What a Mechanical Performance! Bravo!


July 5, 2012
The New York Times
link to original article

What a Mechanical Performance! Bravo!
By Alex Wright

In a more formal comedic vein a University of Georgia theater professor, David Saltz, is developing a robotic interpretation of commedia dell’arte. With its short scenes, broad characters and absence of scripted dialogue, these archetypal sketch pieces make nearly perfect dramatic vessels for robot actors.

“Robots have limited expressive capabilities,” Mr. Saltz said. “So instead of trying to replicate human beings, you embrace those limitations.”

His robots are especially limited in their ability to make facial expressions, so instead he leans heavily on gesture and movement to convey dramatic intent. Programming a Korean-made DARwIn-OP robot using Max/MSP (a popular visual programming language), he creates algorithms that imbue its movements with distinct personality traits. One routine might give the robot a tendency toward rounded gestures, while another might favor straighter or jerky motions.

For any given scene the robot can then assume an archetypal commedia-style persona — the comic parent, the miserly merchant, the pompous doctor — each programmed with distinct gestural characteristics. The robot can then follow a stage direction to greet another character, to hide or to flee, and to do it all in character.

The purpose of such an exercise is not to replace human actors, but rather to explore the mechanics of how movement evokes emotional responses. For human actors, projecting emotion is often a matter of instinct, but for robots it requires painstakingly detailed instructions.

Planting Feet Growing Community

Planting Feet Growing Community
Thursday, April 19 at 4 PM
Pinewoods Estates Lot F-G 1465 US Highway 29 North Athens, GA

hortisculpturega.wordpress.com/

HortiSculpture is an interdisciplinary project that combines art and gardening to expand personal and public awareness of art, community action, and environmental issues. We reproduce human feet in clay through a process called press-molding; once made, the feet are “planted” with flowers and vegetables, thereby transforming unused land into a large scale art installation and – eventually – a sustainable garden.

HortiSculpture is doing an installation at Pinewoods Estates on April 19th from 4-6pm; we are working in conjunction with Athens Land Trust to plant a children’s garden for the kids living at Pinewoods Estates. Kids aged 8-12 years will paint unfired clay feet with an earth-friendly liquid clay, then we will plant our feet together! We are looking for volunteers to help out – any and all are welcome.

HortiSculpture is supported in part by an ICE Project Grant.

Brothers Cobb: private detectives for hire

Brothers Cobb: private detectives for hire
Monday April 16 and Tuesday, April 17 at 8 PM
Cellar Theatre

a thrilling whodunit? yes.
a world adventure race? yes.
a new play by John Plough? yes.

The Brothers Cobb is an original comedic play that parodies the detective genre in an interactive theatre environment. The project brings together students and faculty from Theatre and Film Studies, Music, Journalism and Mass Communication, and the community. Supported in part by an ICE Project Grant.

ICE-Vision: Venus in Furs

ICE-Vision: Venus in Furs (Jess Franco, 1969)
Thursday, April 12 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Loosely adaptated from Leopold Sacher-Masoch’s famous novel, Jess Franco’s film stars James Darren as an American jazz musician wandering the beaches of Turkey. When a female aquaintance washes up dead on the beach, the musician suspects foul play by a sadistic playboy (Klaus Kinski) and his cohorts (including Dennis Price and Margaret Lee). Maria Rohm stars as the dead girl’s lookalike, who may be back for revenge from beyond the grave.”
-Facets

“Like a Marvel Team-up between Rainer Werner Fassbinder and Russ Meyer set loose in the Hammer Studios. Translation: It’s trippy and campy as hell”
-San Francisco Examiner

“The film’s Spanish director, Jesus Franco–an admirer of Orson Welles and the Marquis de Sade, surrealism, and jazz who frequently worked under such aliases as Clifford Brown, Dave Tough, and James P. Johnson–made so many films that an entire subculture was required simply to keep track of his activities . . . When questioned as to his ultimate intentions, Franco could well reply: ‘The cinema is not only my my livelihood but my life . . . [Movies] don’t interest me as a means but as an end”‘
-Geoffrey O’Brien, The Phantom Empire

Beg, Borrow and Steal: Poetics of the World Wide Web

Beg, Borrow and Steal: Poetics of the World Wide Web
Tuesday, April 17 at 7 PM
Cine, Downtown Athens

The symposium panelists are authors David Shields, Kenneth Goldsmith and Laura Mullen. As part of the English department’s Helen Spencer Lanier Lecture Series, the event is free and open to the public. Other sponsors include the Ideas for Creative Exploration (ICE) and the President’s Venture Fund.

