MEDIA

“Tesla” lab report

Harmonic Laboratory's ambitious experimental multimedia performance produces mixed results

Introduction

Harmonic Laboratory’s most recent experiment investigated the question: Can a creative cooperative based in digital media, dance, and music successfully add a new theatrical element to its existing compound to produce an integrative, immersive multimedia experience? This lab report examines the results.

Preliminary Observations

Over the past decade, Eugene-based Harmonic Laboratory (HL) has racked up an impressive record of multimedia collaborations involving installations, dance, digital media. (Reference: “The Original Tesla,” Oregon ArtsWatch.) Its new production, Tesla: Light, Sound, Color, added a biographical element, a historical subject, and onstage science experiments to the mix.

Hypothesis

By adopting a recognizable subject that contains a built-in historical narrative, and adding onstage experiments to its newest performance, Harmonic Laboratory can broaden both its artistic scope and its audience.

Materials

  • Creative Heights grant from Oregon Community Foundation
  • Original music for string quartet and digital media by HL members Jeremy Schropp and John Bellona
  • Delgani String Quartet and other musicians from University of Oregon and OrchestraNext
  • Choreography, stage movement, costume, lighting & stage design by HL’s Brad Garner
  • Animation and projections by HL’s John Park
  • Guest animation work by Julia Oldham and Nathan Thomas
  • Dancers from Eugene Ballet and University of Oregon
  • University of Oregon Senior Physics Instructor Stanley Micklavzina and assistant Yohan Walter
  • Biographical facts from the life and work of American inventor Nikola Tesla
  • Performances in Eugene, Bend, and Portland.

Procedure

Tesla opened with a greeting from Garner, a brief overture, and a physics demonstration before actual stage action commenced: a Serbian roots group dance invoking Tesla’s southern European origins through an inward-facing, circular folk-dance like piece.

The next full dance number was inspired by Tesla’s invention of alternating current, followed by another physics demonstration. The first half closed with a bound-flow dance duet symbolically reflecting Tesla’s rivalry with Thomas Edison and a solo spotlighting Tesla’s showmanship, which helped him win support for his visionary ideas.

The second half began with animation inspired by energy field patterns and accompanied by Delgani Quartet’s performance of Schropp’s pulsating score. A pair of full company dances followed, one featuring projected white bird like animations recalling Tesla’s late in life affection for the pigeons who were often his only companions in the New York hotels he called home, and a second suggesting his ideas about wireless communication, some of which fueled the development of radio and later wi fi.

Another physics demonstration ensued before the show ended with a series of group dances accompanied by often dazzling, if sometimes predictable, animations and complementary music inspired by later chapters of Tesla’s life and the great inventor’s legacy.

Data

The experiment yielded useful data related to multimedia performance and context.

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Miss Anthology teaches the power of comics

Fueled by a Precipice Fund grant, Miss Anthology puts storytelling in the hands of diverse teens

By HANNAH KRAFCIK

Sequential art has a magical quality that is difficult to describe. The most beloved American comics seem to pique the imagination in particular way, with a perfect mix of narrative and imagery that keeps the comic book reader coming back and the graphic novella lover hungry for more. But for Melanie Stevens, one of the founders of the Miss Anthology project, there is far more potency to sequential art-making than meets the eye.

Stevens is originally from Atlanta, and she’s currently finishing her MFA in Visual Studies at the Pacific Northwest College of Art. This winter, she and her collaborators Emily Lewis and Mack Carlisle were awarded a grant via Portland Institute for Contemporary Art’s Precipice Fund to kick off Miss Anthology, a project that will enable racially and economically diverse female and genderqueer youth, ages 13-18, to create their own stories through sequential art (aka comics). Miss Anthology will offer a series of comic-making workshops, followed by the publication of an anthology of graphic work this fall.

