contemporary slant. The state's leading modern­dance troupe, Sharir continues to explore new ways of melding music with movement, while 
. pushing the envelope on tradi­
tional modern-dance forms. 

The Austin company opens its 18th season Friday and ~atur­day with two new works, "Drums Suite" by founder and artistic co-director Yacov Sharir and "Six Distances" by artistic co-director Jose Luis Busta­mante. 
The current.season continues themes of cultural heritage while pushihg forward into newer horizons, Sharir said. "Drums Suite" reflects Sharir's Israeli roots. The dance expiores folk rituals associated with drumming rhythms of the Mid­
. dle East and northern Africa. "The dancing is fast-paced, with footwork expressing folk dancing and story-telling through gestures that.are .cul­turally identified,'' Sharir said. "The dance fuses music and 
Sharir + Bustamante Danceworks When: 8 p.m. Friday and Saturday Where: McCullough Theatre, 23rd Street at East Campus Drive 
How much: $10-$15 
Info: 477-6060 

movements from different cul­tures that make up the Israeli peoples such as Tunisia, Morocco and India, to name a few." 
While "Drums Suite" offers Middle Eastern flavor, "Six Dis­tances" .marks Bustamante's col­laboration with Michael Aaron, an expert in Korean martial arts. Don't expect fight scenes or overt Asian aesthetics, but rather abstracted movements set to Western European music by Franz Schubert and Robert Schumann. 
"Our movement vocabularies are very different, which makes the d~cevisually intriguing,". Bustamante said. "Ws· a new 
· directfon and new challenge for me as a choreographer, and dis­tinct, I hope, from previous works." "We're always looking ahead, creating new works that stretch our artistic vision, while remaining sensitive to larger concerns such as carefully expanding our repertoire and bringing back audience favor­ites," Sharir said. To that end, this weekend's 
program also will include two 
additional Bustamante dan~es. 
"Between Your Love for Me and Mine for You" premiered in Austin in January at the semifi-· nals of the Rencontres Choreo­graphiques Internationales de Seine-Saint-Denis, an interna­tional choreography competi­tion. The ensemble dance blends abstracted flamenco and con­temporary steps with text by Federico Garcia Lorca and music by Enrique Morente, Abed Azrie, Rafael de Paz a.tid other Hispanic artists. The dance is a series of vignettes about unrequited love and pas­sion, performed with a defini­tive Spanish flavor. 
Dancers Andee Scott and Car­olyn Pavlik will perform "Henri­etta and Alexandra," a duet based ona droll story oflove and friendship, featuring narra­tion by Tina Marsh of the Cre­ative Opportunity Orchestra. 
· The mixed-bill performance at the University of Texas' McCul­lough Theatre opens a season 
. that promises wide-ranging themes and movements. With more emphasis on creating · evening-length works, Sharir will debut a new technologically mediated dance in April, "Auto­mated Body/Resistant Body," at UT, where his company is in residence at the College of Fine Arts. 
Clothes & Shoes •·Newborn to junior '•, ' _-~ ,' ' ':. 
' ' ' 
Loose Materials; 

2. Selected computer manufactured/designed cyber-human performers/images (2000­2005). Additional images from "Dancing with the Virtual Dervish" a work in virtual reality (Athens Museum of Contemporary Art, 2003) 











Loose Materials; 

3. Documentation of selected lectures, 
informances, and professional work in 

venues from around the world 
(2000-2005) 

l I I I l I \ 
\ 
I I 
He wears IT well! 

PIONEER of computer-aided dance, Yacov Sharir, enthralled a Nottingham Trent audience when he presented his research lecture 
The Automated Body: Wearable Computers in Performance. 
The accomplished choreographer gave an insight into how he has enhanced his dance performances through interactive technologies, virtual environments and wearable computers and devices. 
Yacov ·is a frequent keynote speaker at  journals and books looking  
arts and technology conferences around  at issues that concern  
the world and has also contributed  interdisciplinary art and  
greatly to international publications,  technology.  


His research lecture explored how these technologies present opportunities and can be used to address 
artistic, intellectual and emotional issues. 
Based at the University of Texas, USA, Yacov is the founder of its residential dance company, the Sharir Dance Company. 
His lecture ended with a stunning demonstration of the unique capabilities of two of his performance suits, the cyberPRINT and the wearable computer. 

Professor Barry Smith said: "Yacov is a major player in the development of computer generated imagery within performance and members of our research group are now participating with him in developing the next project." 
Yacov is a a Visiting Senior Research Scholar and his lecture was part of an international series organised by the Performance Arts Digital Research Unit. 

Featu r es 

Comment 

Diary D a tes 
'The Automated Body:, Wearable Computers in Performance1 
... AGuest Research Lecture given by .Professor Yacov Sharir for The Nottingham Tren~ University's School of Art & Design Digital .· · Research·Unit · 
Date: Thursday 23rd May 2002 
·Venue: 	Powerhouse, Victoria·Studios, Shakespeare Street, The Nottingham Trent University, NG1 4FQ 
Time: · 5.30pm Reception and light refreshments 
,6~0pm Lecture 

An accomplished dancer, choreographer, researcher and pioneer in the.·field of ·computer aided choreography and dance, Yacov Sharir is currently based at the University ofTexas, .Austin~ USA. · 

In his lecture Yacov will discuss how he augmerits his dance 'performances' u.sing interactive technologies, virtual. ehvironments and wearable computers/devices . 
. . Yacov will also be demonstrating the unique performance capabilities of two of his wearable performance suits, cyberPRINT and the wearable computer. · 

Attendance is free, how~ver, advan~e reservation·is essential. 
To reserve your complimentary place or for further information please . contact, .· Nina Lambert . Confe ence M ..nager, on ail

22nd April 2002 
Dear Colleague 
Re: Yacov Sharir Research Lecture: The Automated Body: Wearable 
Computers in Performance 

