PIECE DESCRIPTION:


"FREE SPACE 2001 - The Distance Between Things"

Choreography/concept/ costume/ 3-d animated dance film: Karola Luttringhaus
Dance: Andrea Lieske, Catherine Lewan, Karola Luttringhaus
Engineering: Steve Feller, Sanjay Banerjee
audio electr. engineering/music: Andy Turner
Live music: Mark Wienand
Live speaking/music: Karola Luttringhaus, Mark Wienand
Recorded music by: Mark Wienand, Jeff Schmitt, Cat Matlock, Kayla Matlock, Rhan Small
Lighting design: Jonathan Christman
Written text: Karola Luttringhaus with the dancers
Length: 1.5 hrs

‘Free Space’ "Free Space" is the title for a series of collaborations between Alban Elved Dance Company and scientists from different universities. The concept is to join artists, engineers, and humanists to explore how technology might expand human creativity and how forms of creativity might offer insights into expanding technology -- a reciprocal event for the artists and scientists as well as for and with the audience and performers. Each collaboration is unique, covering a variety of topics.

The first production, entitled "Free Space: The Distance Between Things,” took place in 2002 at Duke University as a collaboration with the Fitzpatrick Center for Photonics and Computer Programming. This collaboration focused on the use of several specialized camera arrays and projections. for more information on "Free Space 2002 - The Distance Between Things" click here


The second Free Space production, entitled "Fibonacci & Phi" was performed in December 2003 as a collaboration including Alban Elved Dance Company; Wake Forest University’s Computer Science Department, Information Systems Department, University Theatre, and students; and local artists. The collaboration resulted in a weeklong series of performances and related events such as video showings, discussions, a symposium, workshops, and educational events for local-, high-, middle- and elementary schools.


“Fibonacci & Phi” is a kinesthetic visualization of mathematical principles and computer programming concepts incorporating audience participation and spontaneous interaction among the dancers, audience, and computers. Music, dance and set will be based on the mathematical phenomena of Fibonacci and Phi, concepts that have been linked with beauty and spirituality since ancient times. The Fibonacci sequence is a sequence of numbers that undelies beautiful natural forms, such as the patterns in rose petals, pinecones, and spiral seashells. Phi, also known as the Golden Ratio, is a number said to capture the the most beautiful of relative proportions, as embodied in classic architecture and painting. By means of bungie cords, a backdrop of large computer-generated images, and virtual 3-D environments, the dancers will use the space to its fullest, weaving mathematical abstractions into their choreography.


Web site by collaborator Jennifer Burg, Computer Science Department , Wake Forest University

The performance seeks to point out commonalities of art and science, the beauty inherent in both, and the impact they have on our world view and everyday lives. Through digital poetry, multimedia interpretations, and interactive dance, the audience will be led to consider their relationship with technology; the interplay of mathematics, technology, and beauty; and the human need to articulate concepts and aesthetic sensibilities that are beyond words or numbers.



“Free Space” focuses on technology by using it in both customary and new ways and giving the audience a chance to question and respond. By interacting with technology, giving it its own life, and reacting to its beauty, we make technology a player in our game, a part of us, and a complement to human creativity. We hope you will find “Fibonacci and Phi” to be insightful and reflective, elegant, powerful, impatient, sometimes funny and crazy, and a pique to your curiosity.



SOME DETAILS ABOUT THE SHOW:

“Free Space” signifies an attempt to overcome time, space and dimensions. Multiple projections allow views of the same action at different places. Innermost thoughts are projected in form of text onto the physical body. Instances happening in remote location are shown in the theatre via live stream. Infrared cameras allow viewing what the naked eye would never be able to see. Handheld cameras serve as mirrors of the soul. Animated films subtly question and portray our society’s view of ourselves and our physical and mental vulnerability. Dancers move within a laser and light sensor switch grid simultaneously being trapped and in control of their environment. By means of bungie cords, aerial fabric and ropes the dancers use the space to its fullest.

Slipping in and out of a dream world, or the moments just before waking “Free Space” plays with the minds’ ability to create images and unthinkable realities. Interweaving the real and the imagined Free Space taps into the human psyche and its’ desire to overcome limitations and to explore the unknown. Free Space is a dark piece with incredible moments of illumination and spirit. The dance and the set is based around a strong white and black / light and dark contrast allowing the performer to be a speck of color in this raw environment. The subtitle “lux eterna”, (eternal light) expresses what we are seeking for, answers and security, something to hold on to whilst being in a state of constant uncertainty.

“Free Space” does not focus on the technologies used rather does it personalize them, adding characteristics and personae/life to their predictability. The technology becomes a player in the game - another tentacle. Technology is a part of us, a product of our creativity. Sometimes it is only that and not the answer which we were seeking. The space is free for us to go or do whatever we wish yet we have to understand and define the path to be able to take it. Ultimately this is restricting and enabling at the same time.



Copyright: alban elved dance company & Karola Lüttringhaus

Supported by: Both the performances "Free Space Duke University 2002" and the symposium and related events are co-sponsored and supported by the Duke University Institute of the Arts, the Office of the Vice Provost for Interdisciplinary Studies, ISIS, the Fitzpatrick Center for Photonics and Communications, DISP, The Museum of Art, the John Hope Franklin Center, and Rachael and David Brady. Alban elved is supported by the Wake Forest University Theatre. The development of the movement to MIDI Converter was supported by a grant from the North Carolina Arts Council and the arts council of Winston-Salem and Forsyth County.