multimedia live performance installation and opera, 110 minutes (anticipated)
All That Is Seen and Unseen is an interdisciplinary installation opera that delves into the multifarious effects of technology on the collective human consciousness. The piece conjures a phantasmagoria of processed video and music, imagining a quasi-supernatural invasion of malfunctioning and overreaching intelligent machines.
multimedia live performance/installation, 55 minutes
All Over Everywhere is a trans-disciplinary media and performance installation, which engages connections and confrontations between human beings the imperiled natural world by combining otherwordly video, sculptural elements, live performance, integrated lighting design and a vibrant, reactive sound score.
multimedia live performance, 75 minutes
Why Why Always is a new interdisciplinary performance which embraces a dynamic interplay between theater, dance, installation art, and technology by integrating live performers, multi-screen video, live-feed cameras, fabricated environments and a vibrant tapestry of sound. A hybrid work, Why Why Always explores the rapidly evolving relationship between man and machine, considering the multifarious effects of technology on our collective consciousness.
multimedia live performance, 70 minutes
Part live performance, video installation, and interactive media lab, Keep Your Electric Eye On Me is an interwoven exploration of transformation, dual realities, hysteria, and the desire for the unattainable. Throughout this disturbing and atmospheric work, a multifaceted narrative reverberates through choreographed movement, spoken text, multi-screen projections, sensors and live-feed cameras. In this high-tech/lo-tech world, complex sonic vistas and spectral mirages meld, collide and shimmer.
interactive media installation with dance/performance, 45 minutes the horror the horror (I have plenty of energy to drive over there) is a largely improvised live video, sound and performance spectacle, which engages notions of loss, memory, eroticism and rage. Seamlessly incorporating live and processed imagery, electronic, and acoustic music, the work references Bernini's highly theatrical sculpture the Ecstasy of St. Theresa, Brando's death scene form Apocalypse Now, and the rantings of a drunk and enraged Mel Gibson. the horror the horror conjures a slowed down realm of breathing, watching, and dreaming, a world of literal and internal reflection, using multiple large scale video projections, surround sound audio, escalating feedback, live cameras and a dancer to spin a gothic meditation on American pop culture and the personal obsessions of madmen.
multiple channel video, audio, performance installation, duration variable
In this multiple-screen video, sound and performance installation, mysterious, shimmering red curtains (created from composited animations), repeatedly and unexpectedly open and close, sometimes revealing an empty stage or odd, disjointed 'art performances', 'video art', and snippets of music, reminiscent of a lost 1970s cable access Art TV show.
Performer: Michael Buscemi