I am writing to. invite you to a research lecture to be given by visiting American scholar, Professor Yacov Sharir, on Thursday the 23rd May in the Powerhouse, Victoria Studio, Shakespeare Street. A reception , which will include light refreshments, will be from 5.30pm and the lecture will commence at 6.00pm in the Powerhouse. : 
Yacov Sharir is an accomplished dancer, choreographer, researcher and pioneer in the field of computer aided choreography and dance. He is currently based at the University of Texas, Austin, USA and is the founder of the 'Sharir Dance Company', the resident professional Dance Company of the University of Texas. The Sharir Dance Company have produced work and collaborated with companies such as the Merce Cunningham Dance Foundation, the Trisha Brown Dance Company, the Lewitzky Dance Company. 
He is a frequent keynote speaker at arts and technology conferences around the world as well as having contributed to numerous international publications, journals and books exploring issues concerning interdisciplinary art & technology. 
In his lecture at The Nottingham Trent University Yacov will be discussing how he augments his dance 'performances' using interactive technologies, virtual environments and wearable computers/devices. 
He will be exploring how these technologies present opportunities and can be 
used to address artistic, intellectual and emotional issues. During the lecture he will also be demonstrating the unique performance capabilities of two of his wearable performance suits, cyberPRINT and the wearable computer. 
If you or your colleagues would like to attend t-·---
~~~ contacting Nina Lambert on ext 2404 or email . ;. For 
further information about the event itself please contact Rebecca Turnock ext 
6831 or email J ~. 
This venue has a limited capacity so advance reservation is essential. 
Yours sincerely 

Professor Barry Smith Directo~Performance Arts Digital Research Unit 
This lecture is supported by The Nottingham Trent University's School of Art & Design Live Art Archive and Digital Research Unit. Yacov Sharir is a visiting Research Scholar for Drama, Dance and Performing Arts. 

Art&Design 
• 

Digital Research 
Unit 
Department of 
Visual and 
Performing Arts 



··.:.. .-...·-· 

1.0:J,:: DRAMATURGY 
rw·'... :Y~T,: c~: DRAMATURGY 
Jennifer Hamilton, 6/2/05 8:49 AM -0500, LMDA Conference Workshop Description 
Subject: LMDA Conference Workshop Description 
Date: Thu, 2 Jun 2005 08:49:16 -0500 
Thread-Index: AcVnedOIAXcp9oQ1QZWCmx4uRTtH7g== 
X-Virus-Scanned: Symantec AntiVirus Scan Engine 
Yacov, 
My name is Jennifer Hamilton, and I am the Conference Coordinator for the LMDA Conference 
coming up next week. You are scheduled to conduct a workshop on Friday, June 10th, from 
2:25 to 3:15 at The Hideout. We would like to include a bio for you as well as the workshop description in our program. Remember that you have 50 minutes, and while you may present something, we still need to allow time for discussion, and remember, this is done for a bunch of dramaturgs and literary managers ... it is not a performance solely, but a workshop for us all to discover ways of story and theatre-making. 
The description that we currently have is as follows: 
.Dancer/choreographer Yacov Sharir seeks to discover how electronic and sensory devices affect the way we communicate. He demonstrates how wearable systems are more than just wristwatches, jewelry devices or motion tracking devices. They can posses the full functionality of computers, wireless communication systems, and be completely interactive. By augmenting sensory devices and attributes, they can fully function as a medium for inscription. They accept/detect human moves, morphing, scaling, making color changes and adding new dimensions of expression and meaning to performance. These systems can provide an opportunity to display information and images, both virtually and physically. Images can be displayed onto large screens subsumed into the performance/installation space. This technology provides the potential for a new level of user authorship and added possibilities for improvisation, playfulness and provocation. Animated garments address the nature of communications and may be used for a variety of aesthetic purposes. The presentation of changing patterns and texts within cloth creates a transitional space in which hybrids can be formed. Programmable fabric displays are used to portray new visual and narrative content, as the textile is invigorated into a new pattern of discovery. A multiplicity of readings can be accessed through this new narrative as a form of communication that addresses a wide range of social issues. 
Is it possible for you to offer us a single paragraph describing what you will be doing and exploring? 
Jennifer Hamilton, 6/6/05 8:12 AM ..osoo, Fwd: LMDA Itinerary 
)" 
om> 
Subject: FW: LMDA Itinerary Date: Mon, 6 Jun 2005 08:12:30 -0500 Thread-Index: AcV qlvKjWrbqpW8UTcqBqwBj2y /lpgAAFRzwAAAH9WAAADPVQAAAFeoAAAAoja 
A= 
X-Virus-Scanned: Symantec AntiVirus Scan Engine 
PLEASE REPLY TO THIS EMAIL TO CONFIRM RECEIPT. -Thanks, -j 
Good Morning, Yacov, 
Well, this is the week. After months of collaboration and preparation, The Literary Managers and Dramaturgs of the Americas start to descend upon Austin for their annual conference. We are very excited to have you as a part of it. Your itinerary is as follows: 
Workshop Presentation The Date: Friday, June 10th The Time: 2:25 -3:15pm The Place: The Hideout-Downstairs, 617 Congress Ave. 
We do request that all presenters and panelists arrive at their designated location 15 minutes prior to their start time. The conference schedule is very tight, and we simply want to ensure that all events begin on time. Also keep in mind that some locations are used for several events, so you may need to wait in the lobby until just prior to your start time. I will be on site for all events, so please check in with me upon your arrival. 
If you have any special needs (such as chairs, tables, music stands, AV), please relay that information to me as soon as possible such that we can make sure these items are available and ready for you. 
Should you have any questions or problems, please feel free to contact me. Thanks so much for your contribution to this year's conference. 
-j 
Jennifer Hamilton Conference Coordinator 
Creativity & Cognition 2005 
Creativity &Cognition 2005 
A Creativity & Cognition Studios Conference hosted by Goldsmiths College. London 12-15 April 2005 
5th CREATIVITY AND COGNITION CONFERENCE Hosted by Goldsmiths College, London. 
Creative Process and Artefact Creation: Practice, 
Digital Media and Support Tools 

April 12-15th 2005 
Goldsmiths College, University of London, UK 
Submission Deadline: 1st October 2004 

Creativity and Cognition has evolved into an ever increasingly mature field of research and practice since its starting points in the early 1990s. revealed a growing strength that can now be demonstrated in the 2005 conference. The main theme of the 2005 conference is the creative process and the creation of artefacts: understanding creative practice, art works employing digital media and creativity support tools. 
CONFERENCE THEMES 
CREATIVE COGNITION AND TECHNOLOGY TRANSFER TO PRACTICE 
Theoretical and/or empirical work in psychology, cognitive science, computer science, design or the humanities that emphasizes application to understanding, improving, or providing support for creative practice. 
CREATIVE WORKS, REFLECTIVE PRACTICE AND PRACTICE-BASED 
RESEARCH 

Examples of works employing digital and related media and collaborative 
partnerships between practitioners from different backgrounds as well as 
reflective accounts of individual practice. 
RETROSPECTIVES IN CREATIVE PRACTICE AND RESEARCH 
http://research.it. uts.edu.au/creative/CandC5/ 
11/9/04 8:46 AM 
9 Cm"'"''>' & Cog,.i<ioo Snodio' 
1n 
_xiperation witL ACM SiGCHI 
Main Page Call for Submissions Conference Location Accommodation Registration Committees Submissions: 
Instructions Camera Ready Papers Contact Us 
Important Dates: 
Full Paper Submission: 
1st October 2004 

Notification to authors: 
8th November 2004 

Camera-Ready Submission: 
13th December 2004 

Symposium: 
12-15 April 2005 
Previous Conferences: C&C 4 2002 C&C 3 1999 
C&C 2 1996 
C&C 11993 

Programme Committee Area 
Page 1 of2 
Linda Candy, 11/18/04 9:08 AM +1100, Re: C&C'OS Author Notification for Submission 
Date: Thu, 18 Nov 2004 09:08:20 +1100 =­
Subject: Re: C&C'05 Author Notification for Submission: 103 Cc:. ­
Dear Yacov Sharir, 
We are happy to inform you that your proposal for a demonstration entitled "Twining: A Demonstration in Wearable Computing", submitted to the Creativity and Cognition 2005 Conference, has been accepted for inclusion in the posters and demonstration session. This acceptance is subject to the availability of resources and technical support required to present the work. 
You are now invited to submit the final version of your paper via the conference web site in order that it can be included in the conference proceedings. Please bear in mind when you prepare the illustrations that the paper copy will be in black and white and the digital library version only will be in colour. 
The paper must be no more than four pages in length and correctly formatted in accordance with the template available on the web site. The deadline is the 13th December, 2004. 
Please follow the instructions found at the Creativity and Cognition 2005 site in order to prepare and submit your final version: , 
http: //research.it.uts.edu.au/ creative/ CandC5/ 
It is also mandatory that at least one author register for the Creativity and Cognition 2005 conference. 
The Creativity and Cognition 2005 web site provides information for conference registration and hotel accommodation. 
We are looking forward to seeing you in London in April 2005. 
Yours sincerely, 
Printed for Yacov Sharir 
Twining: A Demonstration in Wearable Computing 

Technical Requirements: 
Data Projector, Projection screen and Computer 
VHS playback system attached to computer 
OPTIONAL TECHNICAL: 
Scrim as additional screen surface 
Barbara Layne 
Concordia University Montreal, Quebec 

ABSTRACT 
Barbara Layne and Yacov Sharir will introduce their first collaborative project, Twining. The presentation will discuss wearable computing devices and the intersection of their individual research in dance/choreography and the textile arts. A demonstration of their new wearable interactive system will show how this device can affect onstage interaction and offer new communication possibilities with the audience. 
Wearable interactive devices are often subsumed into the personal space of the user or placed in a desired location where the performer can activate them as needed. They possess operational command systems when placed on the physical body of the user/performer and interactional constancy when used in performance: they are always on and always accessible. These devices have become an integral part and extension of the user body and operate in and around a communications "area". 
Wearable Computing and Dance 
Dancer/choreographer Yacov Sharir seeks to discover how electronic and sensory devices affect the way we communicate. He demonstrates how wearable systems are more than just wristwatches, jewelry devices or motion tracking devices. They can posses the full functionality of computers, wireless communication systems, and be completely interactive. By augmenting sensory devices and attributes, they can fully function as a medium for inscription. They accept/detect human move~, morphing, scaling, making color changes and adding new dimensions of expression and meaning to performance. These systems can provide an opportunity to display information and images, both virtually and physically. Images can be displayed onto large screens subsumed into the 
Y acov Sharir 
University of Texas 
Austin, Texas 


performance/installation space. This technology provides the potential for a new level of user authorship and added possibilities for improvisation, playfulness and provocation. 
Innovative Textile Structures 
Textile artist, Barbara Layne, has been conducting material research in the Textiles Lab of Hexagram, the Institute for Research and Creation in Media Arts and Technology. Dynamic textiles are constructed by integrating Light Emitting Diodes (LEDs) and electronic circuitry into the structure of hand woven fabrics. The array of LEDs present changing patterns and scrolling texts, much like an electronic message board. This programmable surface can be made interactive with sensors and other triggers while wireless communications systems allow mobility and facilitate remote interaction. 
Animated garments address the nature of communications and may be used for a variety of aesthetic purposes. The presentation of changing patterns and texts within cloth creates a transitional space in which hybrids can be formed. Programmable fabric displays are used to portray new visual and narrative content, as the textile is invigorated into a new pattern of discovery. A multiplicity of readings can be accessed through this new narrative as a form of communication that addresses a wide range of social issues. 
Twining 
The Twining project brings together complementary creative approaches in wearable computing by Layne and Sharir. The collaboration has provided an opportunity for Sharir to further his research in wearable devices through the inclusion of a dynamic display in the costume, adding another level of meaning. Layne's interest in expressive textiles is extended through the performative context. 
Issues of temporality and transformation are compounded as the performance alters the surface ofthe costume. 
In performance, additional references will be made to the language of textiles through imagery and movement. Projected images of woven structures will morph in and out of the space, temporarily inhabiting the performance area as 
Bio: Barbara Layne 
Barbara Layne creates intelligent cloth structures for artistic, performative and functional textiles. She is in the Studio Arts faculty at Concordia University in Montreal, Quebec and is a founding member of Hexagram: the Institute for Research and Creation in Media Arts and Technologies. Her work has been supported by the Canada Council for the Arts, the Conseil des arts du Quebec and she is the Principal Investigator of a major infrastructure grant from the Canadian Foundation for Innovation. 
well as the costumes of physical and virtual performers. Choreographed movement will be generated from gestures and actions employed in the labor of cloth production. Wearable devices that incorporate remote communications will enable a real-time interaction, creating an improvisational space in which "textile" is experienced as action. 
Bio: Yacov Sharir 
Professor Y acov Sharir graduated from the Bezalel Academy of Art in sculpture and ceramics and continued his studies in dance at the Rubin Academy of Music and Dance, and the Bat-Sheva Dance Company School. Sharir was the founder of the American Deaf Dance Company, which pioneered the inclusion of deaf artists in professional dance. Sharir is an award winning choreographer and a multiple NEA choreography fellowship recipient. Sharir teaches dance, choreography, computer aided art courses, virtual reality/cyberspace in the arts, and multi-disciplinary graduate courses at the University of Texas at Austin, He is a frequent keynote speaker at arts and technology conferences and symposia in the USA and around the world. · 
2 

April 6-7, 2005 10:00 AM-4:00 PM 
The Dallas Museum of Art 
1717 N. Harwood 
Dallas, TX 
http ://www. DallasM useumofArt. org 

Featured speakers: The Planetary Collegium, School of Computing Electronics and Communications, University of Plymouth (UK); Professor Roy Ascott, Director; http://www. planetary-collegium. net 
Symposium chairs include Dr. Dene Grigar, Mss. Jennifer Brockman, Gigi Gregg, Alicia Rogers, Cheri Crenshaw, Jenny Cozzolino, Sandy Robinson, Anne Schoolfield, from the PhD program in Rhetoric and MA program in English at Texas Woman'~ University 
SYMPOSIUM SCHEDULE Day 1: Wednesday, April 6, 2005 
10 am-10:30 am 	Registration, The Horchow Auditorium, Dallas Museum of Art 
10:30 am-10:45 am 	Welcome 
10:45 am-11:15 am  Roy Ascott, Founding Director, The Planetary Collegium (UK); "The Planetary Collegium"  
11:15 am-11 :45 am  Mike Phillips, STAR University of Plymouth (UK) ; "trans·for·ma·tion (tmsfr-mshn, -for-) ... an evolution of form"  
11:45 am-12:15 pm  Dr. Dene Grigar, Associate Professor, Texas Woman's Univ~rsity (US) and Dr. John F. Barber, Associate Dean, University of Texas at Dallas (US) ; "Myths, Aboriginal Songlines, and Consciousness"  
12:15 pm-1:15 pm  Lunch, The DMAAtrium (on your own)  
1 :15 pm-1 :45 pm  Kjell Yngve Petersen, Independent Artist (Denmark); "The emergence of hyper-reality narratives in performance"  
1 :45 pm-2:15 pm  Shaun Murray, Independent Architect (UK); "Reflexive Practice in Architectural Ecologies"  
2:15 pm-2:45 pm  Rene Stettler, Scientific Coordinator, Hochschule tor Gestaltung und Kunst Zurich (Switzerland); "Mind, Matter, and Quantum Mechanics: Toward a New Conceptual Theoretical Framework"  
3 pm-3:30 pm  Maia Engeli, Independent Researcher (Switzerland); "Changing the Game -a Taxonomy of Artistic Alterations of  

First-Person Shooter Games" 
3:30 pm-4 pm · Roy Ascott, Founding Director, The Planetary Collegium (UK); "Dark Matters, Light Issues" 
5 pm-7 pm 	Reception: The Trammell and Margaret Crow Collection of Asian Art, 2010 Flora, Dallas, TX, 214-979-6430. The event is free to all symposium participants. $25.00 for all other guests. 
SYMPOSIUM SCHEDULE Day 2: Thursday, April 7, 2005 
10 am-10:30 am 	Registration, The Horchow Auditorium, Dallas Museum of Art 
10:30 am-10:45 am 	Welcome 
10:45 am-11:15 am Michael Punt, Reader, Art and Technology; Editor;.in-Chief, Leonardo Reviews; Director, Trans-technology Research, University of Plymouth (UK); "More Schwazenegger than Schonberg" 
11: 15 am-11 :45 am Claudia Westermann, Independent Architect I Artist (Germany); "In Between Infinity" 
11 :45 am-12: 15 pm Margarete Jahrmann, Professor, Media Arts, Hochschule fuer Gestaltung und Kunst, Zurich (Austria); "lch spiele Leben: The president@whitehouse.gov Shooter and Enlightenment as Mass Deception" 
12:15 pm-1:15 pm 	Lunch, The DMAAtrium (on your own) 
1:15 pm-1:45 pm James Moore, Independent Researcher (UK); "Interactive Montage" 
1 :45 pm-2: 15 pm Karin Sondergaard, Independent Artist (Denmark); "Installations that situate the visitors as performers: generating 3rd order states of consciousness" 
2: 15 pm-2:45 pm Norbert Herber, Visiting Lecturer, Indiana University, Bloomington (US); "Wabi Sonics: Tea Aesthetics, Zen, and Composition in Experimental and Ambient Music" 
3 pm-3:30 pm 	Yacov Sharir, Associate Professor, Dance, University of Texas at Austin (US); "Contact Improvisation: The Use of Wearable Computer Devices" 
3:30 pm-4 pm 	Special Panel: "A Conversation about Spirituality, Consciousness, & Art" Michael Punt, Moderator; with Isabelle Chonniere, Artistic and General Director Corps lndice (CAN); Elif Ayiter, Design, Sabanci University (Turkey); Francesco Monico, Head of the School of Media Design, Nuova Accademia di Belle Arti di Milano (Italy) 
SHAPING CONSCIOUSNESS: NEW MEDIA, SPIRITUALITY, AND IDENTITY 


Organizer: 
April 6-7, 2005; 10 am-4:00 pm 
The Dallas Museum of Art, 1717 N. Harwood St., Dallas, TX 75201 
214-922-1200, www.DallasMuseumofArt.org; $20 admission, daily 
How is consciousness shaped by new media technologies? 
In what ways are spirituality and identity impacted by new media and computer technol­ogy? 
In what ways do new media promote an understanding of life and life forms? 
How can organizations and groups relating to gender, race, sexuality, and culture 
utilize new media to expand or enhance their missions? 
What creative and imaginative ways can we think about planetary connectivity, 
virtual community-building, and information dissemination? 

These are some of the questions that will be asked at the symposium, "Shaping Con­
sciousness: New Media, Spirituality, and Identity." Topics at the symposium cover a range 
of subjects, induding collaboration between artists and scientists, consciousness studies, 
