Earshot
Kenneth Newby, Aleksandra Dulic, Martin Gotfrit
Out of the Labyrinth
Open Space
8 pm, Saturday, January 28th
Media example
View Quicktime movie - Scenes from Out of the Labyrinth
Kenneth Newby, BA, MFA (Simon Fraser University), is a media artist working at the boundary conditions between embodied practice and responsive media. Recent sound works include a commissioned web-audio work for AudioSpace at Open Space; a composition for gamelan orchestra and chorus, Dreams He is a Ball of Fire... Or a Butterfly, recently published as part of the New Nectar CD of contemporary compositions for gamelan; and his commissioned work for spoken word and sound design, Seasonal Round. A co-director of the Computational Poetics Research Group, he is currently developing a series of collaborative works combining live animation, performance documentary, and music techniques for performance and installation. A co-founder of the New Forms Media Society, Kenneth is currently on faculty at the School for Interactive Art & Technology, Simon Fraser University, and the Integrated Media Program, Emily Carr Institute, and has taught as visiting faculty in several international fine and performing art universities.
Aleksandra Dulic studied visual arts and film animation at the University of Arts in Belgrade. She completed her Master of Fine Arts at Simon Fraser University in 1998 and has since traveled in Bali, Indonesia to study the contemporary tradition of shadow play as a source for new media performance and animation. She has created a variety of interactive installation works, painting exhibits, produced documentary films and animations for television broadcast and festivals across Europe and Canada, and has received a number of awards for her short animated films. Aleksandra has taught computer art and media performance as visiting faculty at the Fine Arts University in Belgrade and National Academy of Arts in Surakarta, Central Java, Indonesia. She is one of the founders of the NewForms Media Society and the New Forms Festival. She is currently teaching and working towards her PhD in media art at Simon Fraser University and is a part of the Computational Poetics Research Group.
Martin Gotfrit studied film and music at Concordia University and completed a Masters degree in Communications at McGill. As a composer his work includes electroacoustic and acoustic scores for feature and documentary film, video, theatre, dance and the concert stage. As a sound designer he has worked as a practitioner, consultant and teacher. Actively engaged in computational art for many years, Gotfrit was one of the founders of the federally funded Centre for Image and Sound Research (1988 - 1992). The designer and curator of the Music Machines show (B.C. Science World, 1989), he was also the facilitator of the "Computed Art" Summer Intensives at SFU in the 1990s. He currently co-directs the SHHRC funded Computational Poetics Research Group (with Kenneth Newby & Aleksandra Dulic). He has been on faculty at the School for the Contemporary Arts, Simon Fraser University since 1981 where he currently holds the position of Director.
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Out of the Labyrinth
Computational Poetics presents excerpts from a work of performing electronic shadows, a performance cinema in which both the visual materials (animation) and the music are generated in the moment of performance.
Out of the Labyrinth is a retelling of the story of master-inventor-technologist Daedalus and his actions leading to the deaths of both his gifted nephew Talus and his own son Icarus. Out of the Labyrinth is a cautionary tale of technical prowess and will to power exerted in the absence of ethical and cultural values — a theme of increasingly more critical relevance to our contemporary scene.
Out of the Labyrinth represents an emerging media performance form using multimedia, puppetry, music, alternate light sources, computer music, animation and projections. The artists have developed new approaches to performing media out of the desire to bring the creation of cinema out of the production studios and into performance. This is achieved using a unique combination of embodied practice skills enabled by custom-designed performance software allowing the artists to animate a visual media with soundtrack and music in performance. The flexible, open-ended character of this process allows the work to respond to political and cultural events in a way that production-heavy conventional cinema finds difficult.
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