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Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play

Extensions (1999-2000) was my contribution to a group project called "Reaching", which set out to look at networking as a metaphor for various ways of communicating or of "reaching" from one point or person to another. The other artists were Susan

Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play

Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive

Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive

The audience is elevated and observes the stage from a low angle, as in an anatomical theater where humans are enveloped by a swarm of inorganic beings. Graphical entities with their own behavioral code. A show for two dancers and digital particles,

The audience is elevated and observes the stage from a low angle, as in an anatomical theater where humans are enveloped by a swarm of inorganic beings. Graphical entities with their own behavioral code. A show for two dancers and digital particles,

Loc-reverb develops Colson’s themes of location and memory, concerns seen in an earlier CD-ROM "Mindtracker". Loc-reverb blends photography and moving elements to portray the artist’s interrogation of locations, in particular London. It presents the