mythology, new media theory and practice, technology, embodiment theory, telematics, 
biological organisms, and identity. Featured speakers inqude 21 members of the Planetary 
Collegium, an intellectual community of internationally renown new media scholars-artists 
housed at the University of Plymouth in England, with a campus, or "node," located in Zu­
rich, Switzerland at the Hochschule fuer Gestaltung und Kunst, Zurich (HGKZ), led by 
internet art pioneer Dr. Roy Ascott. The Planetary Collegium takes "a transdisciplinary 
perspective [that] seeks the integration of art, science, technology, and consciousness re­
search within a post-biological culture, and is involved in advancing the parameters of crea-

Dr. Dene Grigar, Texas Woman's University Contact Info: Voice: 214-553-9517 Fax: 214-553-5814 Email: dgrjgar@twu edu 

RoyAseott Michael Punt 
Mil.e Pl>lllipa 
Technoetic Arts Metatechnology Oil.....,, I-OAT 

Elif Ayiter Reni -MR En9eti Design Ollwclor, NowGaleryl.-l..,._R__,,er 

Norbert Herber Yacov Sharir Isabelle Choiniere Digital Music VR, Dance Digital Performance 
tive practice in consort with develop­ments in telematics, mixed reality, alife, architecture, hypermedia, agent technol­ogy, nanotechnology, transgenics, data imaging, intelligent environments, gen­erative music, and technoetics). 
It is designed to produce new knowledge for the new millennium; new language, new systems, new structures, new be­haviours, and new insights into the na­ture of mind, matter and human identity. It takes a constructive and pro-active approach to the social, technological and spiritual aspirations of the emerging planetary society, while sustaining a criti­cal awareness of the retrograde forces and fields that inhibit social harmony and cultural transformation." 
DR. DENE GRIGAR~ TEXAS WOMAN'S UNIVERSITY www nouspace neVdene/shapingconscjousness html 
Project X Theatre + 
-
The Planetary Collegium ­
n er·ac. ·1 1e a ·.~ sound & 1 i ght show video screening intelligent architecture 30 game environments virtual reality 
Saturday, April 9, 2085 7 pm-11 pm Southside on Lamar, 1409 Lamar #803, Dallas, 75215 Tickets, $10 Parking available For more information, call Dene Grigar 214-553-9517 or go to: http://www.nouspace.net/dene/media-arts-event.html or http://www.projectxtheatre.com 

2oos~1Jl!11 a <*>-3Jl!27a ca> ~ ata: MD\ilU.;:;na•1-=sa Yokohama Red Brick Warehouse Number 1 !!'ziJl'l'~:t!~!.1.~.~ Miff~@'t>«,\Jl•c7),fy~-v Noge Schale,Yokohama Nigiwai-Za 
http://www.yokohama-dance-collection-r.jp 
e.:til: ltt!illiiA•~m~filiiJtitlnH~Jl:tffi (Yokohama Arts Foundation) . ftl~>iFI//;11~Jl1{l}fii, Rencontres Choregraphiques lnternationales de Seine-Saint-Denis B *•~11ll. 
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ejl;ii:75/.7.*{ifii(Ambassade de France au Japan) 
-~~:ffl;Jlifj, 7-f /5/ ~*{fi'R. 7-f /5/ ~i!/?'-.ltB!Hl*ilUt Ul!IJtitf!}'U±!illJ!AJJ'l.tttlllllfitS~. ttl!iEiAflli~Jll!UH*ifUililnft.ili•mr:>'/.7.';?jjy/J,:>'/AJl7:t, 
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r'f-f 5·7-'T-f :/.7.ifi~~i1:10?'5.A((Villa Meicis hors les murs))AFAA2003, 75/.7.Jtit~"YJl-77-'T-f 7~lH~~iHICDICREAM).75/.7.Jtft·i!iHi(ff~·:Sl'/.7.·Jl'.fll·.7.r{?~?Jvli!U/ 
DMDTS, Jtft•at:ll!!:iJf.il/DRAC), ;f--"YJv:.-:cJl:tEll. 75/.7.li!ITlt~f!lt.1:10?'5.A Jeune Theatre National France, 75/A~~1!175/.7.iH*iJtftl!ll.JW.ft(AFAA). "!!-~="if/=~=~. 
1'Jv ~ 7 5 / ,Ajfl*jfj~·~~llll!I(ARCADI)' i!i~!ill . li!llJ~jjlf~~("Line")

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U~cx T1~<Competition>+ 1¥ttifJr, 
Yokohama Solo x Duo< Competition>+ 
Group Division 

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!lD *¥-T Yoko HIGASHINO rzero hour 0 0 0 0 j 
.1·~3!.!~? ROH Jung-sik 
f Jjlj 
"Wind" 

--Intermission --­
lfr•J# Rin AZUMA r~tt.v•:JA/(short version)J "Affinity Lesson(short version)" 
2005.1.28.Fri. 
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Yokoham Red Brick Warehouse Number 1 


M~5£A.ft~m:frffr:>cit~WM~ (flJ~~t,,:;t.i~J1l 1 i:5-m flJ~mi:fl~~ff~ 1-1-1 T231-0001 Tel.045-211-1515 Fax.045-682-2045 
YOKOHAMA ARTS FOUNDATION 
(Yokohama Red Brick Warehosue Number 1) 1-1-1 ,Shin ko Naka-ku Yo kohama 231-0001 Japan Tel:S 1-45(211)1515 Fax:S 1-45(21 1)1519 
22.Jan 2005 
Dear Mr. Yacov Sarir 
Welcome to Yokohama! 
We have looked forward to see you in Yokohama and Yokohama Dance Collection R. 
We hope that you would see as many performances by Asian choreographers as 
possible and have an invaluable time at the symposiums and conferences 

at Yokohama Dance Collection R. 
I am looking forward to meeting you soon. 
Please enjoy your stay in Yokohama. 

Best wishes} 

Makoto Ishikawa Director of Yokohama Dance Collection R 
YOKOHAMA AK.IS t-UUNUAI !UN 
BF; Yokohama Museum of Art 
3-4-1 Minatomirai Nishi-ku 
Yokohama 220-0012 JAPAN 
Phone:Sl-45(221)02124108 Fax:Bl-45(221)0212 

:N"ovemberl0,2004 
Mr. Yacov Sharir Professor University of Texas as Austin Department of Theatre and Dance 
Dear: Mr. Yacov Sharir: 
We, Yokohama Arts Foundation, would be very happy to invite you to our contemporary dance festival "'Yokohama Dance Collection R". 
Yokohama Arts Foundation, affiliated to Yokohama City, organizes every year since 1996, "'Yokohama Dance Collection R" ("'former Yokohama Dance Collection"), which is one of the most important contemporary dance festivals in Japan. 
Several outstanding foreign choreographers, such as Amanda Miller, Rui Horta, John Jaspers, Thomas Hauert and their companies have been invited to represent their works in Japan and this festival has been highly successful in leading to the discovery of many talented choreographers, as evidenced by performances of their work in other countries. 
Yokohama Dance Collection R is highly appreciated by the Japanese audience as well as the professionals, for its programming which makes them possible to see the latest high quality pieces in the world. 
Yokohama Dance Collection R 2005 is planned as follows: Main dates 22 Jan.-30 Jan. 2005 (Festival:January 17 to February 20, 2005) 
Main Site:  Yokohama Red Brick Warehouse Number 1 (Yokohama, Japan)  
Out line  ·International Directors' Conference  
-Symposium by overseas dance directors  
-Presentation of organizations  
-Round-table meeting  
-Director's Lounge  
·Performances  

-Solo x Duo <Competition>+(plus) -Dance Showcase -Performances by Yokohama Dance Collection Prizewinners 
·Workshops -Master class for choreographers, with Lorrina BARRIENTOS -Dance Technique Class 
·Others -National Directors' Conference -"Line" 
We are looking forward to seeing you in Japan. 
Yours sincerely, 
Makoto Ishikawa Director Yokohama Arts Foundation/Yokohama Red Brick Warehouse Number 1 Member of the Artistic Council of the Rencontres Choregraphiques Internationales de Seine-Saint-Denis 

~THE BANFF CENTRE 

BRNFF NEW MEDIA INSTITUTE 

Inside/Outside: Responsive 
2004 
Environments and Ubiquitous Presence 
August 5th -stti, 2004 This event is made possible through the support of: 
C2 Telefilm Canada 
Canada 
·····-····::--· ~:::.-. -·· · ·-~ · 
... .·.·· ··· ·~::: :¥·· · · ' 
Bell . 
Globernedia
(l)coRE 
Arts Training programs at The Banff Centre are supported by the Department of Canadian Heritage and Human Resources Development Canada through the National Arts Training Contribution Program. 
Listen live at www.horizonzero.ca OR www.banffcentre.ca/bnmi 


~THE BANFF CENTRE 

BRNFF NEW MEDIA INSTITUTE 

2004 


3:30pm -5:30pm Topological Desire and Responsive Performance Environments 
Location: Rice Studio, Jeanne and Peter Lougheed Building ( JPL) 
Moderators: Sara Diamond, Director of Research, The Banff Centre and Artistic Director, BNMI, The Banff Centre and Magdalena Wesolkowska, BNMI Collaboration Researcher, The Banff Centre, Lecturer/Researcher, University of Montreal (Montreal, Quebec) 
• 	Yacov Sharir, Professor, Dance and Virtual Environments, University of Texas at Austin (Austin, Texas) -Wearable Computing and Augmented Performances, Improvisation and Choreography in the Virtual/Physical Worlds 
• 	Chris Salter, Sponge and Visiting Professor, Rhode Island School of Design (Berlin, Germany) -Sponge's Public Experiments in Perception and Phenomenology 
• 	Maja Kuzmanovic, Coordinator, FoAM (Brussels, Belgium) -The Interstitial Spaces Between Virtual and Physical, Natural and Technological, Cultural and Scientific; Case Studies 
• 	Sha Xin-Wei, Professor, School of Literature, Communication & Culture, Georgia Tech (Atlanta, Georgia) and Harry Smoak, Graduate Student, Topological Media Lab, Georgia Institute of Technology (Decaturt Georgia) -Topological Media Lab: Art Research on Gestural and Calligraphic Media 
5:30pm -6:00pm ALL FASHIONISTAS SHOULD HAVE A QUICK DINNER 
6:00pm -9:30pm CUE TO CUE FOR ALL FASHIONISTAS: PREP FOR FASHION SHOW 
Location: Jeanne and Peter Lougheed Building (JPL), Main Hallway 
OR 
5:45pm -9:30pm DINNER AND FREE TIME FOR OTHERS 
10 
Pabon-Agudelo, Diana, 5/20/04 4:57 PM -0600, Important Wearable Workshop and Resp 
Delivered-To: 

X-SBRS: 1.4 X-Spam-Score: . 

Subject: Important Wearable Workshop and Responsive Environments Summit In 
formation Date: Thu, 20 May 200416:57:49-0600 Importance: high X-Priority: 1 
May 20, 2004 
Dear Sharir Yacov, 
On behalf of Sara Diamond, Artistic Director, Media and Visual Arts, The Banff Centre, I would like to congratulate you for being selected to be fully funded for the Outside/Inside: Boundary Crossings, a Wearable Design Workshop and for the Inside/Outside: Responsive Environments and Ubiquitous Presence Summit. The workshop will happen from July 31 to August 4, 2004 and the summit will happen from August 5 to 8, 2004 (with travel on July 31 and August 8). 
As a co-production fostered by BNMI, the Wearable Design Workshop will permit you to have access to The Banff New Media Institute and CEE facilities (from July 31st to August 4, 2004) plus a package that 
includes:  
(  Airport Transportation (Calgary -Banff -Calgary);  
(  Artist Assistance Fee;  
(  Artist accommodation (from July 31st to August 8th -Single Room);  
(  On Campus Meals; and  
(  Responsive Environments Summit's tuition ($300)  

In follow up to this e-mail, regarding the Wearable Design Workshop, I would ask that you contact me by email before May 26, 2004 in order to confirm your level of interest. Should you agree to accept this grant, we will need you to complete the attached Registration Form (attachment #1) as well as the Wearable Technical Requirements form (attachment #2) and submit the two of them to myself and ZoCE 

Curnoe, BNMI Line Producer -by June 4, 2004. (If you have already sent 
As to the Inside/Outside: Responsive Environments and Ubiquitous Presence Summit, we will also need 

Jennifer Dysart, BNMI Coordinator -by June 4, 2004. 
Congratulations again on your selection and I look forward to hearing back from you soon. 
Very best, 
Diana Pabon -Agudelo 

Production Coordinator 


• 

Printed for Yacov Sharir 

Pabon-Agudelo, Diana, 3/22/04 2:41 PM -0700, Invitation to Workshop (July 31 -August 

Subject: Invitation to Workshop (July 31 -August 4, 2004) and Summit (Aug 
ust 5 -8, 2004) Date: Mon, 22 Mar 2004 14:41: 14 -0700 
Hello Sharir Yacov, 
We are writing on behalf of Sara Diamond Artistic Director Media Visual Arts, Executive Producer of The Banff New Media Institute, The Banff Centre. We would like to extend an invitation for you to join us at Banff for the Outside/Inside: Boundary Crossings, a Wearable Design Workshop and for the Inside/Outside: Responsive Environments and Ubiquitous Presence Summit, that will take place immediately following the Outside/Inside workshop. The workshop will happen from July 31 to August 4, 2004 and the summit will happen from August 5 to 8, 2004 (with travel on July 31 and August 8). 
Wearable Design Workshop -From July 31 to August 4, 2004 Description 
We will extend the metaphor and materials of response to consider wearable computing. Fashion and costuming is core to cultural identity and cross-cultural exchange. Weaving, knitting and printing are century old techniques that can integrate biometric and information sensitive materials. New living materials can respond to subtle changes in body and environment. Designers of material, fabric, garment, costume, device and experience will share their work with engineers, scientists, fashion theorists, technology companies and each other. 
In what contexts do men and women make use of wearable computers? What are creative approaches for creating wearable content experiences and what are the technical potentials and challenges? What are the markets? How do we analyze fashion that lives under and on the skin? 
Workshop participants will have access to a production facility that will allow sketching and some fast prototyping to occur. A public panel on wearable computing and fashion will share workshop ideas with the 
public. A fashion show will take place during the prestigious Banff Summer Arts Festival. 
This workshop is made possible in part through the assistance of the Rockefeller Foundation's support of the Boundary Crossing research project. 
Responsive Environments and Ubiquitous Presence Summit -From August 5 to 8, 2004 
Description 
This summit considers the responsive environments of everyday life. What makes up the nano dream home of 
the future? Can your home emulate the subtlety of your emotions? Can it heal you? Is it extensible, wearable, 
inhabitable, and mobile? Will it report you and to whom? 
Is ubiquity frightening, desirable? Does fear, possibility or both motivate us? Are there materials that we can 
repurpose from military or industrial use to create engaging, culturally rich spaces? 
Are responsive environments alive? Are they ecologically friendly? Designers and artists are creating 
environments that are able to respond to their user/wearer/host in direct and indirect ways. Applications 
include sports training, health awareness, entertainment and information. The expression of these 
technologies will be fashion design for leisure, work and couture. 
BNMI extends our ongoing discussions of living architectures, responsive materials and designs, wireless media and the corresponding philosophies, research futures and consumer products. 
Please let us know if you will be available and any questions you might have. 
Kindest regards, 
Printed for Yacov Sharir 


® THE BANFF CENTRE 
BANFF NEW MEDIA INSTITUTE 

2004 


Wednesday August 4th 
9:00 -9:30 Group Check in 
Location: Professional Development Centre (POC) Lounge 201, 2"d Floor) 
9:30 -10:30 
Communications systems, responsive environments and fashion 
Location: Professional Development Centre (PDC) Lounge 201, 2"d Floor 
Sara Diamond discussion leader, with Sabine Seymour, Tom Donaldson, Katherine Moriwaki and Michael McCarthy 
10:45-11:45 
Performance and Wearable Technologies 
Location: Professional Development Centre (PDC) Lounge 201, 2"d Floor 
Maja Kuzmanovic discussion leader with Yacov Shirir, CodeZebra team (Vicki Lawton, Larissa Virdee, Susan Jenkyn-Jones, Jhave Johnston, etc.) 
11:45-1:00 
Working Session and Set up for open studios 
LUNCH 
3:00-6:00 
Work on projects Open Studios-(given the short duration of the workshop. these will be extremely casual and teams are encouraged to keep working and interact with visitors as appropriate) All Participants in Summit arriving for the summit are invited to attend 
7:30-9:00 p.m. Conclusions of Wearables workshop. design review. what we want to carry forward (if possible. we will keep designs in studios for review by summit participants who missed open studios) 
Location: Professional Development Centre (PDC) Lounge 201, 2"d Floor 
9:00 Meet and Greet Summit participants who are arriving 
Location: Professional Development Centre (PDC) Lounge 202 
6 
QI and'COIV1 PLEXITY 
Consciousntss Rdramtd 2004: 6th ln~rnational Rc~arch Conftttnce 
Professor Roy Ascott FRSA Director Planetary Collegium School of Computing Communications & Electronics University of Plymouth Drake Circus Plymouth PIA SAA 

Tel: Mobile 
Professor Yacov Sharir 

USA 
7 September 2004 
Dear Professor Yacov 
I am very pleased to inform you that the Scientific Committee of Consciousness Reframed 2004 -Qi and Complexity, has accepted you·r paper, 'How contemporary dance performance/image is affected with the use of alternative projection surfaces/means?'. 
We very much hope you will be able to come to Beijing in November to present the paper in person. There will be over 70 speakers from many Western and Eastern countries present, and we are also expecting a significant local audience. 
I look forward very much to meeting you there. 
Best wishes 
A~~ JJ.---­
--~ _-­
Lt.. . 
THE PLANETARY COLLEGIUM 
The Planetary Collegium 11/9/04 9:06 AM 
The Planetary,J oll g1um 
Consciousness Reframeci 6: Ql and COil.ilPLEX!TY -24 -27 i'-~ovember 2004 

QI and COMPLEXITY 
Dates· 24 -27 November 2004 Location· Beijing China URL: htto I /www. olanetarv -col !eq i um .net/ conferences I detail I 20041 1 / 
Related Information 
" Paper ab_;,tracts ~ ,l\ccommociation information e Conference Schedul<; (Adobe PDF file) 
Please note Schedules to change. Each pre-st~nter speaks fer 20 --25 n11nutes h:a.vin~J 5-10 rn intn ~== s fo r q uest : ons.. Ti is p re cis1~: • 
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http://www. planetary-collegi um. net/conferences/detai 1/200411 Page I of 3 
1015-10.45  Chris Nelson  1015-10.45  Kjell Yngve Petersen  
An Exploration of Baha'i Spiritual Experience in Virtual Reality  Complexity and form  
University of Ballarat, Australia  Boxiganga, Copenhagen, Denmark  
10.45-11.00  
Session Chair: Jerry Verschoor  Session Chair: Margaret Dolinsky  
11 .00-11 .30  Diana Slattery  11.00-11 .30  Katia Maciel  
Oracle as Episteme for Complexity: I Ching and the Glide Systems  Ginga eletronica ( eletronic capoeira swing)  
Rensselaer Polytechnic Institute, USA  University of Rio de Janeiro, Brazil  
11.30-1200  Maria Luiza Fragoso  11 .30-1200  Yacov Sharir  
Tracaja-e.net Project -Navigating on a turtle and its Magical Square  Contemporary dance: the use of alternative projection smfaces  
University of Brasilia, Brazil  University ofTexas at Austin, USA  
12.00-12.30  Margarete Jahrmann  12.00-12.30  Kaisu Koski  
Machin(im)a:lingo ofcoded culture/Lady Shon-gon loves classification games  Mediated Theatre; Movement in Reactive Environments  
University for Arts and Design Zurich, Switzerland  University of Lapland, The Netherlands  
1230-13.30  
Session Chair: Jill Scott  Session Chair: Jiang Hai  
13.30-14.00  Ga"in Sade  13.30-14.00  Maria loveva  
Envisioning Our Cybernetic Environments  Multi-Platforn1 Narratives  
Queensland University ofTechnology, Australia  Parsons School of Design, New York, USA  
14.00-14.30  Mike Phillips  14 00-14.30  Dene Grigar and John F. Barber  
Models of Power (the secret lives of buildings)  Myths, Aboriginal Songlines, and Consciousness  
I-DAT , University of Plymouth, UK  Texas Woman's University; The University of Texas at Dallas, USA  
14.30-15.00  Mark Palmer  14.30-15.00  Robe11 B Lisek  
Relationships as the Origin of Form  FLEXTEXT. Problems and Results in flexible, distributive cognition.  
University ofthe West of England, Bristol, UK  Wroclaw University and FUlldamental Research Lab, Poland  
15.00-15.15  15.00-15.15  
Session Chair: Roy Ascott  Session Chair: Ken Fields  
15.15-15.45  James Gimzewski  15.15-15.45  Anthony Lewis-Brooks  
Schrodinger's Cell Phone  Soundscapes -Multi-sensory reciprocity through subliminal (non)control  
Dept.Chemistry and Biochemistry, University of California Los Angeles, USA  Aalborg University Esbjerg, Denmark  
15.45-16.15  Victoria Vesna  15.45-16.15  Paul Doombusch and Sarah Kenderdine  
Cellular trans_ actions: nanobods.  Presence and Sound; Identifying Sonic Means to "Be There "  
Dept. Design!Media Arts,University of California Los Angeles, USA  RMIT University, Australia; Virtual Heritage Network. Australia  

18.15-21 .00 CONFERENCE BANQUET 
Consciousness, Connectivity and Coherence: a biophotonic perspective V estis: affective bodies The Planetary Collegium University of Campinas, Brazil 15.30-15.45 Session Chair: Jolm F. Barber Session Chair: Dene Grigar 
15.45-16.15 	Camille Baker · 15.45-16.15 Rachel Zuanon Telepathy through ~iosensor Media Stimulation Co-evolutionary Interfaces: .... Brain, Computer and Body that Dances Simon Fraser University, Canada PUC-SP I Universidade Anhembi Morumbi, Brazil 
