New+Works+App

The University Co-op Presents The Cohen New Works Festival 2011

APPLICATION Please answer all application questions in this document. Then submit FIVE stapled copies and ONE digital. All materials are to be submitted to the Theatre & Dance Department’s main office, Winship 1.142, in the New Works Festival Box. The deadline for application submission is NOON on Wednesday, October 20, 2010. Please refer to the website at [|www.coopnwf.org] for more information.

Working Title of the project: // synaisthe //
 * PART ONE **

1. Medium(s) Other – computer generated visual imagery, projected

Dance

2. Primary Contact //(telephone, e-mail address, department, academic year and major, role in project)//

Anne McMeeking, (805) 570-4360, annemcmeeking@gmail.com, Theatre & Dance, Design MFA Candidate ’11 : Director, Set Design, & Media Visualizations.

3. Team members //(up to eight)//

· Chell Parkins, brigidsdaisy@yahoo.com, Theatre & Dance, Dance MFA Candidate:  Choreographer. · Taylor Kirk, taylorkirk123@gmail.com, BA Theatre & Dance, ’11 : Media Visualization Programming, Sound. · Michael Howell, w.michaelhowell@gmail.com , BA Theatre & Dance, ’11 : Music Composition, Performer. · Victoria Hendrix, vhendrix@gmail.com, Theatre & Dance, Design MFA Candidate ’12 : Lighting Designer. · Dorian Robison, dorianrobison@gmail.com, Theatre & Dance, Theatre Technology MFA Candidate ’12 : Technical Director. · Marc Reynolds, marc65reynolds@gmail.com, Butler School of Music PhD Candidate ’11 : Staging Consultant. · Eric Gazzillo ,   ejgazz@gmail.com ,  Theatre & Dance, Theatre Technology – Integrated Media MFA Candidate ’13 : Media Projection System. · Ashley Cunningham, ashley@seedesignstudio.com, BA Cal Arts ’08, Graphic Designer – Seeds Design Studio, San Francisco ,CA : Media Design Contributor & Programming Consultant.

4. Faculty Mentor //(e-mail address, department)//

// In addition undergrads need to complete the confidential faculty mentor contract, one for each collaborator. //

· Charlie Otte, charlieotte@austin.utexas.edu, Theatre & Dance.

5. Please list up to 3 supplemental materials, in order of importance.

// Formats that will be accepted are: CDs, VHS or DVD recordings of prior work, costume sketches, full printed, script sample and synopsis, diagrams, production photos, drawings, outlines, storyboards, research materials, and letters of recommendation/support. //  · Creative Team Dossier


 * PART TWO **

6. In a short paragraph, describe the project. //(1000 character maximum)//

Synesthesia - is a neurologically-based condition in which stimulation of one sensory or cognitive pathway leads to automatic, **//involuntary//** experiences in a second sensory or cognitive pathway.

// Synaisthe // will be an intermedia, movement based work, exploring the ways in which our sensory experiences are linked and associated through the physical pathways of our bodies. The performance will utilize a multi-touch screen and computer to manipulate and create imagery in real time that will be projected onto the performers and environment of the piece. This mulit-touch screen and its operator will be integrated into the staging of the work, bringing not only the digital media but also the human hand behind its creation, to the forefront of the performance. Synaisthe will also include the use of a non-traditional projection surface, a large fabric element rigged with several alterable points, which will allow the performers to explore the material and create differing physical constructions throughout the piece.

7. Why is this project import to you and/or the larger community? //(500 character maximum)//

The objective of this production is primary research for my thesis work; investigating projected imagery in performance and integration of that technology into the devising and rehearsal process. Projected imagery and the control systems used to achieve its effects are often un-available or un-realized until late in the creation process. This project will begin the devising process with live-manipulated imagery at its heart and will craft the production around it. It aims to break down the barriers associated with the inclusion of such technology.

8. What do you hope to learn? //(500 character maximum)//

Is it achievable for such technology to be integrated so early in the technical process of production? What are the costs and skills associated with successful integration of this technology? What are the benefits and drawbacks to this approach? What are its limitations? How does the inclusion of this design element as central to performance affect the devising process? In what way does the inclusion of this technology into dance devising effect movement and special relationships? How can this element be used to craft a new approach to performance for the audience?