I sat down with Stevens in early March to discuss Miss Anthology. She has a background in graphic novels and comics, a field she turned to when she could not afford art supplies and did not have access to an art studio space. The DIY nature of comics offered her a way to make narrative work and share it online, avoiding a slew of gatekeepers.

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‘Heart of a Forest’: Navigating environmental understanding

Multimedia 'acoustic portrait' of Cascade forest explores the experience of nature, deforestation and more

“Music is a mirror we hold up to society,” says Paul D. Miller. “It shows us things we didn’t think about or engage with enough.”

Better known as DJ Spooky, Miller’s new project Heart of a Forest, which he performs this week in Portland, Bend, and Newport, wants us to think more about, and engage with the forests we Oregonians cherish, yet may take for granted.

“People take a lot for granted right now,” he says. “That’s a tragedy at the beginning of 21st century. The issue for me isn’t about information. Now we get plenty of that stuff from politicians. Trump and politicians in the southern states are denying climate change. The [Republican] governor of Florida has forbidden state employees to use the words. We have too much information. The problem now is how to navigate it in a compelling way. ”

DJ Spooky performs 'Heart of a Forest' this week in Portland, Bend, and Newport.

DJ Spooky performs ‘Heart of a Forest’ this week in Portland, Bend, and Newport.

For more than two decades, the composer / turntablist / multimedia artist /author has been brilliantly remixing music, images, science, history and a wide range of interests into acclaimed projects like Re-Birth of a Nation with Kronos Quartet. Often seen at universities, festivals like the Venice and Whitney Biennales, venues including Carnegie Hall, TED Talks and more, lately the creative polymath been exploring the interaction of nature and art and information.

“It’s such a pleasure working with scientists,” he says. “Scientists in the Oregon state forestry department are concerned about the human impact on nature. Scientists are more important than ever. They really care about information. Information is one of the critical tools for thinking about the world around us. Art and information are reflections of each other, and science is the bridge.”

Representatives from Spring Creek Project for Ideas, Nature and the Written Word at Oregon State University reached out to Miller after learning about his National Geographic Explorer Award and similar projects he’d shown at the Sundance Film Festival. They offered him an artist residency at the HJ Andrews Experimental Forest in the Cascade Range under the project’s Long-Term Ecological Reflections program, which for a dozen years has invited writers and artists to interact with environmental scientists, explore the forest, and write or create art. Beginning in fall 2015, Miller visited the forest in each season to get a sense of how the environment changed throughout the year.

The result: Heart of a Forest, which Miller calls “a composer’s response to how art and music can interact with science and nature.

“I wanted to explore how to remix some of the ways we think about traditional forms of music versus digital interpretation of nature,” he wrote in his artist’s statement. “I am inspired by Thoreau and the collision of data, sound, and new ways to think of the absence of ‘origins’ – no one owns the forest and the sounds that it inspires.”

Its initial expression was a score for chamber orchestra performed last May in Corvallis’s LaSells Stewart Center by the OSU Wind Ensemble while Miller mixed electronic music and images of the forest. Inspired by Thoreau, the multimedia production draws on both classical (including a sly Vivaldi quote) and electronic music influences and incorporates video shot by drones floating over the forest, which Miller edited to complement his music score. This week’s performances will use only two to four musicians, with Miller mixing in samples from that score, loops and other electronic elements along with the projected video. It will be followed by an onstage conversation with a forest ecologist.

Which raises the question faced by other composers from Oregon and the Northwest and beyond: how do you turn a landscape — in this case a forest — into a composition?

“I think of these projects as ‘acoustic portraits,’” Miller told ArtsWatch. “Some people will go into the forest with a mike and record the crickets and that’s the piece. That’s cool, but that’s been a done a lot over the last 40 years, so for me it was important to try different paths.”