Goldsmith is a poet and conceptual artist. He has served as a fellow of poetics and poetic practice at the University of Pennsylvania’s Center for Programs in Contemporary Writing and also is a host for WFMU radio in Hoboken, N.J. His work includes Fidget, a chronicle of every movement of his body over a 13-hour period on June 16, 1997, which serves as homage to the work of Irish writer James Joyce, specifically to Joyce’s Ulysses. According to Publishers Weekly, it is an “important book from Goldsmith, pointing the way to a rapprochement between poetry and conceptual and performance art-avant-gardists and art lovers of all stripes will want to experience its near-hypnotic pleasures.”

Shields is the author of 12 books, including Jeff, One Lonely Guy, which will be released in 2012 and was co-written with Jeff Ragsdale and Michael Logan; Reality Hunger: A Manifesto; The Thing About Life Is That One Day You’ll Be Dead, a New York Times bestseller; Black Planet: Facing Race during an NBA Season, a finalist for the National Book Critics Circle Award; Remote: Reflections on Life in the Shadow of Celebrity, winner of the PEN/Revson Award; and Dead Languages: A Novel, winner of the PEN Syndicated Fiction Award.

Mullen’s work has been widely anthologized and is included in American Hybrid and I’ll Drown My Book: Conceptual Writing by Women. Mullen’s recent prose appears in Civil Disobediences: Poetics & Politics in Action and is published in Ploughshares and The Fairytale Review. Her most-recent work appears in Action Yes!, Cerise Press, Ghost Town, the Denver Quarterly, Viz Arts, OR and New American Writing. Mullen is the special interest delegate in creative writing for the Modern Language Association for 2012-2014 and is a contributing editor for online poetry site The Volta. Mullen is on the master of fine arts faculty at Louisiana State University.

Aurora’s Crown

Aurora’s Crown
Spring Dance Concert
Thursday, April 12, 13, 14 at 8 PM and April 15 at 2:30 PM
New Dance Theatre

Aurora’s Crown is a collaborative project which reinterprets the quartet divertissement from Act III in The Sleeping Beauty, a staple of 19th century ballet. An innovative and contemporary interpretation of this classic work has developed from an interdisciplinary approach by Joan Buttram as choreographer, Mark Maxwell as the sound designer of the well known Tchaikovsky score, Evan Ayotte as costume designer and the performing members of the UGA Ballet Ensemble. This fully realized performance art work will be presented at the UGA Department of Dance’s Spring Dance Concert 2012.

Merging the disciplines of music, dance, and costume, a visually creative and contemporary performance has emerged which specifically reinvents this famous ballet divertissement that celebrates Princess Aurora’s wedding and the elements of her crown. The four dancers perform as an abstract representation of silver, gold, amethyst and emerald – the precious jewels and metals which comprise Aurora’s crown. The entire passage includes an opening quartet, a solo for each dancer and a lively coda. The Aurora’s Crown project investigates new approaches to visualizing and presenting a classical work in a contemporary form. Choreographically, the work differs from the classical elements set forth by the originator Marius Petipa (1890) by including bent angles, the use of parallel postures, and contemporary design in the use of space. Musical reinterpretation of the well known Tchaikovsky selection by Mark Maxwell incorporates an electronic score which reflects each of the properties inherent in the individual elements of silver, gold, amethyst and emerald. Costume design by E.K. Ayotte redefines the principles of the classical tutu using advanced technologies of 21st century costume construction and employing woven textiles while creating the classical geometry required of a tutu; his costumes enhance and reflect the current aesthetics and requirements for movement in a contemporary ballet.

Tickets are $15 for general admission, $10 for students and seniors and are available at the UGA Tate Center (706-542-8579) and at the door one hour prior to each performance.Aurora’s Crown is supported in part by an ICE Project Grant.

Photography by Tif Lester.