16.15-16.45 	Marcus Boon 16.15-16.45 Karin Smidergaard Tickets That Exploded: Psychoactive Drugs and Autopoiesis Performativity and Bio-Techne York University, Canada Boxiganga, Copenhagen, Denmark 
16.45-17.15 	Katherine H. Greenberg 16.45-17.15 Carlos Augusto Moreira da Nobrega Developing Consciousness: Insights from the Deaf, Art Therapy . . . Art as an interaction field The University ofTennessee, USA Universidade Federal do Rio De Janeiro, Brazil 
17.15-17.45 	Claudia Westennann and Netochka Nezvanova 17.15-17.45 Martha Cruz Gabriel, Aloice Secco Caetano and Cecilia Ito Saito Greed. Love. Wisdom, and Labeling ofthe Self No War One World Independent Architect, Artist, Berlin, Gem1any USP-Sao Paulo; Faculdade De Belas Artes de Sao Paulo; PUC-SP, Sao Paulo. 
17.45-18.00 18.00-19.30 DINNER 19.30-20.00 
2000-22 00 	Computer Music: Ken Fields (Chair) EVENT Central Conservatory of Music 
Stephanie Ku (USA), Adam Overton (USA) Robert Sazdov (Australia), Kevin Austill (Canada), Chin Chin Chen (USA), Zhang Xiaofu (China), Ken Fields (China), Jan Trutzschler (Holland). 
CONSCIOUSNESS REFRAMED -QI AND COMPLEXITY BEIJING 2004 CONSCIOUSNESS REFRAMED -QI AND COMPLEXITY BEinNG 2004 
SATURDAY 27 NOV Academic Lecture Hall 	SATURDAY 27 NOV Library Lecture Hall 
Session Chair: Calvin Lee Session Chair: Norbert Herber 9.15-9.45 Gordana Novakovk and Rastko Novakovic 9.15-9.45 Reginald B. Humphreys and Kathleen P. Eagan-Deprez Orchestrating Reverberation Auditory& Visual Complexity Progressions in Full-SynchronizationFractal Video University College London, UK American Society ofClinical Hypnosis, USA 
9. 45-10.15 Maia Engeli 9.45-10.15 Ron Wakkary Alice in Wonderland or Playing Gan1es with Games Complexity and Design-Oriented Fields Planetary Collegium, University ofPlymouth UK Simon Fraser University, Vancouver, Canada 
PROGRAMA FESTIVA 
2004 
ciber Wrt 
BILBAO 

KONGRESUA I CONGRESO I CONFEREN 
2004 
ciber Wrt 
BILBAO 

I 

12a 1 	i 12s1
AST.EAZKENA I MIERCOLES I WEDNESDAY OSTEGUNA IJUEVES I THURSDAY 
ARETO·SALA·ROOM 	·SALA·ROOM ARETO
IA 11 ARETO·SALAROOM 	IA21 : IA 11 ARETOIA21 ·SALA·ROOM 
ARTE NONAHIKOAREN MUSEOA PROIEKTU ARTISTIKOEN ARETOA I PLANETARY COLLEGIUM PROIEKTU ARTISTIKOEN ARETOA MUSEO DEL ARTE UBICUO SALA DE PROYECTOS ARTiSTICOS SALA OE PROYECTOS ARTiSTICOS THE MUSEUM OF THE UBIQUITOUS ART ROOM FOR ARTISTIC PROJECTS 
ROOM FOR ARTISTIC PROJECTS
I 
09:00 . 09:30 	I o9:oo. 09:15 
Judith Zissman 	I Roy Ascott 
09:35 . 10:05 	09:35. 10:05 I oe:20 . 09:50 09:20 . 09:50 
Andrea Garcia Mendez 	Miguel Almiron Yacov Sharir Jordi Puig Vila 
Benoit Piranda 

10:10 · 11:10 	I 09:55 . 10:2s 09:55 . 10:25 
Christiane Paul 	10:05 . 12:30 I Kjell Yngve Petersen Gina Kalabishis Pausa · Etena · Break Greg Giannis 
11:10. 11:25 	10:30. 11:00 
1 10:30. 11:00 
Pausa · Etena · Break 	Lanfranco Aceti 
1 
Donna J. Cox I 11 :os . 11 :35 11:05. 11:35 
11:25. 12:25 	Bruno Klein 
I James Moore 
Jose Ramon Alcala 	Angel Jose Olalla 
11:35. 11:50I 11:35. 11:50 
12:30 . 13:00 12:30 . 13:00 	Pausa · Etena · Break 
Pausa · Etena · Break 
Manthos Santorineos 	Raquel Paricio Garcia I 11:50. 12:20 
11 :50 . 12:20 
Juan Manuel Moreno I Margarete Jahrmann Federico Peinado Gil Ar6stegui 12:25 . 12:55 Abraham L6pez Guerrer 
13:05 . 13:35 	13:05 . 13:35 I Maia Engeli Pablo Gervas 
Yael Eylat Van-Essen Francesca Rosella Gomez-Navarro

I 13:00 . 13:30 
13:40. 14:10 	13:40. 14:10 Claudia Westermann 
I
Antoni Mercader 	Susana Vidal Mari 13:35 . 14:05 
14:15. 14:45 	14:15. 14:45 I Dene Grigar 
Kate Richards Random Studios 14:10. 14:40 

I 
Mike Phillips 
I 	I 
i -----------------1--------------­I IA11 IA21 I IA11
ARETO·SALAROOM ARETO·SALA·ROOM ARETO·SALAROOM 
I 	I 
I ARTE PLANETARIO ARTE PLANETARIO I PLANETARY COLLEGIUM ARTE PLANETARIOA ARTE PLANETARIOA II PLANETARY ART PLANETARY ART 
1 15:30 . 16:00 	15:30 . 16:00 : 15:30 . 1 &:00 
1 
Gregory Little Juan Andres Crego Karin Srtmdergaard I Ana Mugica Anduiza I 16:05 . 16:35 
16:05 . 16:35 	Patxi Serrano Rodriguez I Shaun Murray 
I 
D. Scott Hessels 16:05 · 16:35 16:40. 17:10 I 16:40. 17:10 Frauke Behrendt I Ron Wakkary I Stephanie Andrews 16:40 · 17:10 I 17:15. 17:45 
Sergi Jorda Roy Ascott
I 11:10. 11:25 	11:10. 18:30 I 17:45. 18:00
I Pausa · Etena · Break Pausa · Etena · Break I Pausa · Etena · Break 
18:00 . 18:30 
I 11:2s • 1 a:2s I Michael Punt 
I Mark Amerika I 18:35 . 19:05 
I 18:30 · 19:00 18:30 · 19:00 I Margaret Dolinsky 
Natasha Vita-More Emerson Freire 19:10 . 19:40 
I 19:05 · 19:35 19:05 · 19:35 I Diane Gromala 

I 	Chu-Yin Chen Dew Harrison I 19:45. 20:15 Simon Poulter I Andrea Gaugusch 
I 19:40 . 20: 10 19:40 . 20: 10 20:20 . 20:50 I Elizabeth K. Menon Sheila Petty I Diana Slattery 
1 	I 20:55. 21:25 
I Martha Patricia Nino Mojica 
• 
>LI can register at any time during the festival. 


RESPOND Interchange 
biologist Neil Theise (NYU) and 'Aurora Universalis' an environment that reflects on our understanding of the auroral phenomena. 
Paul Sermon 
Born in Oxford, England, 1966. Studied BA Hon's Fine Art degree under Professor Roy Ascott at The University of Wales, from September 1985 to June 1988. Studied a Post­graduate MFA degree at The University of Reading, England, from October 1989 to June 1991. Awarded the Prix Ars Electronica "Golden Nico", in the category of interactive art, for the hyper media installation "Think about the People now", in Linz, Austria, September 1991 . Produced the ISDN videoconference installation 11 Telematic Vision" as an Artist in Residence at the Center for Art and Media Technology (ZKM) in Karlsruhe, Germany, from February to November 1993. Received the "Sparkey Award" from the Interactive Media Festival in Los Angeles, for the telepresent video installation "Telematic Dreaming", June 1994. From 1993 to 1999 employed as Dozent for Media Art at the HGB Academy of Visual Arts in Leipzig, Germany. During this time continued to produced further interactive telematic installations including 11 Telamatic Encounter" in 1996 and "The Tables Turned" in 1997 for the Ars Electronica Centre in Linz, and the ZKM Media Museum in Karlsruhe. From 1997 to 2001 employed as Guest Professor for Performance and Environment at the University of Art and Industrial Design in Linz, Austria. Since June 2000 based at The University of Salford working primarily within the research field of immersive and expanded telematic environments. 
Thecla Schiphorst 
Thecla Schiphorst is a Media Artist, choreographer, dancer, computer systems 
designer and Associate Professor in Interactive Arts at Simon Fraser University. She is a 
member of the original design team that developed Life Forms, the computer 
compositional tool for choreography and has worked with Merce Cunningham since 
1990 supporting his work with Lifeforms. She is the recipient of the 1998 PetroCanada 
award in New Media awarded biennially by the Canada Council for the Arts. Her 
installations have been exhibited internationally in Europe, Canada, the United States 
and Asia in many venues including Ars Electronica, DEAF, Future Physical, ICA, 
Siggraph, Interaction '97, Wexner Centre for the Arts, and ISEA. She has an 
interdisciplinary MA in computer compositional systems[dance and computer 
graphics] from Simon Fraser University and is a PHO candidate in the CaiiA-Star 
program. whisper.surrey.sfu.ca 
Yacov Sharir 
Professor Yacov Sharir graduated from the Bezalel Academy of Art in sculpture and ceramics and continued his studies in dance at the Rubin Academy of Music and Dance, and the Bat-Sheva Dance Company School. A dual citizen of Israel and the United States, Sharir was the founder of the American Deaf Dance Company, which pioneered the inclusion of deaf artists in professional dance. He subsequently founded Sharir Dance Company, the resident professional Dance Company of the University of Texas at Austin's College of Fine Arts. He has choreographed for companies around the world, along with over thirty works for Sharir Dance Company. Under his direction, Sharir Dance Company has produced, presented, and collaborated with companies such as the Merce Cunningham Dance Foundation, the Trisha Brown Dance Company and many others. 
Christa Sommerer 
Christa Sommerer is one of the most influential media artists {Steve Dietz 2002) pioneering interactive computer art and human-computer interaction since the early 90ies. Both artists are currently Associate Professors at the IAMAS Institute of Advanced Media Arts and Sciences in Gifu, Japan and invited researchers at the ATR Media Information Science Research Lab in Kyoto, Japan. Sommerer has also been a Visiting Associate Professor at Kyoto University Department of Social Informatics and received 
future physical 
4 bedale street, london bridge, london SE1 9AL t +44(0)20 73510823 f +44(0)20 73510825 w futurephysical.org 
WEAR ME!!! InterChange Timeline -Norwich 5-St:tt December 2002 
A Future Physical focus where artists, fashion, interface designers mix electronics, computing and textile technologies. For registered participants, the WEAR ME!!! InterChange offers 3 intensive days of research, debate and networking around evolutions in smart textiles and fashion, hardware portability and miniaturisation, wireless networking and interactive software interfaces. Don't miss this fantastic opportunity to share and exchange with key colleagues, 
guest artists and peer groups.  
Including Guest Artists:  
Ambienttv.net (UK)  Dan Butler (Germany)  
Simon Byford (UK)  Vicki Bennett (UK)  
Igloo (UK)  Fo.Am (Belgium)  
Martin Kusch and Marie-Claude Poulin (Austria)  Yacov Sharir (US)  
Theda Schiphorst (Canada)  Nick Steelman (Canada)  
Rachel Wingfield (UK)  Sha Xin Wei (US)  
Liam Wells (UK)  Wei Yeh (US)  

THURSDAY 5TH DECEMBER 
The WEAR ME!!! InterChange is based at Norwich Arts Centre as a place for meeting and networking. Use the internet in the Media Lab, grab a coffee at the bar and recharge your laptop. Chat to friends, have meetings, share and exchange and meet the guest artists from around the world. The information station will also be based here to aid with directions and queries. 
12.00 
Registration 
Norwich Arts Centre 
Plus the chance to see selected Future Physical Commissions work-in-process on Norwich Arts Centre's plasma screens. 
15.00-18.00 
Process Demos 
Norwich Arts Centre 
First opportunity to see guest artists participating in the WEAR ME!!! InterChange demonstrating their latest projects and processes. For list of guest artists see above. 
15.00-18.00 
txOom visit 
Hippodrome Great Yarmouth 
Opportunity to take scheduled trips to txOom, 20 minute train journey from Norwich, see below for more detail. 
In the body of the email: 
1. 	
Please check details particularly arrival time as we will be booking your train tickets which is unchangeable. Please confirm us by 26th November otherwise changes will be at your own costs. 

2. 	
Please collect your train tickets from London Liverpool Street Station 
Platform 10. 


3. 	
Please send us a short biog (up to 200 words) by Wednesday 2?1h November. 


25 November 2002 
Dear Yacov Sharir 
Re: 	LETTER OF CONTRACT 
This is a formal letter of engagement between Yacov Sharir and Future Physical Ltd 
for the Wear Me!!! Interchange taking place on Norwich 5-8 December 2002. The following terms of engagement are applicable for: 
• 	
Informal peer group demo and discussion on Thursday 5th at Norwich Arts Centre and formal Process Demo for artists and public on Saturday 7th December at the Forum. 

• 	
Moderating alongside Ghislaine Boddington and 6 others for the Working Groups at the University of East Anglia. 


1. 	
Registration will start at 12:00 on Thursday 5th December (see schedule) and you will be expected to register by 2:00pm. 

2. 	
The fee is £100 inclusive of expenses. You will need to bring your own equipment as agreed, with insurance cover. 

3. 	
To facilitate payment of the above fee, you should render invoices as appropriate marked for the attention of Future Physical Ltd. Payment will be made through bank transfer/cheque within one month of receipt of the invoice. 

4. 	
Your flight and train tickets will be booked and paid for by Future Physical. 

5. 	
Your accommodation is booked and paid for by Future Physical. You will be given a Thursday evening buffet and a voucher for lunch on Friday 5th December. You will also receive £45 per diems to cover all other subsistence costs. (Please collect at registration). 

6. 	
As participant artists in Wear Me!!! Interchange please be advised that 
elements of this event are being recorded. 



In signing below, you confirm that you are aware of the information stated above and that you agree: 
a. 	
To the use of the documentation, wholly or in part, privately or publicity, for non-commercial promotion and exhibition of Future Physical I shinkansen programme of work. This may include for example, to produce, transmit, broadcast your likeness and/or voice as participant artists in Wear Me!!! Interchange. 

b. 	
To the holding of copies of all of the documentation produced by Wear Me!!! Interchange in the archives of Future Physical I shinkansen and for use by scholars and researching artists. 


7. 	
No verbal agreements have been made other than those referred to in this contract. 

8. 	
Changes and additional agreements to this contract can only be made in written form and must be signed by both parties. 

9. 	
Please print out and sign two copies of your agreement to the above terms, returning one copy to Future Physical at your registration upon arrival to Norwich, and retaining one for yourself. Thank you for your participation in Wear Me!!! Interchange. Should you have any questions, please do not hesitate to contact me. 

10. 
A Participants List will be sent to you once all participants are confirmed. 


Attached documents: 
• 	
Wear Me!!! Interchange Timeline 

• 	
Travel, accommodation and venue details 

• 	
Information sheet 


oddington Artisti irector Future Physical Ltd 

INTELLIGENTC ITV 
Sophia Lycouris and Yacov Sharir 
Friday at 3pm 
Responding to the theme of Subtle Technologies Symposium "Ground", which explores connections between new technologies and architectural practices, this presentation aims to introduce lntelligentCITY. This is along-term international research project which uses choreographic practices in dialogue with interactive technologies to transform and accentuate the perception of everyday built environments by live audiences who are also the regular users of such environments. lntelligentCJTYis acollaboration of London­based choreographer/video artist Sophia Lycouris, American choreographer/multimedia artist Yacov Sharir and London-based Dutch multimedia composer St~n Wijnans, who are supported by ateam of international collaborators with specialist technical skills. 
The technologies employed in lntelligentCITY aim to translate the sonic and movement reactions of the audience into direct digi­tal input which trigger visual, sonic and dynamic transformations of the space, manifested through the use of multiple video screenings and surround sound. In this way, the presence and reactions of the audience generates avirtual space which unfolds as part of an entirely physical space -a public building. The application of the selected technologies stimulates a're-newed' per­ception of both the static and fluid architecture of the selected sites and invites the audience/participants to navigate a 're-cre­ated' manifestation of these spaces. 
People use everyday built environments for various agreed purposes (ex. shopping in shopping centres, waiting in train stations, eating in restaurants and so on), they move, speak and perform various actions in order to fulfil their needs. The ways in which these 'events' are taking place are defined by the nature and limitations of these environments, the character of their architec­ture. The ways in which people perceive the relevance of these environments in their everyday lives is affected by their physical as well as emotional relationship to these environments, personal stories, memories which are superimposed, attached,fused, insert­ed, adapted, negotiated with the structure, materials, physical parameters and qualities of these architectures. 
Architecture and choreography both engage with methodologies which address and develop spatial structures. This commonality is particularly crucial in the creative research of choreographers Sophia Lycouris and Yacov Sharir, who are both members of the main collaborative team of lntelligentCITY project. Sophia Lycouris explores the potential of 'choreographic environments', dynam­ic spaces within which the viewers can circulate freely and physically experience the impact of various types of movement (includ­ing structured movement of human bodies, as well as movement of sound and images). Her primary interest in the continuous development of lntelligentC/TY project is to capitalise on the relationship between the architectural structures of the buildings within which the project takes place and the hybrid choreography of bodies, images and sounds. Yacov Sharir researches the archi­tecture of virtual environments and the potential of real-time manipulation of both virtual and physical environments through the 

The Function of Art in Restructuring Experience 
in Virtual Environments 


Diane Gromala 
Graphics, Visualization & Usability Center, Georgia Institute ofTechnology 

Y acov Sharir 
Dance and Virtual Environments, University ofTexas at Austin 
Austin, TX USA 78712 


Abstract. This paper will present analyses and examples of the human dimensions of imaginary virtual environment (VE) worlds. Specifically, it will discuss how art alters perceptual, psycho-physiological, and experiential states of being. This recent research by pioneers in the medium point towards emerging directions of the importance of art and VE such as collaborative CAVEs on the Grid, the growing relevance of VE art to medicine and how wearable computing combines dance with real-time visualization. 
1. Introduction 
This paper will present analyses and examples ofthe human dimensions ofimaginary virtual environment (VE) worlds. Specifically, it will discuss how art alters perceptual, psycho­physiological, and experiential states ofbeing. This recent research by pioneers in the medium point towards emerging directions of the importance ofart and VE. 
Art shapes the VE medium from an alternate perspective that infuses artistic creativity into the process, generates diverse possibilities and can result in dynamic innovations. Concepts in art and technology advance forward as they work in unison to research physical and virtual interaction, software tools, and hardware installations. Consequently the mandate of transdisciplinary research has grown over the last decades following a precedent set by Xerox PARC, their artist-in-residence program and their work on user interfaces. [1] 
Here discussion will focus around the work ofthree VE arts researchers: Margaret Dolinsky, Diane Gromala and Y acov Sharir who, respectively, are exploring the implications of social communication through art in collaborative CA VE ™s on the network Grid, the growing relevance ofVE art to medicine and how wearable computing combines dance and choreography with real-time visualization. [2] [3] 
Professor Yacov Sharir 
"The Function of Art in restructuring Experience in Virtual Environments" 
The seductive power and agency of interactive art and 'virtual reality', has stimulated my imagination as a researcher, and as an artist/performer. My disembodied self is re-embodied in cyber-bodies occupying increasingly immersive virtual/cyber-worlds, experiments of interactive art and wearable computer/devices. The self-descriptive, self-reflexive, and recursive processes of consciousness reveal themselves as a dance of real and virtual, flesh and re-configuration, sensory presence and re-presentation, cognition and re­cognition. In the ordinary flow of conscious experience, these pairs are not encountered as binary oppositions in conflict, but in a continual dance of transformation, one into the other. I converge with my own creations-the technological tools-and give birth to new tools and new gestures of consciousness. The research interests and my artistic practices have converged-literally and figuratively-in this zone of postures, gestures, movement and communication between real and virtual worlds, and the effects on consciousness of such spatial practices. 