Given his fascination with information, Miller’s starting point was clear. “I look at data as sonic palette,” he explains. “So first I looked at patterns: not just natural patterns but the history of American forestry, the ratio deforestation to reforestation. Then how people have looked at issues facing the forest and how that bleeds back into peoples view of materials. [Musical] instruments are made from wood. Violins set the tone for a lot of classical music and they were made at a certain time from wood from forests in Europe starting in the Renaissance. Other instruments are made from more current materials.” His forest music skillfully employs both ancient acoustic instruments and modern electronics and digital sampling and loops.

I spoke to Miller the morning after a national election that will likely change the course of environmental protection, and therefore affect the fate of humanity. It makes this multimedia exploration of our precious Oregon forest even more urgent. Miller’s multimedia project may help us navigate that information through the musical lens  — make that the musical mirror — of some pertinent lessons from his time in the forest and other natural settings like the Antarctic.

“I just tend to think humanity has a deep arrogance about its relationship to power,” he says. “We still think we can control nature. We might be foolish, like lemmings rushing off a cliff. But when I was in the forest, I felt humbled. Nature is not sad or bad or good or evil. We’re part of it. That’s what I learned from the forest. We’re part of it.”

DJ Spooky Performs Heart of a Forest on at 7 p.m. November 9 at  Cheatham Hall at Portland’s World Forestry Center, on November 10 at Newport Performing Arts Center, 777 W. Olive Street, Newport, and on November 11 at High Desert Museum, 59800 South Hwy 97, Bend.

Want to read more about Oregon music? Support Oregon ArtsWatch!
Want to learn more about contemporary Oregon classical music? Check out Oregon ComposersWatch.

HBO’s ‘Divorce’: Over-dressed and underprepared

Sarah Jessica Parker's new HBO series has taken the safe route and that's a problem

By KOURTNEY PARANTEAU

Whenever actors portray characters of landmark importance, their subsequent roles carry the ghost of those past performance. Take any of the actors who’ve donned James Bond’s three-piece suit, Seann William Scott, or Sarah Michelle Gellar. An audience’s expectation can haunt the plausibility of an actor’s presence outside of the role they’ve become synonymous with.

Perhaps no one knows this better than Sarah Jessica Parker. Although already a success prior to appearing as Carrie Bradshaw in Sex and the City (1998-2004), her legacy in Hollywood will always be sealed with a Cranberry Kiss and the click of Manolo Blahniks.

Carrie Bradshaw and her three best friends forever altered the face of television; unapologetically feminine and graphically sexual, Sex and the City proved there was a market for a female-dominated cable show. Since its airing, shows like Girls, Damages, Broad City, and many more of their ilk carry Carrie’s legacy. Now, over a decade after its finale, Divorce reunites Parker with HBO and teams them with Catastrophe co-creator, Sharon Horgan.

Sarah Jessica Parker in HBO's DIVORCE/Courtesy HBO

Sarah Jessica Parker in HBO’s DIVORCE/Courtesy HBO

Delivering on its title, Divorce tracks the crumbling marriage of a couple just past middle age. After settling into roles as professionals, parents and homeowners, the pair have grown out of their partnership and now live under a veil of passive aggression and resentment-laden antagonism.

Frances (Parker) and Robert (Thomas Hayden Church), while attending a birthday party, brush against their own mortality, and for Frances, the flash of crisis sobers her on the comfortable haze of her current life. She blindsides her husband with the request of divorce. Long disillusioned with her marriage, Frances maintains an affair with a granola-making, Peter Pan type, performs a job she empathetically coasts through, and harbors aspiration of opening an art gallery. The oppositions between Frances’s husband and her lover, her job and her passion, make her appear lost in the maze of “having it all” feminism that popular culture wants, maniacally, to believe exists.

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Music@Home: Desktops and devices are the new venues

Burgeoning availability of live streams gives Oregon contemporary and classical music lovers home access to concerts from around the world

Story and screenshots by GARY FERRINGTON

As I grow older, I find it more difficult to go out on those dark, wet and blustery Oregon evenings to enjoy a concert of classical or contemporary music. Although I’d prefer sitting in a venue enjoying a live performance, I know it won’t always be possible. So, it is with much personal pleasure that I’ve discovered Internet live-streaming and have spent the last couple of years exploring the availability of both statewide and worldwide concert performances.