9. Where are you in the process of the project – What have you done and what do you need to do? //(500 character maximum)//

Collaborators have been identified and accept the challenge of creating this work. Research objectives will guide the process of devising. Creation of the multi-touch console and its components will be completed by early January. Collaboration with computer programmers has begun alongside research of processing (the software platform to be used for media creation). The arch of the piece itself needs to be worked out amongst the creative team, as does the visual arch of the media to be projected. Casting, projection plot, projection material design & rigging need to be executed.


 * PART THREE **

10. Use the following chart to list the major production resources you need to realize this project.

|| ELEMENT
 * DESCRIPTION || COST ||
 * = Scenic Element = || Projection Surface Cloth: Cloth to be designed & constructed with multiple detachable rigging points to allow for sculptural manipulation by performers.  || Fabric $270.00 ||
 * // Props // || Tbd – most likely very few props if any will be needed.  ||  $50.00 -  ||
 * // Film/Projections // || 2-3 projectors with computer system capable of live playback and signal splitting. Cables.  ||  $50.00 (for cables)  ||
 * // Costumes // || design tbd  ||  $300.00  ||
 * // Hair/Make-up // || tbd  ||  $50.00  ||
 * // Sound/Special Effects // || sound tbd. Rigging for cloth will be determined once venue is established. Most likely will require: cable, turn-blocks, hardware.  ||  $100.00  ||
 * // Lighting // || gels other needs tbd  ||  $50.00  ||
 * // Other // || Mutil-touch computer rig. Components include: LEDS, Infrared Camera, projector, acrylic panel, computer operating system, various hardware & software. (Note: Applicant will be covering the cost of this component. Item included in budget for overall costing purposes.)  ||  $500.00 +  ||
 * // TOTAL // || Click here to enter text  ||  $1370 (less 500) $870.00  ||

11. What is the approximate running time of your performance? 0 Hours  30  Minutes

12. Will you have an intermission? NO

13. How many weeks do you anticipate needing to rehearse this project? 4-5 Weeks

14. How many hours per week do you anticipate needing to rehearse? 10 -12 Hours per week

15. How much tech time do you think you will need? 3-4 Hours of tech time

// This is limited, so please be realistic with your estimates. //

16. What are your space needs and how do you envision presenting your project? //(500 character maximum)//

// Please feel free to suggest new and innovative on-campus venues in addition to the spaces available in the Winship (The Blanton, The Harry Ransom Center, public spaces, etc.) as this may increase the number of projects the festival can support. //

Lighting control system, rigging capabilities, projector locations, stage space of at least 20’x20’ with height clearance of at least 15’, sound system & board, and flexibility of seating. Ideal venues include the Oscar G. Brockett Theatre and the Payne stage (with audience seated onstage). These venues would allow for the integration of projected imagery, arena staging, and for the rigging of projection surface with the ability to be manipulated. Any early access to performance venue would greatly benefit this work and would cut down on tech time during the festival.

** DISCLAIMER ** If your project is accepted into the New Works Festival a member from each project must attend all of the meetings that will take place for the spring semester of 2011. If you are in several projects you may only represent one project per meeting, each project must have one separate representative.

All work in the New Works Festival is curricular for //undergraduates// (Graduate students may inquire into this if they wish to obtain festival credit). There will be festival credit available in the Spring semester for those who will be involved.

The NWF 2011 Application Committee will announce selection decisions on November 8, 2010.

Note that all accepted projects must allow photographs and video recordings to be taken of their project for promotional purposes.

** SIGNATURE ** Student Signature Date

Faculty Mentor Signature___Date__ _

** APPLICATION CHECKLIST ** q Completely and correctly answer all the questions q Have your application signed by Faculty Mentor q Print and submit 5 copies of your application to the NWF box in the main office.

q Submit 5 copies of supplemental materials to the NWF box in the main office.

q Submit a digital copy of the application to __utnewworksfestival@gmail.com__ (Name Save File in this format: NWF App - //Project Name// – //Full Contact Name)//

q Submit a digital copy of supplemental materials to __utnewworksfestival@gmail.com__ (Name Save File in this format: NWF App - //Project Name// – //Full Contact Name –// Supplemental 1)

q Undergraduates – complete mentor/student contract for each collaborator. q Check the NWF website to stay updated on the application process and the Festival itself!

Thank you for your submission!