A gestural human sign language and human postures is being exploited utilizing new possibilities through the use of new technologies as medium for inscription. Animated, virtual, cyber-human characters/performers move, deform, rescale, re-arrange themselves, augmenting the dimensions of expressiveness and meaning related to performance issues. The cognitive approach produced by thinking in and/or out of these bodies has similarly triggered changes in consciousness, thus affecting content and virtual story telling. 
Together they explore the interaction of gestures as movement material-as in dance, human day-to-day gestures, postures, and the capacity of carefully composed dance material to embody and generate meaning. Cyber dancers use gestures in order to cybemetically inscribe them. The composed gestures and movement material become a source of intention that relates to itself; its communicating environment becomes a visualization of the self-reflexivity inherent in the workings of both the dance and consciousness. The dance is between worlds of humans, cyber-humans, and the source language as it transitions and transforms into the domain of visible thought. 
Methodologies includes the human body and several interactive systems employing/wearing wearable computers/devices that are subsumed into the personal space of the user, controlled by the user, and has both operational and interactional constancy, i.e. they are always on (if needed) and always accessible while in performance. Most notably, they are devices that are always with the performer, and into which the performer can always enter commands while walking/performing in and around the performance space. In my latest works it is used to enable seamless multi-dimensional expression of intention and navigation through direct gestural interaction within a remembering knowledge space/system by way of accumulation. The working hypothesis for this aim is that a vocabulary of direct gestural expressions of creative intention can be recognized, so that a choreographed set of gestures/movement can map the experiential body and state of each gesture to corresponding system actions. The result will be an expression set, instead of a command set, through which the interactor (the wearer) communicates, rather than controls, the system. 
The complex layering of language, image, and communication between worlds, both human and virtual 
cyber-human, visualizes the shifting strata of memory, dream, and conscious visualization and meaning­
production. The technologically supported feedback that loops between the real and the virtual have 
produced profound shifts in consciousness, experiences of being both embodied and disembodied at the 
same time "a duality of existence.·~ 

6. The "Absent Body" 
The seductive power and agency of interactive art and 'virtual reality' stimulates the imagination ofresearcher, and artist/performer. The disembodied self is re-embodied in cyber-bodies occupying increasingly immersive virtual/cyber-worlds, experiments ofinteractive art and wearable computer/devices. The self-descriptive, self-reflexive, and recursive processes of consciousness reveal themselves as a dance ofreal and virtual, flesh and re-configuration, sensory presence and re-presentation, cognition and re-cognition. In the ordinary flow of conscious experience, these pairs are not encountered as binary oppositions in conflict, but in a continual dance oftransformation, one into the other. The dancer converges with personal creations from the technological tools and gives birth to new tools and new gestures of consciousness. The research interests and artistic practices have converged-literally and figuratively-in this zone ofpostures, gestures, movement and communication between real and virtual worlds, and.the effects on consciousness ofsuch spatial practices. 
A gestural human sign language and· human postures is being exploited utilizing new possibilities through the use ofnew technologies as medium for inscription. Animated, virtual, cyber-human characters/performers move, deform, rescale, re-arrange themselves, augmenting the dimensions of expressiveness and meaning related to performance issues. The cognitive approach produced by thinking in and/or out ofthese bodies has similarly triggered changes in consciousness, thus affecting content and virtual story telling. 
Together they explore the interaction of gestures as movement material-as in dance, human day-to-day gestures, postures, and the capacity ofcarefully composed dance material to embody and generate meaning. Cyber dancers use gestures in order to cybemetically inscribe them. The composed gestures and movement material become a source ofintention that relates to itself; its communicating environment becomes a visualization ofthe self-reflexivity inherent in the workings ofboth the dance and consciousness. The dance is between worlds ofhumans, cyber­humans, and the source language as it transitions and transforms into the domain ofvisible thought. 
Methodologies includes the human body and several interactive systems employing/wearing wearable computers/devices that are subsumed into the personal space ofthe user, controlled by the user, and has both operational and interactional constancy, i.e. they are always on (ifneeded) and always accessible while in performance. Most notably, they are devices that are always with the performer, and into which the performer can always enter commands while walking/performing in and around the performance space. In the latest works, it is used to enable seamless multi-dimensional expression ofintention and navigation through direct gestural interaction within a remembering knowledge space/system by way ofaccumulation. The working hypothesis for this aim is that a vocabulary of direct gestural expressions ofcreative intention can be recognized, so that a choreographed set ofgestures/movement can map the experiential body and state ofeach gesture to corresponding system actions. The result will be an expression set, instead ofa command set, through which the interactor (the wearer) communicates, rather than controls the system. 
The complex layering of language, image, and communication between worlds, both human and virtual cyber-human, visualizes the shifting strata ofmemory, dream, and conscious visualization and meaning-production. The technologically supported feedback that loops between the real and the virtual have produced profound shifts in consciousness, experiences of being both embodied and disembodied at the same time "a duality ofexistence." 

7. Conclusion 
Artists employed in the aesthetics ofthe VEs are integral to understanding the subtleties of communication and setting the scene for informational discovery be it when interacting across networks for socialization or medical discoveries or creative expression through dance. Ultimately it is the artwork that reveals the environmental design, the possibilities for participation and the way towards a resolution ofthe events. Interaction design is key to participation, experiencing the artwork and to investigating the environment over time. 
References 
[1] C. Harris, Art and Innovation: The Xerox PARC Artist-in-Residence Program, MIT Press, Cambridge, 1999. 
[2] C. Cruz-Neira, D. J. Sandin, and T. A. DeFanti, Surround-screen projection-based virtual reality: The design and implementation ofthe CAVE, in J. T. Kajiya (ed.), Computer Graphics (Proceedings ofSIGGRAPH 93), Vol. 27, Springer Verlag, pp. 135-142, 1993. 
[3] I. Foster, 
[4] B. Robertson, "Modem Cave Art" in Computer Graphics World, November 2001.vol.24 (11) pp. 24-9. 
[5] M. Dolinsky, "~2 Hearts Beat as One: Sound Machines for Collaborative CAVE™ Environments" in Biennale ofElectronic Arts Perth at John Curtin University, Perth, Australia. 4th International Consciousness Reframed 2002 "non-local, non-linear, non-ordinary" CD-ROM. 2003. 

Figure 3. Gromala experiencing "Virtual Dervish" in an HMD. 

Yacov Sharir Graphics, Visualization and Usability Center 
College of computing 801 Atlantic Drive Georgia Institute of Technology Atlanta, GA, 30332-0280, USA 
Our reference Rtn /Jf·2002 Athens, September 9, 2002 
DearYaoov. We .are coming closer to the opening of the exhibition Synopsis II ­Theologies and everything is going according to schedule. As we have agreed the museum will be able to secure the equipment you have requested for the installation of the work Dancing with the virlual DeNish_ Virtual Bodies, 1994. However f would much appreciate it t.f you coufd arrange all matters regarding the screen with our technical staff as soon as possible as it is urgent. 
I would like to invite you and Diane Gromara as our guests from the th untif the 17ttt of October for the tnstaHation of your work, the press conference and the inauguration of the exhibition. t also have the pleasure and the honor to invite you both to present your work to the audience and discuss about It -as part of our programme "Artists meet the Audience"-on Wednesday the 16th of October at 7.30 pm. I would appreciate a prompt response as the invltat;ons have to be printed and sent on time. 
Your technicians Chris Shaw and Wei Yeh will also be also invited. My collaborator Eleni Ganiti wm be happy to make all travel arrangements. 
I am looking forward to meeting you aH in Athens. 
Warmest regards 

Anna Kafetsi Director 



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r10 TfAl'}pO<popiec; ETflKOIVWV~crte µe 'tl)V Kupia Atorro1va KwvO"tOVl:IVtOOU 
Within the context of the parallel manifestations of the exhibition Synopsis II • Theologies 
the artist Yacov Sharir will present the work 
Dancing with the Virtual Dervish -Virtual Bodies (interactive installation in virtual environments) 
on Wednesday 16 October at 19:30, within the framework of the series Artists meet the Audience. 

Admission free 
For more information please contact Mrs Despina Konstantinidou 
E8NIKO MOYJ:EIO J:YrXPONHJ: TEXNHJ: A KAAAIPPOH! & AMBP. <l>PANTZH (nPOHN EPrO!TA!IO <l>I=). I 1743 AE>HNA -T11>.. 010 9242111 ~2. <l>a~ 010 9245200 NATIONAL MUSEUM OF CONTEMPORARY ART KALLIRROIS AVE. & AM. FRANTZ! STR. (FORMER FIX FACTORY). 11743 ATHENS GREECE -Tel. 010 9242111-2, Fax 010 924 E-mail: protocol@emst.cuJture.gr 
--------~-~---· 

Yacov Sharir Graphics, Visualization and Usability Center 
College of computing 801 Atlantic Drive Georgia Institute of Technology 
Atlanta, GA, 30332-0280, USA 
Our reference ~m /f)!I-2002 Athens, September 9, 2002 
DearYacov, We are coming closer to the opening of the exhibition Synopsis II ­Theologies and everything is going according to schedule. As we have agreed the museum wilt be able to secure the equipment you have requested for the installation of the work Dancing with the virlual Dervish_ Virtual Bodies, 1994. However I would much appreciate it if you could arrange all matters regarding the screen with our technical staff as soon as possible as it is urgent 
l would Hke to invite you and Diane Gromafa as our guests from the 7th until the 17th of October for the installation of your work, the press conference and the inauguration of the exhibition. t also have the pleasure and the honor to invite you both to present your work to the audience and discuss about it -as part of our programme uArtists meet the Audience"-on Wednesday the 16th of October at 7 .30 pm. I would appreciate a prompt response as the invitations have to be printed and sent on time. 
Your technicians Chris Shaw and Wei Yeh will also be also invited. My collaborator Eleni Ganiti will be happy to make all travef arrangements. 
I am looking forward to meeting you all in Athens. 
Warmest regards 

Anna KafetsJ 
Director 

~~ Al.L i~l()(', AVF.: & AM. FRM-1"1'71 ')lR. ( f (') !;f"'Jrn FIX FACTORY) 117.0 ATHCNS·GREECt. rn 01-'H·P! l l-2. FAX 01 . 9~ .; ~~(J() 

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CAHA·STAR 
Ce,,+re for ArJva,,cerJ l,,quirv ;,, +he l,,+eractive ArtS' UWCW 
Science 1ech,,o(ogy anrJ Art ReS'earch Ce,,+re u,,;verS'i+v of P(yMou+h 

4 April 2003 
I am pleased to inform you that your proposal for the 2003 Consciousness Reframed conference has been accepted by the Conference Programme Committee. I would like to remind you that it is a condition ofacceptance that authors should present their papers in person. We look forward to receiving your paper by 15th June 2003, and to welcoming you at Caerleon in July. 
With best wishes 
Kay Bosanko-Sheady Conference Manager 
Conference Programme Committee 
Professor Roy Ascott, Founding Director ofCAiiA-STAR, University ofWales College, Newport and University ofPlymouth, UK. (Chair) 
Professor Ernest Edmonds PhD, Professor ofComputation and Creative Media, Faculty oflnformation Technology, University ofTechnology, Sydney, Australia 
Professor Mauri Kaipainen PhD, Professor ofApplied Cognitive and Information Processing Science, Media Lab, University ofArt and Design Helsinki, UIAH, Helsinki, Finland. 
Mike Phillips, MA. Director ofthe Institute of Digital Art and Technology [i-DAT] 
School ofComputing, University ofPlymouth, UK. 

CAiiA·STAR' 
Director: Professor Roy Ascott · UNIVERSITY OF WALES COLLEGE NEWPORT Caerleon Campus Newport NP18 3YG United Kingdom 
Tel +44 1633 432174 



• . PORT
u 1v1-•• ·y AL COL 


CAHA-STAR 
Centre for Advanced Inquiry in the Interactive Arts UWCW 
Science '1echno(ogv and Art Research Centre Univenitv of P(v"'outh 

Dr Michael Punt PhD, Editor-in-Chief, Leonardo Digital Reviews, MIT Press. 
Professor Jill Scott PhD, Department ofCultural Studies in Art, Media and Design, Hochschule fiir Gestaltung und Kunst, Zurich. Switzerland. 
Professor Victoria Vesna PhD, Chair ofDesignlMedia Arts Department, University of California Los Angeles, USA. 

Director: Professor Roy Ascott 
UNIVERSITY OF WALES COLLEGE NEWPORT 
Caerleon Campus Newport NP18 3YG United Kingdom 

Tel +44 1633432174 


eorgia ~ [lwimil~©@(]~
Tech~School of Literature, Communication, and Culture = Wesley Center for New Media 
Georgia Tech Campus 
Wesley Center for New Media 
Skiles Building, Ground Floor 
Adjacent to the Library 


For detailed instructions, go to 
technopoetryfestival. com 
or cal I ( 404) 894-8556 

4-1 OPM lnteral:five.~xhibits.~nd Reception 7-9:30PH Artists' Presentation.and ~jscu sion · CJ:lOPM Dante Perfo,nn~nce 
Camille Utterback (New York, NY} 
Cayley, winner of the 2001 Electronic Literature Organization Award Utterback is a media artist wofking at the intersection of computation, 
for Poetry, presents River/sfand, a work in which transltteral morphing representatio.n and futeraction. Her proje_ct,._Text R:ain, created With 
takes a Chinese poem through various algorithmic.forms, and Speaking Romy Achituv, aTI~f seen at Ars..Elettronica and SlGGRAPH, .is an · 
Clocks, a piece in which clocks generate language that can be.used jnstallation of projeeted video that playfully invites the u~e to interact · 
to "tell" the time. •with cascading 'letters and words. 

www.shadoof.net/in www.camilleutterback.com 
Diane Gromala (Atlanta, GA)
Eduardo Kac (Chicago, IL) 
Recognized as a leading artist and design~r in Virtual Reality, Gromala

Recognized for his interactive net installations and bio-art. Ka~ 
served as Chair of SIGGRAPH's Art Gallery 2000.•She presents Biomorphic

merges multiple media and biologic;<>.! processes to create hybrids 
Typography., an installation in which the user is hooked up to

from the conventional operatip11s of existJng communica~ionssystems. · 
biofeedbackdevices that change the visual character of the font she

Kac presents Genesis, a work that explores the impad of biotechnol0gy, 
is writing in real~time.

and_exhib~ts three h,ptograms of "holopoepy .. '1 
www.lcc.ga_tech.edu/-gr:oma.la
· www.ekqc.org 
Sha Xin We'i (Atlanta, GA)Eugene Thacker (Atlanta, GA) Sha Xin Wei's work ex: lores the.performance of differential geometry. .. 
Thacker's work explores the relationships between bodies and He presents Hubbub, an installation that marries speech recognitiontechnologies in biotechnology and biomedicine. He presents the work with dynamic typcrgraphy and projected video to explore the of Biotech Hobbyist, an interdisciplinary collective exploring "lo­boundaries between speech and Writi.nq. Hubbub is part of a larger 
' •. ' ., .. .
tech" interventions into biqtechy;1ology. 
project explori,ng how 'cities cond~ct conyersations through tbe 
www.lcc.gatech.edu/-et,hackfrlbth --J 
medium of hxbr!<hrchitecture. · ·· · . titanium.lcc.gatech.e'du/hubbub
Diana Reed Sl<Jftery (Troy, NV) 
Slattery presents irn exploration based on her constructed visual 
language, Glide, whlcH she created to explore meanings made when 

Tonight's dance performance Is base 
syntax is on the move. She researches, designs and produces 

constructed Visu~I JanguagEt, Glide. 
interactive, game-like multimedia environments for education. 
entertainment and the arts. Yacov Sharir'(Austin, TX) 
www.acad:rny.rpi.edu/glidelportaiht;;,l_ Sharir foundecCboth the American Deaf Dance Company an'd the 
Sharir Dance Com~ny, a professional dance company at the University. 
of Texas College of Fine Arts. He is engaged in lectures and workshops 
related to the issues ·of virtual environments, cyberspace and 
computerized choreogyaphy. 

www.arts.state.tx.us/ast~dioslsharirlbkground. htm 
Pauline Oliveros (Kin'gston, NY). 
·since the 1960s, Oliveros has influenced American music profoundly 
through her work with improvisation, meditation, electronic music;· 
myth and ritual. All of her work emph sizes musicianship, attention · 
strategies and improvisational skills. A global celebration of the 5oth 
anniversary of her work was held in 2001. 

www.deeplistening.org/pauline 
Tuesday, April 2 

WELCOME to Night Two of the Technopoetry Festival Symposia 2002 
Tonight's.TechnoPoetry Festival 2002 Symposium showcases the work of leading artist, poets and performers who use digital techniques. We hope you enjoy tonight's presentation. Please join us in the discussion to follow. 
Camille Utterback (New York, NY) Utterback is a New-York based media artist working at the inter­section of computation, representation and interac­tion. She received a "Silver" award at the NewMedia lnvision Awards Competition 1999, and an OLB Me­dia Art Prize at European Media Art Festival 2000. She holds an MPS degree from New York University's Interactive Telecommunications Program, where she currently serves as an adjunct Professor. Her project, Text Rain, created with Romy Achituv, and seen at Arts Electronica and SIGGRAPH, is an installation of projected video that playfully invites the user to in­teract with cascading letters and words. Text Rain is based on excerpts of the poem "Talk, You" by Evan Zimroth. (www.camilleutterback.com) 
Diane Gromala (Atlanta, GA) Recognized as a leading artist and designer in Virtual Reality, Gro­mala's artwork has been performed and presented in the U.S., Europe, the Middle East and Canada. Gromala was Chair of SIGGRAPH'S Art Gallery in 2000, and she is an editorial board member for Postmodern Culture. She holds an M.F.A from Yale University and is an Associate Professor in Georgia Tech's School of Literature, Communication and Cul­ture. She presents Biomorphic Typography, an in­stallation in which the user is hooked up to biofeed­back devices that change the visual character of the font she is writing in real-time. As users are writing and reading, they become aware of their autonomic states of heart rate, respiration and galvanic skin response. (www.lcc.gatech.edu/ ...gromala) 
Sha Xin Wei (Atlanta, GA) Sha Xin Wei's work ex­plores the performance of differential geometry, as well as aspects of mathematics, scientific simula­tions and media theory. He holds a Ph.D. in Mathe­matics from·Stanford University, in the field of criti­cal and cultural studies of mathematics, science and technology, and is an Assistant Professor in Georgia Tech's School of Literature, Communication and Cul­ture. He presents Hubbub, an installation that marries speech recognition with dynamic typography and projected video to explore the boundaries between speech and writing. Hubbub is part of a larger proj­ect exploring how cities conduct conversations through the medium of hybrid architecture. (http:// titanium.lcc.gatech.edu/hubbub/index.html) 
DANCE PRESENTERS-Tuesday, April 2,9:30 p.m. 