Live From Beall: Otis Murphy (Saxophone) and Haruko Murphy (Piano) May 17, 2016.

Live From Beall: Otis Murphy (Saxophone) and Haruko Murphy (Piano) May 17, 2016.

With the click of a mouse or a tap on a trackpad or screen, music lovers can connect to streams of live music performances from most anywhere around the world on the internet. From major international festivals and concerts overseas to two Oregon colleges taking the lead in bringing live performances online, viewers and listeners who may seldom or never be able to experience distant concert events have the option to do so on their computers or mobile devices. The increasing availability of live streaming offers real benefits, beyond mere convenience, to composers, musicians, and music lovers in Oregon and beyond.

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INTERVIEW: Vanessa Renwick talks “Next Level Fucked Up”

The veteran experimental filmmaker discusses her current installation at PAM, her upcoming retrospective at the NW Film Center, and the decline of Portland

Vanessa Renwick has been kicking ass for over twenty years. It says so right there in the name of her website, the Oregon Department of Kick Ass.

Using a variety of media, primarily film and video, she’s probed the uncomfortable intersection between nature and so-called civilization, the paradoxes of humanity’s relationship with the wild, and the shifting fortunes of her adoptive city, Portland. These concerns intertwine in Renwick’s newest installation, “Next Level Fucked Up,” which currently inhabits the Apex Gallery of the Portland Art Museum.

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Dead cert: an extra’s adventure in Grimmlandia

A first-time television actor discovers the real world in the fantasy of NBC’s made-in-Portland "Grimm": just lie down and play dead

By CYNTHIA D. STOWELL

Two days before NBC’s Grimm wrapped its fifth year of occupying the streets, cafés, forests, and psyches of Portland, good news came to the cast and crew: the show had been granted a sixth season. Cheers went up on Twitter and Instagram from actors who had settled into houses in their adopted city, and from writers who’d been indulging in black humor about the number of characters they were going to kill off before the “finale” (ominously, they weren’t saying “season finale”).

It had been making me nervous, both as a fan and as a recent performer on the show, so I celebrated, too—happy that I’d have another whole season of mythological beasts, intrepid detectives, and Black Claw revolutionaries to watch … but also relieved that my amateur acting hadn’t singlehandedly driven the show into the ground.

Magic in the "Grimm" makeup trailer was performed by Morgan Muta, makeup artist, Corinna Woodcock, key makeup artist, and Laura Loucks, department head makeup. Their wizardry transformed 64-year-old extra Cynthia Stowell into 90-year-old Summer Blake. (Morgue-worthy wig by Shelia Cyphers, department head hair, and Emie Otis, key hair.)

Magic in the “Grimm” makeup trailer was performed by Morgan Muta, makeup artist, Corinna Woodcock, key makeup artist, and Laura Loucks, department head makeup. Their wizardry transformed 64-year-old extra Cynthia Stowell into 90-year-old Summer Blake. (Morgue-worthy wig by Shelia Cyphers, department head hair, and Emie Otis, key hair.)

“Acting” is an exaggeration of my contribution to Season 5 of Grimm. It’s more accurate to say that I sat in a makeup chair for three hours, laid down, held my breath, and played dead. And got paid an amount that certainly didn’t bring NBC to the brink of financial ruin.

But for the three months I had to wait for my Skin Deep episode to air, I worried that I’d not looked dead enough, that I’d twitched a finger or flared a nostril, and that they’d had to replace me with someone who knew what she was doing. Never mind that almost any transgression of mine could have been corrected with editing or CGI. In my imagination, the whole success of that episode—and the entire future of the series—was resting on my wrinkled body.

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