Diana Reed Slattery (Troy, NY) Slattery is the author of the constructed visual language Glide on which tonight's dance is based. (www.academy.rpi.edu/glide/portal.html) 
Yacov Sharir (Austin, TX) Sharir founded both the American Deaf Dance Company and the Sharir Dance Company, a professional dance company at the University of Texas College of Fine Arts. A multiple recipient of the National Endowment for the Arts Choreographic Fellowship, he has choreographed for the Bat-Sheva Dance Company, Hartford Ballet and the Kibbutz Dance Company of Israel, among others. He received an Arts and Virtual Environ­ments fellowship awarded by the Banff Center for the Arts and is engaged in extensive lectures and workshops directly related to the issues of virtual environments, cyberspace and computerized chor­eography. (www.arts.state.tx.us/astudios/sharir/ bkground.htm) 
Pauline Oliveros (Kingston, NY) Pauline Oliveros' life as a composer, performer and humanitarian is about opening her own and others' sensibilities to the many facets of sound. Since the 1960s, she has influenced American music profoundly through her work with improvisation, meditation, electron­ic music, myth and ritual. All of Oliveros' work em­phasizes musicianship, attention strategies and improvisational skills. During the 1960s, John Rock­well named her work Bye Bye Butterfly as one of · the most significant of that decade. A global cele­bration of the soth anniversary of her work was held in 2001. Oliveros' work is available on more than 17 recordings produced by companies inter­nationally. (www.deeplistening.org/pauline) 





"Je n'ai pas de visage" 
Un atelier sera organise du 1 O au 14 decembre dans le cadre de Monaco Dance Forum. Dirigee par Yacov Sharir, artiste choregraphique, multimedia et professeur a l'Universite du Texas, elle proposera une approche originale des relations entre le corps, I'espace, le mouvement et I'energie, developpees grace aux nouvelles technologies. Yacov Sharir sera seco~de par Julio Bermudez, architecte, Tom Lopez, compositeur, Tamie Hahn, compositeur et performer, Wei Yeh, programmeur. 
"I Have No Face" 
/A workshop will be organised from December 10th to 14th in the frame of Monaco Dance Forum. It will be led by Yacov Sharir, award­winning dance and multimedia artist and teacher at the University of Texas with the goal of presenting an original approach of the relationships between the body, space, movement, energy and new technologies. Yacov Sahrir's teaching will be reinforced by julio Bermudez, architect, Tom Lopez, composer and Wei Yeh, programmer. 

v 

v A N c 0 U V E R 
A R T G ALLERY 
750 Hornby Streer, Vancouver, Brirish Columbia, Canada V6Z 2H7 24-hour information 604-662-4719 Gallery offices 604-662-4700 www.vanartgallery.be.ca 
Media Sponsor Supported by 
~ThtCan•<bCounc;Jfo,1~ Canadian PatrimoineTHEVANCOUVER SUN ~Le Conscd d~s Ans du Ctnad.3 l+I Heritage canadien 
Support for this exhibition has been provided by The Japan-Canada Fund: a gift to The Canada Council for the Arts from the Government of Japan, The Japan Foundation, and The Warhol Foundation for the Visual Arts. The Vancouver Art Gallery gratefully acknowl­edges the ongoing support of the City of Vancouver, Province of British Columbia through the BC Arts Council, and the Greater Vancouver Regional District. As a successful partici­pant in the Vancouver Arts Stabilization program the Vancouver Art Gallery is a grateful recipient of funds from the Gerald and Sheahan McGavin Capital Grants to the Arts. 
Cover: Fernand Leger, Le mecanicien [The Mechanic], 1920, oil on canvas, 115.5 x 
88 .3 cm, National Gallery of Canada, Ottawa (14985) ©Estate of Fernand Leger/ ADAGP (Paris)/SODRAC (Montreal) 2001. Interior: Mariko Mori, Play With Me, 1994 (detail), Duraflex, pewter frame, wood, 305 x 366 x 7 .5 cm, Vancouver Art Gallery. 


Unreal. Unnatural. Unnerving. 
The Uncanny: 
Experiments in 
Cyborg Culture 

February 9 to May 26, 2002 
Part human and part machine, the cyborg symbolises the uneasy relationship between society and technology. This multimedia exhibition charts the.evolution of the image of the cyborg from the 19th century to the present, revealing its diverse appearance in painting, sculpture, film, photography, toys and literature of the modern age. 


Reading the Cyborg 
A symposium in conjunction with the exhibition 
The Uncanny: Experiments in Cyborg Culture 
February 9 to May 26, 2002 
Saturday, February 9, 2002 
Emily Carr Institute of Art and Design 
Room 328 
12 noon to 6:00 pm 

The Cyborg Soldier and Other Milita,.Y Machinati.ons 
Chris Hables Gray, cyberologist and editor of The Cyborg Handbook The Borg: Assimilation and Resistan~e in the 
Entertainment Industries 
. Sandra Seekins, PhD Candidate, University ofMichigan 
Post Human: The Sci-fl Cyborg 
William Gibson, science ficti9n author 
Creating the Cyborg: a panel ofartists 
Nina Levitt, T~eclaSchiphorst, Nancy Nisbet, Ryan Knighton, moderated by Randy Lee Cutler 
Per/orming the Cyborg: a dance performance 
by Yacov Sharir 
Vancouver Art Gallery 
750 Hornby Street, Vancouver, British Columbia V6Z 2H7 24-hour information 604-662-47 l9 www.vanartgallery.bc.ca 
'!e-phos 2001" 
3rd International Festival of Film and New Media on Art 
23 May -2 June/ Athens, Greece 

organizes 
research lab 
<TRANSDANCE> 


body, movement, technology 
May 23-31, 2001 

IME, Athens, 254 Pireos str. 
Greece 

e.-·mail:ala~@ath.fo1thnet.gr 
tel:00301-7 520064-5 fax:00301-7520064 
exploration areas 
a) neologisms ofcorporeality in digital perfoming arts 
b) interactivity in tele perjomance as choreography phenomenon 

participants 
Matt Adams, artistic director "Blast Theory" 
Maria Anthimidou,artistic director/choreographer "DancersGroup" 
Sophia Licouris,choreographer 
John McCormick, choreographer "Company In Space" 
Dimitris Papaioannou,artistic director/choreographer "GroundGroup" 
Alexandros Psichoulis, video artist 
Konstantinos Rigos, choreographer "OktanaGroup" 
Yacov Sharir,choreographer 
Konstantinos Vita, music designer 
Christian Ziegler, architect, multimedia designer 

process advisor 
Scott De Lahunta 
in collaboration with 
British Council, IME, Dance Festival of Kalamata, 
Ministry of Culture, Ministry of Development, 

TRANSDANCE [May 2001 , Athens] Research Laboratory Report 11125/01 12:46 PM 
Click here for a 
long single· page 
printable version. 

INDEX 
1] D~§..9..dfilLQ.O 2] .fuil!!!llil!.'l 

5] Wof!.<ing at the ~ev~!.....91.ttl~..Q.~!2 
6] f_aralj~J Projects 
7] List of..Eflnl..sIY... 
§g.ftwaEL 
.Hardwarn. 
8] .Q.QoJacts. 
9] f§JJl~nt. ~iographies 
10] 
Ack™~dgem~Q.1§ 
The information on this site is only up to date to August 2001. After this, the author(s) do not guarantee any of the reference links. 
A Research Laboratory Report.: 
TRANSDANCE 
Research Lab on Body, Motion and Technology 23-31 May 2001, Athens, Greece 
By Scott delahunta (UK/ NL) 
1] Description: 
The TRANSDANCE research laboratory was conceived and organised by Yiannis Skourogiannis of ALAS as a part of "e-phos 2001", the 3rd International Festival of Film and New Media on Art from 23 May -2 June in Athens. "e-phos 2001" was entirely devoted to the BODY KINESIS and BODY ANAMORPHOSIS and included a wide range of activities such as telematic dance perfomance, multimedia theatre perfomance, live electronic music festival, video games festival, festival of documentaries on art, s& m fashion show, lectures, and new media exhibitions. 
TRANSDANCE was advertised on the 
website (b!!QJ1wY.Y-'fJ.filmartg.r1) as a 'dance 
and technology' research lab on 'body, 

http://huizen.dds.nl/-sdela/transdance/report/#top Page I of8 
TRANSDANCE [May 2001, Athens] Research Laboratory Report 
movement, technology'. The dates of the 
research lab were 23-31 May 2001, the 
precise location was in two warehouses 
located behind IME (Foundation for the 
Hellenic World) at 254 Pireos str., Athens, 
Greece. 
The lab was structured as a research project 
for professional artists with established 
practices. This means there was no 
separation between 'students' and 'teachers', 
and all learning took place in the context of 
peer to peer exchange. The international 
selection of invitees came from a diverse 
range of artistic backgrounds: electronic 
music, the visual and theatre arts, dance and 
performance art, interactive/ digital media 
and net art. They were: Sophia Lycouris 
(UK); Jenny Marketou (USA); John 
McCormick (AU); Konstantinos Moschos 
(GR); Alexandros Psychoulis (GR); 
Konstantinos Rigas (GR); Yacov Sharir 
(USA); Christian Ziegler (DE). Short 
b109r~ 111e~ are included at the end of this 
report. My role was described as research or 
process advisor for the project. The 
production coordinator was Maria Softsi and 
Chrysostomos Maslatzidis was Technical 
Advisor. 
2] Summary: 
The TRANSDANCE research laboratory explored a variety of interfaces between the physical and virtual worlds. While taking the theme of 'dance and technology' as a starting point, TRANSDANCE supported a wider range of conceptions of the physical body or bodies, from the trained to the everyday, the social and the collective. It focussed on the virtual space as a networked space that can function as a performance space, a shared, creative, social and playful space. Through exploring interference and mapping processes, the participants worked towards realising the transformative possibilities inherent in emerging technologies. The lab has given rise to three extended projects (an animation and telematic project and a documentary). Hopefully the following report presented as a set of open conceptual tools and methodologies will help disseminate the 
http://huizen.dds.nl/-sdelaltransdance/report/#top 

11125/01 12:46 PM 
Page 2 of8 
: 
1 
t 
f 
A 15 days residency on the research and design of collective art projects 
that combine performance, electronical public art and new technologies-Artists 
wil be provided the necessary means to work towards completed events or 
concepts that use either the physical public space of the city of Athens 
the virtual, or the combination of both-Expertices that can apply are 
dance and performance, architecture, music, programming, video/film 
writing, graffiti, video games, telematic art, installation art 
robotic art.Special areas for cultural managers and net event producers. 

Finished works will be presented to e-phos 2003-2004 and other festivals. 
Completed concepts will be proposed to the cultural program of Olympic Games Athens 2004. 

The workshops, labs and symposium are open to the public. 
Participating artists are not subject to fee. 

Invited artists 
Ra f a e 1 Lo z_a no Hammer , Pa u 1 Ka i ser , Masak i F u j i ha t a 
Konstantinos Rigos,John McCormick,Maria Roussou 
Dj Mikele,Dumb Type,Vassilis Mazomenos,BlastTheory 
Konstantinos Moschos,Jenny Marketou,Chris Petit 
Alexandros Psychoulis,Manuel LI Antunez,Dj LO-Fi 
Louis-Philippe Demers,P.floorfiller,Danae Stratou 
Dimitris Kozaris,Giorgos Koumentakis,Nick Haffner 
Yacov Sharir,Manthos Santorinaios,Miltos Manetas 
Philippe Grammatikopoulos,Andreas Angelidakis 
Joe Paradiso,Michael Marmarinos,Palindrome 

Invited speakers 
in collaboration with
Lev Manovich,Robert Lepage,Theodoros Terzopoulos 
MINISlRY OF ClLTtRE
Marcos Novak,Diller+Scofidio,Saskia Sassen,Gary Hill 
Hellenic Organization of Tourism
Steina Vasulka,Bruce Sterling,Michael Saup,Chris Marker 
join IN NOW and leT our collective mind DO the DFFERENCE 
organized by festival e-phos alas@ath.forthnet.gr www.filmart.gr 
Choreographing in Media Spaces: a prototype laboratory 
This space has been dedicated to the installation of a prototype 
laboratory for the exploration of dance making in media/ digital 
spaces with a particular interest in hybrid spaces that combine video 
with animation and in software development. The lab is set up and 
organised to include specific computer hardware and software and to 
match this with the expertise of the invited participants. The focus of 
the lab is to explore dance works and interfaces that are screen 
based. 
Coordinators: 
Scott delahunta [amsterdam, nl] 
Sue Maclennan [london, uk] 
Invited Participants: 
Mark Coniglio and Dawn Stoppiello [nyc, usa] 
Ruth Gibson and Bruno Martelli [london, uk] 
Guy Hilton [manchester, uk] Yacov Sharir [austin, tx, usa] Kirk Woolford [amsterdam, nl] 
The lab space will be occupied off and on by these artists Wed., Thur. and Friday (13, 14 and 15 December), during which time they will be working on a variety of shared and individual projects. There is no specific schedule as this is set up as an open working environment ­but on Friday there will be a public lecture demonstration from 12.00 to 13.00. This session may include information about setting up a similar lab and some demonstration of new and old software. If anything concrete is achieved in such a short period of time, there may be some display of artistic projects. 
You are free to enter the lab any time the door is open. There will usually be someone who is free to answer your questions ... and perhaps there will be an opportunity to try some of the software. 
Choreographing in Media Spaces: a prototype laboratory 
This laboratory is -set up with the following: 
Basic Hardware: 
Four G4 Macintosh Computers with monitors with 20 gigabyte hard drives 
[necessary for video editing] 
A network running on all four computers so all files can be shared and a fast 
connection outside to the internet. 
Four mini-DV Cameras each with a Fire Wire for sending video directly to the 
computers. 
One LCD projector with switcher for ease of demonstration and working 
One 1 /2 inch VHS deck and television monitor 
One sound mixer board and speakers 
Plenty of cabling 
Basic Software: 
Director -an interactive multimedia authoring software 
Edit DV and I or Final Cut Pro -video editing software 
After Effects -post processing video edit software 
Lifeforms and Poser -character animation software 
Operating system including all basic word processing and internet softwares 
body/machine OCTOBER 26-28, 2001 
Friday, October 26 
Yacov Sharir's Wearable Computer and CyberPRINT Suit 
3 pm> Ontario College of Art and Design, 100 McCaul St., 
Room 236 (The Shooting Studio) 
A lecture demonstration showing the possibilities of integrating 
EKG sensory collection technology into performance. 

Sponsored by 9.f.A.Jl 
Installations Launch + body/machine Opening Reception 5 pm> V tape, 401 Richmond St. W., Suite 452 
The Psymbiote Speaks: On Generating the Cyborg Body 
7 pm> The Rivoli, 332 Queen St. W. 
A lecture demonstration on creative cybernetic research by 
Isa Gordon and Jesse Jarrell from Arizona State University. 

The Anatomic Cabaret 
9 pm > The Rivoli, 332 Queen St. W. $10/ door 
Hosted by the irrepressible Roy Mitchell and the unstoppable 
Olivia Chow, this multidisciplinary cabaret features all manner 
of hybrid artistic activity, from the lyricism of veteran dance /per­
formance artist Elizabeth Chitty to the raucous irreverence of 
Mitchell Rose and his Modern Daydreams. Video, performance, 
dance, music and general mayhem. 


TICKET INFORMATION 
Full 3-day conference registration is $120; student, day and event rates are also available. Registration forms may be down loaded at www.movingpicturesfestival.com (see bodymachine) or by calling (416) 961-5424. Hotel reservation details are also available. 
York University is located at 4 700 Keele Street. body/machine events will take place in Room 312 of the Centre for Fine Arts as well as several other locations at York. 
For complete schedule of body/machine programming, check the web­site at www.movingplcturesfestival.com. 
,~ UNIVERSITE 
Office of the Dean 
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Tel.: (416) 736-5136 
Fax: (416) 736-5447 
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FACULTY  OF  FINE  ARTS  
4700 KEELE STREET • TORONTO • ONTARIO • CANADA• M3J 1P3  
30 July 2001  
Yacov Sharir  


Dear Colleague 
The program committee is pleased to accept your lecture-demonstration submission with Dr. Julio Bermudez for the October 2001 body/machine conference. We have a full program, so all presenters are requested not to exceed their time limit. 
Please confirm in writing (e-mail accepted) by August 30 that you will be able to participate. Hard copy replies should be sent to Norma Sue Fisher-Stitt at the York University address above. Your confirmation letter should include a 75-100 word biography and a 100-150 word abstract as well as the title of your presentation, to be printed in the conference program. We also need a specific list ofyour equipment needs. You are welcome to send any other promotional materials that you are willing to have us use. 
A tentative conference schedule has been set; the proposed time for your presentation is Friday October 26, at 3:30 pm. Note that this schedule is tentative; changes may occur. All events scheduled for Friday October 26 will take place in downtown Toronto venues. All events on October 27 and 28 will take place at York University. Hotel rooms have been reserved downtown as well as in the vicinity of York University. You are advised to make your reservations as soon as possible. Ifyou are able to stay a few extra days, the Moving Pictures Festival immediately follows the body/machine conference, running October 29 to November 3 in various downtown Toronto venues. The body/machine conference hotels are: 
Novotel North York (on subway line to downtown) 3 Park Home A venue (directly above the North York Centre subway stop) body/machine rate: $109 CAD single/dbl plus tax Call in reservations to (416) 733-2929 or email novores@aol.com BEFORE September 27, 2001 Holiday Inn Express (near York University, best if you have a car) 30 Norfinch Drive body/machine rate: $89 CAD (1 to 4 people) plus tax Call in reservation to (416) 665-3500 BEFORE September 27, 2001 
Downtown 
Metropolitan Hotel 108 Chestnut Street body/machine rate $169 CAD (single/dbl) plus tax Call in reservations to (416) 599-0555 or email reservations@metropolitan.com BEFORE September 25, 2001 
You are urged to make your hotel arrangements as soon as possible. Conference brochures and posters will be available by the end ofAugust; all presenters are having the conference fee waived. A hard copy ofthis letter, along with additional information, will follow. 
We look forward to having you with us in October. 
Sincerely,  
/4'.~ ~~ Norma Sue Fisher-Stitt Member, Program Committee  Kathleen Smith Member, Program Committee  



DANCES MONACO DANS ES F 0 RUM 
le Casino, place du Casino 
MC 98000 Monaco
Y acov Sharir 

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fax 
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USA 
73, av. des Champs-Elysees 75008 Paris -France 
Monaco, 10 August 2000 fax 

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Dear Yacov Sharir, 
I am very happy to inform you that upon the decision of a jury made up of Theda Schiphorst (British Columbia, Vancouver), Pierre Bongiovanni (CICV, France), Rosemary Butcher (Laban Center for Movement & Dance, London), Monique Savoie (Societe des Arts Technologiques, Montreal), your project has been selected among 140 proposals to be presented for a lecture demonstration within the framework of the Monaco Danses Dances Forum from 13 to 17 December 2000. 
The jury has been impressed by the quality of the projects which have been selected for their relevancy towards dance and/or their abilities to open up innovative paths. 
The quantity of projects received, as well as the interest that multimedia actors, dancers, choreographers and the press are showing, from now, lead us to believe that this event presents itself already like a main international platform and we will continue to develop this platform in our next edition in 2001. 
Monaco Danses Dances Forum will cover your travel and accomodation expenses in Monaco during the duration of the event and the installation of your material ( 11 and 12 December 2000). The installation should be completed on Tuesday 12 December by 16h00 in anticipation of the inauguration of the Monaco Danses Dances Forum that will start at 18h00 with a visit of the exhibition «Dance & New Technologies». 
We will send you later on a detailed schedule. 
Your contact : 
-for artistic questions regarding your projects: 

Jean-Marc Matos -Mobile 

-for the organisation of your travel and accomodation (please send back the enclosed form to): OCM -31 avenue Hector Otto -MC 98000 Monaco 


-for technical questions : 
Nick van der Heyden : Mobile 
I congratulate you for the interest of your work and look forward to seeing in Monaco. 
Yours sincerely, 



Dominique Passet-Baudelot Managing director 

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Multi-Media Concerts 
John C. Evans Hall 
Cummings Arts Center 
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Robert Rowe Color & Velocity 
Nancy Chaput, flute 
Robert Rowe, interactive e/ectroacoustics 

Vacov Sharlr Body Automatic/cyberPRINT 

Yacov Sharir, Computer Animations/dancer/choreographer 
Noel Syroid, Programmer 
Jim Agutter, Programmer 
Tom Lopez, Composer 
Julio Bermudez, Designer 

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e-mail available at Shain Library, Greer Music Library in Cummings (first floor), 8:30am to 10:00pm 
Corporate Sponsors and Supp0rt: 
Art Byte Magazine, Caruso Music, lnterPro Rapid Technologies, HB Communications, The Day, Island Design, Holiday Inn 
Special Thanks to Art, Mathematics, Music and Computer Science Departments, Information Servic·es, College Relations, Theater Services, Conferences, and everyone in the Print Shop. 
For Further information contact: Bridget Baird, Director Libby Friedman, Symposium Coordinator Bruce Carpenter, Technical Director Jim McNeish, Music Technical Director 
Richard Schenk, Dance Technical Director 
Noel Zahler, Symposium Director Andrea Wollensak, Gallery Coordinator 
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2:20-2:40 Robert Sturm, Stanford University, 
Synthesis and Algorithmic Composition 
Techniques Derived from Particle Physics 
2:45-3:05 A. William Smith, University of Lethridge, Canada, MoWor: New 3D Worlds with Aesthetic Movement 
3:10-3:25 Break 
3:25-3:45 Gerhard Eckel, German National Research Center, lmmersive Audio-Augmented Environments 
3:50-4:10 Christa Erickson, SUNY-Stony Brook, 
Prosthetic Memory: From Body to Data 
4:15-4:45 Feedback/Panel Discussion: "What Do Our Students Need To Know To Be Involved In The Work Presented Here?" 
5:00-7:45 Gregory Little, Bowling Green University, Patrick Lichty, Louisiana, CAVE Installation, Cummings 106 
5:00-6:00 Video Showing, Cummings 102A 
6:00-7:30 Dinner, Blaustein Humanities Center 
8:00-10:00 Concert: Michael Cole, San 
Francisco Academy of Art, -"Let Yourself Go" (video); John Jannone, New York "Tapeworm"; John Gibson, Univ. of Virginia, "Thrum"; Zack Settel, Canada, "L'Enfant des Glaces"; Richard Boulanger, Berklee College of Music, "·Into the Light" (world premiere); Samuel Pellman, Hamilton College, "Perujave": Robert Rowe, New York University, "Color & Velocity"; Yacov Sharir, University of Texas, "Body Automatlc/cyberPRINT", Evans Hall 
'------'S=--=-ATURDAY MARCH 3, 200_:1.____________, 

SHARIR+BUSTAMANTE DANCEWORKS 
SEASON 21: REGARDING REFLECTION SEASON FINALE 
REFLEX 
MAY 14TH & 15TH 2004 8:00PM MCCULLOUGH THEATRE 
Dear Friend, 
Thanks to all of our generous supporters, we are wrapping-up a wonderfully productive ~1st season. In January, our season premiere: Sex, Lies, and Fairy-tales, featured six new works by six up-and-coming Austin choreographers. This performance was met by crowded theatres and very responsive audiences. Also this season, we were recognized for our tenacious survival in tough economic times by an article in the Austin American-Statesman written by Sondra Lomax. In the article, Lomax highlighted our administrative flexibility and ability to restructure without sacrific­ing the level of artistry that we bring to the community. She wrote that the company "continues surfing the experimental fringes ofthe dance world ..." 
Now we are ready to close Season ~1 with Reflex, an evening featuring new work by myself and our resident choreographer, Jose Luis Bustamante. The evening will also feature live music by local composer Graham Reynolds and a new score written for the company by Russell Pinkston. Of course, Reflex will also showcase the finest modern dancers in Austin. 
The climate for public arts funding remains rocky as politics and policies shift away from building and fostering cultural institutions. We are thriving , but it is only with participation from you-our audience and our community. Thank you again for allowing us to continue "surfing the ~xperi­mental fringes of the dance world," and givingus the support to keep new dance alive and growing inAustin. 
You can get more information about us from our website, sbdanceworks.org, or by calling our office, ~36-1~96. 
Sincerely, 
Yacov Sharir Artistic Director 
Sharir+Bustantante Danceworks ~1st Season 

ARTISTic/ExECUTIVE DIRECTOR: Yacov Sharir  Board ofDirectors  
RESIDENT CHOREOGRAPHER: Jose Luis Bustamante  PRESIDENT: Jeremy Gibson  
MANAGING DIRECTOR: Laura Cannon  VICE PRESIDENT: Amanda Kellam  
LIGHTING DESIGNER & PRODUCTION SUPERVISOR:  SECRETARY: Andrea Keene/Sally  
Amarante L. Lucero  Partridge  
Chris Barrios  
John Hildreth  
Patty Eason  
Adrienne Longenecker  
Aarron Thibault  

Yacov Sharir brings a broad intelligence to his contributions in the field of dance-as performer, choreographer, dance educator, lecturer,and as well as founder (in 1984) and Artistic Director of Sharir+ Bustamante Danceworks. Sharir received a prestigious 1994 fellowship from the Banff Centre for the Arts in Canada to develop Virtual Bodies: Travel Within, a pioneering collaborative work that explored the combination of virtual reality technologies with live dance performance. Sharir's choreography has been showcased at international festivals in Israel, France and at the Future Moves Festival for dance and new technologies in Rotterdam, Holland. As one of the world's foremost authorities on art and technology, Yacov lectures and conducts workshops throughout the world and was a featured speaker at the National Endowment for the Arts conference, Art 41: Art Reaches Into the 41st Century in the spring of 1994. He was featured in the ACARTE97 in Lisbon, Portugal ~nd at the "Man, Technology and Society" conference in Stockholm, Sweden. In the sum­mer of 1998, Sharir directed a team of high school students, teachers, computer technicians, and artists in the creation of Robo-City, an interactive installation at Austin Children's Museum that engaged participants and viewers in the creative possibilities for several computer applications. In 4001, the company produced Yacov's most ambitious dance and technology performance, The Automated Body Project, which received rave reviews inAustin. 
Resident Choreographer Jose Luis Bustamante has choreographed for various companies in Mexico and was one of five finalists in the 1986 Dance Umbrella Workouts choreography competi­tion. During 1989, Jose traveled to France as one often young American choreographers selected nationwide to participate in the American Dance Festival's Franco-American exchange program in celebration of France's bicentennial. He was one of three national finalists for the Dewar's Profile Performance Arts Awards for choreography. In 1994, Jose completed an eight-week cho­reography residency at The Yard in Martha's Vineyard, Massachusetts, premiering his work there and in New York City. He is a recipient of numerous NEA grants, and his work has been selected for festivals in Israel, Greece, and Portugal. Jose is currently Associate Professor/Dance Program Coordinator at Austin Community College. 
Silence Erupted 
CHOREOGRAPHY: Yacov Sharir 
Music: Graham Reynolds 
LivE AccoMPANIMENT: Graham Reynolds 
LIGHTING DESIGN: Amarante L. Lucero 
CosTUMES: Laura Cannon 

A WORK IN FIVE SECTIONS 
TRIPTYCH : 
A. SoLO 
DANCER: Ray Eliot Schwartz. 
B . DUET 

music: Concerto for Violin and Orchestra 
DANCERS: Laura Cannon & Ray Eliot Schwartz 
c . SHORT STORY 
DANCERS: Laura Cannon, Scott Marlowe & Kevin Briggs 

ALIGNED : 

music: Sonomb~lo (from Spank Dance Conmpany production) 
DANCERS: Kevin Briggs, Laura Cannon, Susan Clark, Scott Marlowe, Molly 
MacGregor & Daria Neidre 

TRIO A 

music: Mailman Pants 
DANCERS: Kevin Briggs, Scott Marlowe & Daria Neidre 
TRIO B 
music: exerpt from Symphony #3 
DANCERS: Laura Cannon, Susan Clark & Molly MacGregor 

THE RETURN 
DANCERS: Kevin Briggs, Laura Cannon, Susan Clark, Scott Marlowe, Molly 
MacGregor & Daria Neidre 

Intermiss on 
Production Manager: Amarante L. Lucero 
Stage Manager: Michael Madison 
Technical Director: Bill Peeler 

Songs of Sea (1997) 
CHOREOGRAPHY: Jose Luis Bustamante 
LIGHTING DESIGN: Amarante L. Lucero 
CosTUMES : Kari Perkins 
PIER AND OCEAN 
Music: Robyn Schulkowsky & Nils Petter Molvaer 
DANCERS: Juan Camargo, Laura Cannon, Leslie Dworkin, Theresa Hardy,Scott 
Marlowe, Molly MacGregor & Andee Scott 

SHELL 
Music: Ocean Surf 
DANCER: Bryan Green 

MERMADE 
M us1c: "havet stomar" traditional/ARRANGEMENTS: Hector Zazou 
LEAD VocALS: Lena Willemark 
DANCERS: Laura Cannon, Leslie Dworkin, Theresa Hardy & Andee Scott 

Orb Spell 
CHOREOGRAPHY: Jose Luis Bustamante 
Music: Russell Pinkston 
LIGHTING DESIGN: Amarante L. Lucero 
COSTUMES: Jose Luis Bustamante 

ASTROLABE 
DANCER: Jose Luis Bustamante 

EcL1Ps1s 
DANCERS: Juan Camargo, Laura Cannon,Leslie Dworkin, Theresa Hardy.Scott 
Marlowe, Molly MacGregor & Andee Scott 

STELLA OcTANGULA 
DANCERS: Jose Luis Bustamante, Juan Camargo, Laura Cannon,Leslie Dworkin, 
Theresa Hardy.Scott Marlowe, Molly MacGregor &Andee Scott 

TRINE 
DANCERS: Jose Luis Bustamante, Theresa Hardy &Andee Scott 

PULSAR 
DANCERS : Juan Camargo, Laura Cannon, Leslie Dworkin, Theresa Hardy, Scott 
Marlowe, Molly MacGregor & Andee Scott 

This work is dedicated to Gina Lalli. 

Lighting Designer &Production Supervisor Amarante L. Lucero, has been designing for over ~5 years. He is currently the resident designer and production manager for Sharir+ Bustamante Danceworks and Southwest Jazz Ballet in Houston. His international experience includes credits with the Recontres Choregraphiques Internationales de Seine-St.-Denis, France; the Abderdeen Festival, Scotland; the Jakarta International School in Indonesia; La Compania Nacional de Danza de Costa Rica; La Compania Nacional de Ballet de Ecuador; and the International Festival de Teatro por la Paz in Costa Rica. Additionally, he has worked in Venezuela, Peru, El Salvador, Mexico, Costa Rica, Holland, Tel Aviv, and Ecuador. Amarante also recently designed two performances for Eos Music at Lincoln Center in New York City. A i989 Fulbright Scholar, Amarante's primary research focuses on cutting-edge digital technology, including the use of automated lighting for theatrical and dance events. In addition to dance, his work can be found in children's theatre, television, music videos, operas and plays. His 
U.S. credits include the Old Globe Theatre, Pacific Conservatory for the Performing Arts, San Diego Repertory Theatre, Seattle Children's Theatre, and Childsplay in Phoenix, Arizona. Having received numerous awards and honors, Amarante in on the faculty of the Department of Theatre and Dance at the University of Texas at Austin. 
Russell Pinkston (b. i949) currently resides in Austin, Texas. He is active as a composer, researcher, author, and teacher in the field of electro-acoustic music, and he has received a number of distin­guished awards for his work, including Fulbright and Guggenheim Fellowships, and the Charles Ives Fellowship from the American Academy and Institute of Arts and Letters. He is a Professor of Music Composition and Director of Electronic Music Studios at The University of Texas at Austin, and he is the current President of the Society for Electro-Acoustic Music in the United States. 
Graham Reynolds works regularly in theater, dance, film, concert halls, and nightclubs. Compositions 
include three symphonies, an opera, and countless chamber music. A second NEA-funded opera 
"Genghis Khan" is under development. Rolling Stone.com chose Graham's collaborative ~o-CD box set "The Golden Hornet Project" as a Top Ten CD's Under the Radar. Dozens of film scores include work with Slacker director Richard Linklater and projection artist Luke Savisky. The many theater pro­ductions include work with Rude Mechs and Salvage Vanguard Theater, where Graham is the resident composer. Dance collaborators have included choreographers Yacov Sharir, Ellen Bartel, and Andrea Ariel. Graham's band GoldenArm Trio has toured throughout the United States for the past eight years and has released two critically acclaimed CD's. 
DANCERS : 
This is Laura Cannon's sixth season performing with Sharir+Bustamante Danceworks and her second as their managing director. Laura has also performed with Sally Jacques, Deborah Hay and David Dorfman. She was nominated in boththe ~001 and ~oo3Austin Critics Table Awards for her performances inAustin's most cutting-edge dance productions. Laura also designs costumes, moonlights as a magician's assistant in a touring magic show, is a Pilates instructor, and an ACE certified personal trainer. 
Theresa Hardy received her BFA in Dance from the University of Texas @Austin. Theresa has been a member of Sharir+ Bustamante Danceworks since i 997. She has also worked with David Dorfman, lnbal Pinto of Israel and Alexandre Pepelyaev of Russia. Theresa also completed a residency at The Yard in ~ooo. Currently Theresa is a Pilates instructor. 
Andee Scott is an independent choreographer based in Austin, TX. Her work has been nominated by the Austin Critic's Table for Best Choreography (~001) and selected as as semi-finalist for the Recontres Choregraphiques lnternationales de Seine-St.-Denis (~oo~). Locally, she performs with Sharir+Bustamante Danceworks and Sally Jacques. She has also performed with David Dorfman Dance, Michael Foley Dance andAlienNation Co., under the direction of Johannes Birringer. Andee is currently on faculty at the University of Texas and The American Dance Festival in Durham, NC. She is also a certified Pilates instructor and registered massage therapist. 
Kevin Briggs graduated from UT in '.400'.4 with a BFA in Dance. He has appeared in several works with SBD over the last few years and is pleased to again be sharing the stage with these amazing people. Kevin is a certified Pilates instructor, he teaches at the Pilates Center ofAustin and VIM Studios. 
Juan Camargo is in his first season with Sharir+ Bustamante Danceworks. He is a registered massage therapist and you can visit him online at massagebyjuan.com. Juan appeared last sum­mer with Silver Star Theatre Group in Fame at Zilker Park. 
This is Susan Clark's first season with Sharir+ Bustamante Danceworks. She graduated from UT in '.400'.4 with a BFA in Dance and has performed with Dance Repertory Theatre, the Ears, Feet, and Eyes collaborative concert, and was on the production team of the New Works Festival. Susan is a Certified Pilates Teacher and will be teaching Pilates in Paris, France in the fall. 
This is Leslie Dworkin's first seaon with Sharir+ Bustamante Danceworks. She was a member of the Leah Stein Dance Company and the Melanie Stewart Dance Company, and has performed in the works of Ralph Lemon and Bebe Miller, among others. She has toured throughout the U.S., including performances at The Kitchen, Judson Church, and the Knitting Factory in New York City; at Jacob's Pillow; and in the Edinburgh Dance Festival in Scotland. Leslie has an MFA in Choreography from Temple University and is a certified Trager bodywork practitioner. 
Molly Mae MacGregor is in her second season with SBD and has spent the past seven years dancing with Tapestry Dace Company. She graduated from UT's Theatre and Dance Department in May '.4003. This summer she will be attending the American Dance Festival and performing a piece for Holly Williams in Edinburgh, Scotland's Aurora Nova Festival. Her own choreography has been honored in the American College Dance Festival. 
Scott Marlowe is a recent graduate of the University of Texas dance department ('.4004) where he has gained a wealth of experience. This is his second season performing with SBDW. 
DariaNeidre is in her second seasonwith the company. She won Fourth Place at the International Ballet Competition in Helsinki, Finland in i995 when she was i6. She also won the competition for the National Foundation for Advancement in the Arts. Daria graduated with her B.F.A. in Dance Performance from Southern Methodist University and has just completed her first year of her Master's Degree in Kinesiology/Clinical Exercise Physiology here at UT. 
Ray Eliot Schwartz has an eclectic background which includes high school at the North Carolina School of the Arts, a BFA in dance from Virginia Commonwealth University, certification as Practitioner of Body-Mind Centeringa, trainings in Zero-Balancing, Cranio Sacral Therapy, Traditional Thai Massage, and the Feldenkrais Method. He was a guest artist at the state Conservatory for Dance in Istanbul, Turkey during the winter/spring of '.400'.4 and has been on the faculty of both the American Dance Festival and the Bates Dance Festival. He is currently pursuing his M.F.A. at UT-Austin. 
Dr. Rosanne Butera 
Chiropractor 

Chiropractic Consultant for Ballet Austin and Sharir-Bustamante Dance Works. 
• Sports Injuries 
• Extremity Adjustments 
• Acupuncture 
TRAINED STAFF OF PROFESSIONAL DANCERS AND ATHLETIC TRAINERS 

• 
Private Pilates Reformers and Mat Sessions 

• 
Pilates Mat Classes (small groups) 


ONGOING WORKSHOPS 
Introductory Private Pilates Classes. 
10% offwith this add. Call to schedule times and dates 

Dr. Butera Chiropractic 
1803-A West 35th Street• Austin, TX 78703 

Call Toda (512) 323-6767 Photos by Frank Curry Posted by Motorblades 
I Have No Face: Ten Stories 
by Sharir+Bustamante Danceworks 
with guest artists Curtis Bahn and Tomie Hahn and Spurse 
Lighting Design : Amarante Lucero Costume Design: Amy Burrell 
Torus Knot 	Transmigration of Angels 
Choreographer I Performer 	Yacov Sharir Choreographer I Performer Laura Cannon
1 
Composer Graham Reynolds 1 Costume design Amy Burrell with Laura Computer Animation Yacov Sharir Cannon : Images Laura Cannon Over the Shoulder Animation Yacov Sharir and Laura
1 
Choreographer Yacov Sharir Cannon Composer Graham Reynolds Composer Larisa Montanaro
1 
Performers · 	Kevin Briggs, Laura Cannon, Theresa Hardy, ...the scenery was Parting Alby Roblejo, Andee Scott 1 Choreographer Theresa Hardy 
1 
Composer Michael Nymen with voice by Streams Christopher Middleton Choreographer Tomie Hahn Text excerpts from "The Fourth
1 
Composer/Interface Designer Curtis Bahn Elegy"* 
Computer Animation Yacov Sharir, Spurse by Rainer Maria Rilke 
Performers Tomie Hahn, Yacov Sharir Performers Kevin Briggs, Laura Cannon, 

Alby Roblejo, Andee Scott 
lassos Love Letter Choreographer Yacov Sharir Choreographer I Text Andee Scott Composer Graham Reynolds
1 
Video Animation Nathan Jensen 1 Performers Kevin Briggs, Laura Cannon, Composer :zoviet*france, with voice by Theresa Hardy, Alby Roblejo, Larisa Montanaro Andee Scott Performers Laura Cannon, Theresa Hardy, Nicole Russell Pika-Pika Computer Animation Nathan Jenson Choreographer Tomie Hahn 1 Computer Animation Curtis Bahn and Tomie Hahn 
1 
Composition/ Interface Design Curtis Bahn 
Lullaby 
1 Choreographer Yacov Sharir INTERMISSION Computer Animation Yacov Sharir
1 
1 Composer I Vocalist 	Larisa Montanaro 
1 
Performers 	Andee Scott, Yacov Sharir 
*Excerpts on inside page 


SHARIR+BUSTAMANTE 
P.O. Box 339. Austin, TX. 78767 
Join us as we celebrate 2.0 years of groundbreaking modern dance! 
Sharir+Bustamante Danceworks 2.0th Anniversary Gala Event May 9th and 10th, 2.00'3 8:00pm. McCullough Theatre (on East Campus Drive behind Bass Concert Hall) 
Featuring new work by Jose Luis Bustamante and Yacov Sharir With live musical performance by Graham Reynolds 
Tickets: $16 General/$10 UT Faculty, Students, and Seniors Performing Arts Center Box Office: '1-77-6060 or www.utpac.org 
For more information call 2.'32.·S9n 
Photography : Chopper 
SHARIRfBUSTAMANTE DANCEWORKS IS IN RESIDENCE ATTHE UNIVERSITY OF TEXAS COLLEGE OF FINE ARTS AND IS FUNDED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS, THE MID•AMERICAARTS ALLIANCE,THE TEXAS COMMISSION 
ON THE ARTS THE STILLWATER FOUNDATION, AND THE CITY OF AUSTIN UNDER THE AUSPICES OF THE AUSTIN ARTS COMMISSION. 
Non-Profit Org. 
US Postage 
PAID 
Permit 1537 
Austin, Texas 

THE ABSENT BODY:A CYBERHUMAN DANCE 
Concept and computer animations: Yacov Sharir, in coHaboration with Spurse 
Wearable computer/performer: ·y acov Sharir 
Composer/musician: Graham Reynolds; Theremin: Blair Bovbjerg 
Librettist/performer: Lisa Damour 
Aurora Research Team 
Project Director/Senior Engineer: Wei Yeh 
Systems Engineer/Dancer: Shelley Hardin 
Senior Programmer: Brandon Wiley 
Visualization Programmer/Dancer: Charlotte Craff 
Wearable Costume Design: Sherry Clubb 
Senior Engineer: Andrew Litt 
Graphic Designer: Malaika Boyd 

The Absent Body is a computer generated cyber human dance that employs computer-generated characters/performers stored on a motlier ship strategically placed in the house. These characters are activated in real time by/from a wearable suit/computer worn on a physical body by way of gestural recombinant movement material. These characters are activated randomly by the wearer; commands include forward or backward, fast or slow, start or stop, fast forward or rewind. The dance is a unique sequence experienced in the moment. 
THE ABSENT BODY SUITE 
Concept and choreography: Yacov Sharir, in collaboration with the artists 
Composer/Musician: Graham Reynolds; Theremin: Blair Bovbjerg 
Librettist: Lisa D'Amour 
Costume designer: Laura Cannon 

Imbalance: Laura Cannon · Bound: Andee Scott Dissonance: Theresa Hardy Command Enter: The company Harmony: Andee Scott and Alby Roblejo Dissonance: Scott Marlowe and Nicole Russell Imbalance: Kevin Briggs and Molly MacGregor Bound: Laura Cannon and Theresa Hardy Zoom Out: The company 
This work was created with direct input and full collaboration from the performers and all the artists involved. The movement material for this work is inspired and informed by the movement material that was created for the Absent Body Cyber-Work. 
INTERMISSION 

SHARIR+BUSTAMAN T E DANCEWORKS 
Non-Profit Org.
P.O. BOX 339, AUS TI N, TEXAS 78767 
US Postage 
PAID 
Permit 1537 

Austin, Texas 

S H AR I R + BUSTAMANTE 
SEASON 21: REGARDING REFLECTION 
SEASON FINALE 
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May 14 & 15 8:00pm 
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SHARJR+BUSTAMANTE DANCEWORKS IS SPONSORED IN PART BY THE UNIVERSITY OF -----" TEXAS AT AUSTIN DEPARTMENT OF THEATRE AND DANCE AND IS FUNDED IN PARTAUSTIN ARTS TEXAS BY THE MID-AMERICA ARTS ALLIANCE, THE TEXAS COMMISSION ON THE ARTS, 
C 0 M M I S S I 0 N COMM I SS ION 
ON THE ARTS 	AND THE CITY OF AUSTIN UNDER THE AUSPICES OF THE AUSTIN ARTS 
COMMISSION. 



S HARIR + BU STAMANT E D ANCEW O R KS 
Non-Profit Org. 
P.O. BOX 339, AUS TIN, TEXAS 78767 
US Postage 
PAID 
Permit 1537 

Austin, Texas 
S H A RI R + BUSTAMAN T E 
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Featuring new pieces by Danceworks' own Theresa Hardy and Andee Scott, as well as special guest choreographers Andrea 0 
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Beckham, Leslie Dworkin, Allison Orr, and Holly Williams. 
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Janu,ary 30 & 31 8:00pm ..,
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(on East Campus Drive, behind Bass Concert Hall) E 0 
Tickets: $ 1 6 General I $ 1 2 UT Faculty & Staff, "' 
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Students & Seniors 
Performing Arts Center Box Office: 477-6060 
or www.utpac.org 

For more information visit www.sbdanceworks.org 
or call 474-2453 

Don't miss REFLEX, our spring production featuring 
new work byYacov Sharir and Jose Luis Bustamante, 
May 14th and 1Sth at the McCulloughTheatre.

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SHARJR+BUSTAMANTE DANCEWORKS IS SPONSORED IN PART BY THE UNIVERSITY OF 
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TEXAS AT AUSTIN DEPARTMENT OF THEATRE AND DANCE AND IS FUNDED IN PART
AUSTIN ARTS TEXAS 
BY THE MID-AMERICA ARTS ALLIANCE, THE TEXAS COMMISSION ON THE ARTS, AND 
C 0 MM I SS I 0 N 
THE CITY OF AUSTIN UNDER THE AUSPICES OF THE AUSTIN ARTS COMMISSION. 
In our home town of Austin, Danceworks has the privilege of being a part of an extraordinarily passionate arts community, one in which individual and collective acts of charity, brilliance, good fun, and sheer insanity committed in the name of art make this a wonderful place to do our work. Our respect for our city and this community is paid only in part by our ongoing Art-In-Motion program which 
What were we thinking? 
From high tech 
to sneakers 
The virtual 
to the vibrantly alive 
For 18 vears S+BD has created and produced new dance at its innovative best. 
we have brought the international dance world to Austin, and Austins' dance communltv to the world. provided educational opportunities for Austins' vouth and workshops for the communltv. and created collaborations with Austins· most outstanding artists and ans organizations. 
It is w ith great pleasure that Sharir+ Bustamante Danceworks announces our 19th Season in Austin, Texas. 

Rencontres Choregraphiques 
Each lab will be a new experiment 

The Laboratory 

lnternationales de Seine-Saint-Denis through dance. 
A showcase of local and national companies Wednesday-Friday & Sunday in the semi-finals of this international competition. November 14-16 & 18, 2001 Friday·& Saturday 
B. Iden Payne Theatre January 25 & 26, 2002 
Times tba 
McCullough Theatre, 8 pm 
These lab performances will be 
Season 19 Finale
pay-what-you-w ish. 
Friday-Sunday Suggested donation: ~10. 
May 10-12, 2002 
B. Iden Payne Theatre Friday & Saturday 8pm, Sunday 2pm 
Single tickets: >18 General/ >u Seniors/ ~10 Students & UT Faculty/Staff Season 19 Passes: >90 for six tickets 
Be one of the first to get a Danceworks' Season 19 Pass. The Season Pass is equivalent to six individual tickets. The tickets may all be used at one performance or may be divided among the season productions. In addition, the Season Pass entitles you to attend as many of the Laboratory performances as you want gratis-that's free! 
Plans for our 20th Anniversary Season in 2002-2003, which we will celebrate with per­formances in Austin and New York City, are also underway. Watch your mail/e-mail for more details about Danceworks' Season 19, or contact Ol.~r office at 458.8158/sharir@mail. utexas.ed u. 
Photography by: Michelle Herrin, Minh Carrico, Brian Hollingsworth & Jose Luis Bustamante Design by: James deBeaumont/Graphic Marksman 

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20TH ANNIVERSARY 
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SEASON PREMIERE s " t e s o f 
s J. .., t Join us for an evening of-eight new moaerno#dance works~some 
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big, some small, some lo~g, some.~hort, butr eacfi having something in common with this: C' • r 
A Rock Duet Danced by Dogs and Kissing Angels from India . 
Featuring new works by Danceworks' own Laura Cannon, 
Theresa Hardy and Andee Scott as well as special guest 
choreographers Andrea Beckham, Kent DeSpain, Gina Lalli, 
Allison Orr, and Holly Williams. 
January 17&18 8:00pm 
McCullough Theatre 
(on East Campus Drive, behind Bass Concert Hall) 

Tickets: $ 16 General I $ 1 2 UT Faculty, Students & Seniors 
Performing Arts Center Box Office: 477-6060 or www.utpac.org 

For more information call 232-5973 

Mark your calendars early for S+BD's 20th Anniversary Gala Event at the McCullough Theatre May 9th and 10th 2003. 
SHARIR+BUSTAMANTE DANCEWORKS IS IN RESIDENCE AT THE UNIVERSITY OF TEXAS COLLEGE OF FINE ARTS AND IS FUNDED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS, THE MID-AMERICA ARTS ALLIANCE, THE TEXAS COMMISSION ON THE ARTS, AND THE CITY OF AUSTIN UNDER THE AUSPICES OF THE AUSTIN ARTS COMMISSION. 
photography: studiopenumbra.com I design: zocalodesign.com 
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RENCONTRES cH0R E GR A pH 1,Q uES. 
I Sharir+ Bustamante Danceworks (Austin, Texas) hosts this 1 I regional platform of the prestigious international competitio1 
INTERNATIONALES 
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1 the winner of which advances to the fmals in Paris, France. 
I
de SEINE-ST.-DENIS i I January 2.5 & 2,6, 2,002, atUT's McCullough Theater 
I 	. 
------------------------~---------------------~-----~--------~-~~--------------------------­

Sharir+Bustamante Danceworks/Jose Luis Bustamante 
TITLE three excerpts from The laboratory CHOREOGRAPHER Jose Luis Bustamante DANCERS Jose, Laura Cannon, Terry Hardy, Andee Scott, Alby Roblejo MUSIC Frederic Chopin, Brian Eno, George Crumb LIGHT.ING Amarante L. Lucero 
Kathy Dunn Hamrick Dance Company/Kathy Dunn Hamrick 
TITLE 	sleepless 
CHOREOGRAPHER 	Kathy Dunn Hamrick 
DANCERS 	Chris Bergeron, Gaye Greever, Kathy Dunn Hamrick, 
Renee Nunez, Jen Walters, Kate Warren 
MUSIC 	Escalay, performed by Kronos Quartet, courtesy of Elektra Entertainment by arrangement with Warner Special 
Products and the American Federation of Musicians. LIGHTING Walter Olden, Olden Lighting LIGHT CUES Michael McElwain VIDEO Kurt Larsen BACKSTAGE/PROPS Cheryl Borden 
Holly Williams Dance/Holly Williams 
TITLE 	Hell and Heaven 
CHOREOGRAPHER 	Holly Williams 
DANCERS 	Tova Boyko, Kevin Briggs,. Laura Cannon, Scott Marlowe, Andee Scott 
MUSIC 	William "Pete" Moss 
SCENE DESIGN 	Jen Yunghsin 
SCENE CONSTRUCTION 	Anna Labykina 
LIGHTING DESIGN 	Nate Parde 
COSTUME DESIGN 	Lisa Jordan 
-INTERMISSION­
Sharir+Bustamante Danceworks/Andee Scott 
TITLE Separate Views (2001) CHOREOGRAPHER Andee Scott DANCERS Laura Cannon, Theresa Hardy, Allison Orr VIDEO PERFORMERS: Laura Cannon, Theresa Hardy, 
Carolyn Pavlik VIDEO EDITING Chris Roldan MUSIC Gustav Santaolalla LIGHTING DESIGN Brian Davis 
Hubbard Street 	2/Robert Battle 
TITLE Strange Humors CHOREOGRAPHER Robert Battle DANCERS Anne Zivolich, Tobin Del Cuore MUSIC Original score by John Mackey LIGHTING.DESIGN Howell Binkley, created by Thomas Fowlkes COSTUMES Yo Ma Ma 
notes: First performed by Hubbard Street 2at the Dance Chicago Festival, Chicago, Illinois, November 4, 2000. Kraft Foods Is the principal corporate underwriter of"Hubbard Street Danct Chicago's Education and Community Programs. Additional funding is provided by National Endowment for the Arts, Illinois Arts Council, and the City of Chicago Department of Cultural Affairs. 
Ballet Austin/Stephen Mills 
TIHE Desire CHOREOGRAPHER Stephen Mills DANCERS Gina Patterson, Chris Hannon, Allisyn Paino, Eric Midgl 
Margot Brown, Todd Rhoades, Lisa Washburn, Derek Sakakura MUSIC Arvo Part 

Choregraphiques Internationales de Seine-St.-Denis! Our thanks to'Y~t6v='sb'.~rl:Fan·d Sondra Lom,ax .'::: > in particular for all of their hard work organizing this leg of the competition, as well as congratul*tions and thanks to the finalists who have worked so hard to get to Austin (welcome!). .. ., 
Danceworks would also like to thank ourAnnual Fund supporters for Season 19: 
New Works.fund  .  Patti &, Todd Clayton  Donor ($100-249)  Christopher Middleton  
Annie&, Mark McKinnon Ann Clark &, Tim Price James M. &, Lisa Butlak Usdan  Libby Lovejoy Leticia Rodriguez  
Choreographer's  Circle ($2,600+)  Contributor ($25-99)  Irma Guerra-Scott  
Linda Guerrero  
Sarah &, David Stromeyer  Ellen &, Mark Hoffman  
Kim &, Eric Weidmann  J. Richards Levan &, M.C. Wheaton  

William Melstrom 
Benefactor ($500-999) ! Cindy &, David Pinto Dr. Rosanne Butera 0 Joanne &, Jack Crosby Dancy 
IEXTRA EXT~; ;;;CIALTHANKS GO TO:
Paul Harford &, Sandra Dunn 
Dr. Joe Martin 

the Board of Directors, Sharir+Bustamante Danceworks
Dr. Arvo &, Mrs. Bridget Neidre 
Frank Gurry &Mary Pat Waldron/Studio Penumbra
Yigal &, Lily Saad 
Jim deBeaumont
Patron ($250-499 
Genevieve's mom ·
Chris &, Carol Smith Adams David &, Joyce Dormady Melody Nelson &Bobby Valentine Alexander Krigsfeld City of Austin 
P. N. Lohman 
COMPANIES REPRESENTED IN THIS YEAR'S COMPETITION 
HOLLY WILLIAMS (Austin) 
Holly Williams has performed nationally and internationally with the companies of Mark Morris, Laura Dean and Jose Limon. Ms. Williams' choreography for the Houston Grand Opera, Dallas Opera, Austin Lyric Opera, Austin Theatre Alliance, Dallas Theatre Center, and the concert stage have won her national acclaim. This past year she has presented concerts of her own work in Austin and at the Cunningham Studio in New York, and her choreography has been commissioned by companies in California, Kansas and Oklahoma. Awriter and dance critic, she has recently contributed to the Dallas Morning News, Austin American Statesman and the New York Times. She has a BA from Barnard College and an MFA from Texas Woman's University, from which she just . 
~eceiv~d the 2?0.1 Dis~inguished Alumnae A~ard .in Dance. Now base./ in Austin, Ms.Williams is on faculty at the University of Texas. .'· 

invites you ·to contribute to our NEW WORKS 
,~ .;~;fiy,,N. D! All NWF proceeds d1rectly benefit the i :~~;j::t::tr:~~'!:::lion of new choreography by Yacov Jose &::,i!; 
=~~}:: -:>:::): ' ' /t\ 
-
~'~:-~:more information_, ~!:&i~t'

8
Summer Dance and Technology '04 at Arizona State University 


5.17 through 5.28 


Summer Dance and Technology '04 at Arizona State University 

[SDAT04] 
5.17 through 5.28 
The Herberger College of Fine Arts Department of Dance and Information Technology Instructional Support at Arizona State University are offering a two-week intensive workshop in new performance technology, led by internationally recognized artists and researchers Scott delahunta, John D. Mitchell, Yacov Sharir and Zachary Lieberman. 
In this workshop, participants will explore emergent electronic technologies and how they may influence artistic processes and the experiences of work. New technologies can extend, manipulate and color work in ways that may not be possible in atechnologically unmediated realm. 
You will discover how the experiential effects of technology and computer simulations of choreographic works enhance physical performance and create new perceptions of dance. 
Applications accepted on afirst-come, first-served basis. Enrollment is limited. Workshop fee is $800. 
For more information, go to http://dance.asu.edu/sdat04/ 
Offered through the College of Extended Education. 
A5U 
Herberger
College 
ARIZONA STATE UNIVERSITY 
THE KATHERINE K. HERBERGER COLLEGE OF FINE ARTS Department of Dance 
PO Box 870304, Tempe, AZ 85287-0304 
http: 11 herber9ercolle9e.asu. edu 
Non-Profit Organization 
U.S. Postage 
PAID 
Arizona State University 
INBOX: Yacov Sharir: GX Award Jury 
Committee Invitation (34 of 52) t'Jtii 
Delete IReply IReply to All I Forward I Redirect I Blacklist I Message Source ISave as I Print Back to INBOX ~... Date: Wed, 21 Jul 2004 03:35:09 -0500 

Subject: Yacov Sharir: GX Award Jury Committee Invitation 
Yacov Sharir University of Texas, Austin 

Dear Yacov: 
The purpose of this email is to invite you to be part of the Leonardo -Global Crossings (GX) Award Jury Committee. We would like you to be part of the Jury which will establish and awarding the Leonardo Global Crossings Prize. If you accept, we will begin discussing the criteria for this award and next steps. Some background information follows: 
Over the next three years, Leonardo/ISAST plans to dedicate significant resources toward identifying and showcasing the work of international artists, professionals, and scholars from outside North America and Europe. Through the GX Project, Leonardo hopes to encourage pluralism and initiate a policy to reach out to cultural and global communities outside the existing networks. GX hopes to overcome the considerable natural barriers that prevent trans-cultural collaboration in the emerging art-science-technology field. 
GX sets in in motion three new initiatives that will: 
a) publish and showcase Global Crossings work by international artists and scholars within Leonardo/ISAST print and online publications, 
b) establish the Leonardo Global Crossings Award to recognize outstanding work in the field, and 
c) enable artists and scholars to participate in the activities in the field's public sphere. 
Within the Leonardo International Advisory Committee, Leonardo/ISAST has established a Steering Committee headed by Nisar Keshvani, Leonardo Electronic Almanac Editor-in-Chief, currently with the Aga Khan Development Network and. Rejane Spitz, Associate Professor, Department of Art & Design at Rio de Janeiro Catholic University, Brazil to oversee GX and provide a foundation for the project. 
This Committee will comprise of selected individuals involved in existing Leonardo/ISAST projects representing the international art, science and technology community. As a committee, they will identify key individuals and opportunities to join the Global Crossings Task Force. They will assist with: 
-shaping and defining the scope and contours of this project, 
-localizing and inviting members to join the project's task force and, 
-participate in all discussions and decisions concerning the Leonardo GX Project 
The GX Task Force will consist of any individual or organization from any country 
Mail : : INBOX: Yacov Sharir: OX Award Jury Committee Invitation 

who will produce an essay, special issue, gal lery or any other form of work 
(multimedia or traditional) associated with the GX project. 

We would like to invite you join the Leonardo Global Crossings Award Jury Committee. We are certain your contribution by shari ng with us your views, opinions and experience on trans-cultural issues in the art-science-technology field will ensure success and help us contact individuals and organizations located outside North America and Europe. 
We hope you will accept this invitation by return email and look forward to 
working with you. As a next step would you: 

* 
Confirm acceptance by 25 July 2004 

* 
Send us a 1-3 paragraph biography for circulation amongst the commitee. 


Many thanks. Si ncerely, 
Nisar Keshvani, Rejane Spitz, Roger Malina, Julio Bermudez and Sundar Sarukkai 
nisar ke shvani 
mail: 
tel : 
E::ditor-in-ch:Le:f, J.eona.rdo el ectronj.c almanac 


I f email bounces , kindly resend to 

Delete I Reply I Reply to All I Forward I Redirect I Blacklist I Message Source I Save as I Print Back to INBOX ~ ~ 
Move ICopy [!his m~!~ge:§JI 
Service 

• 
Departmental 

• 
College of Fine Arts 

•
University 


•National and International 
•Additional periodical service on various panels 
DEPARTMENTAL, COLLEGE, UNIVERSITY, NATIONAL AND INTERNATIONAL SERVICE: 2000-2005 In the last five years I served on the following committees, task forces, and panels. 
DEPARTMENT AL COMMITTEES: 
• 	
Chair, Ad-Hoc-Committee, Technology, (2005) 

• 	
New Works Festival, (2001-2003) (2003-2005) 

• 	
Executive Committee, (2001-2004) 

• 	
Search Committee for Design Area, (2003-2004) 

• 	
Chair Search Committee, for Dance Area, (2002-03-04) 

• 	
Scholarship Committee, (1999-2004) 


• Departmental Chair Review Committee, (2001-02) COLLEGE OF FINE ARTS: 
• 	
Served on the College of Fin Arts Creative Research Grant Committee, (2005) 

• 	
Served on the Design Dinner Group Committee, for the establishment of a University Convergence Media Program, Chair, Dean Ellen Wartella, (2002-2004) 

• 	
Served on the College of Fine Arts (CASA), Centre for Advanced Studies in the Arts Board of Directors, (1998-2003) 


UNIVERSITY: 
• 	
Served on the UT Expert Guide Committee, (2002-2005). 

• 	
Served on the University Center for Interdisciplinary Media Studies Faculty, (2003­2005) 


NATIONAL: 
• 	
National Council of Dance Administrators (CODA), (2001-2002) 

• 	
National Association of Dance (NASD), (2001-2002) 

• 	
Dance/USA Roundtable, (NIPAD), (2002) 


DEPARTMENTAL, COLLEGE, UNIVERSITY, NATIONAL AND INTERNATIONAL SERVICE: 2000-2005 (continue) 
INTERNATIONAL SERVICE: 
• 	
Served on the Yokohama Dance Council "Yokohama Dance Collection R", 
(2005) 


• 	
Appointed to the "Leonardo/International Society for Art, 
Science and Technology Network", ( 2004-2005) 


• 	
Served on the Rencontres Choreographiques Internationales De Seine-Saint-Denis, Paris, France, (1994-2002). 


INVITED PANELS (INVITED/REFEREED) National/International 
• 	
Served on SIGGRAPH 2000-01 ART Gallery Committee. SIGGRAPH is the world's premier conference on computer graphics and interactive techniques 

• 	
Served as a panelist for (NIPAD) The National Initiative for The Preservation of America's Dance, (2000-2001) 

• 	
Served on Austin Children's Museum Committee of Visitors, 
1999-2002. 



Additional panels, continue periodical service 
• 	
Texas Commission on the Arts Dance Panel 

• 	
Mid-America Arts Alliance Dance On Tour Panel 

• 	
National Endowment for the Arts Choreography Fellowship Panel