OAS Node #1 @BAT HAUS: Whatever It Maybe ∞ [Internal Review]

Page 10 of Jeff Sugg's portfolio. Click image to download the PDF of Jeff's portfolio.

Whatever It Maybe ∞
Jeff Sugg at OASN1@BH (August 22, 2012)
By Paul McLean

Jeff Sugg parked his street-painted punk van directly in front of Bat Haus about an hour before his Occupational Art School Node 1 presentation was slated to begin. After a quick smoke, Jeff - master theatrical projectionist, designer, artist, visionary and enabler of visionaries [+] -  commenced to unload the gear he would be using during "Digitizing Theater" into the Bat Haus space. For tonight's program, OASN1 co-organizer Chris Moylan had supplied a digital projector, which Jeff would use to share his slideshow, movies and to create a real-time vignette, an immaterial hand-operated & projected reference table for Sugg's favorite inspirational picture texts. Sugg's influences? Sviboda, Bucky Fuller, Da Vinci...

I provided an overhead projector. The overhead throws a representation of Peter Cooper by Shane Kennedy in the rear of the screening area. The Cooper is our OASN1@BH mascot. Alice Cooper's "School's Out" is the OAS theme song, though I haven't shared that bit of intel with anyone yet, except for you, dear reader.

Tonight (that night), we're in for a treat.

∞

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[OAS NODE #1]: [TONIGHT!][Jeff Sugg: "Digitizing Theater"]

Jeff SuggOccupational Art School Node 1 at Bat Haus is honored to present Jeff Sugg: artist, theatrical projectionist, designer [+] on the topic of "Digitizing Theater," Wednesday, August 22 from 7-9PM. Tonight's discussion is the first OASN1@BH class session in our Fall 2012 course. 

[JEFF SUGG'S BIO]:

Jeff Sugg is a New York based artist, designer, and technical advisor. He is a co-founding member of the performance group, Accinosco, with Cynthia Hopkins and Jim Findlay and has co-designed their two critically acclaimed pieces, Accidental Nostalgia and Must Don't Whip 'Um. Other theater designs include: 33 Variations (projections: Arena Stage, La Jolla Playhouse), The Slugbearers of Kayrol Island (co-set & projections: The Vineyard Theater),¡El Conquistador! (lights: New York Theater Workshop), The Thomashefsky Project & Let Them Eat Cake/Of Thee I Sing (projections: San Francisco Symphony), Trece Días (sets & projections: San Francisco Mime Troupe) He has also worked as designer for multiple works with theater companies including: The Colllapsable Giraffe, Pig Iron Theater Company, DASS Dance, Transmission Projects. Music design: Natalie Cole (lights), and Natalie Merchant (lights).

In addition to his work as a designer, Mr. Sugg is regarded as a premiere technical consultant and system designer. Some credits include: The Wooster Group (technical artist), Laurie Anderson (video system design), Richard Foreman (video system design), Mikel Rouse (video system design), GAle GAtes et al. (effects designer/engineer), and The Baseball Music Project (video system design). Mr. Sugg has also taught Media and Technology at Swarthmore College. He has led several workshop/intensive courses in media technology at the University of Illinois (Urbana-Champaign), Rude Mechanicals Theater Company, and others.

For his work on Must Don’t Whip ‘Um, Mr. Sugg received a 2007 Bessie Award and was nominated for a 2007 Hewes Design Award. He was also nominated for a 2007 Hewes Design Award for his work on ¡El Conquistador!.

For his work on The Slug Bearers of Kayrol Island, he received a 2008 Henry Hewes Award, 2008 Obie, and a 2008 Lucille Lortel Award.

A Jeff's-eye view of the stage.

[PROPOSITIONS]:

1. If drama is the lens through which humanity views itself, how will we see ourselves when that vision is mediated via networked computer arrays? Will theater inevitably become mechanized? 
2. How can or will acting, directing, scripting, blocking, audience interactivity and experience, etc., be affected by new media's intervention in the dramatic sphere?
3. Is there an emergent theater appearing or promised, driven, by the intervention of digital tools and techniques?
4. What does this phenomenon, the digital theater, mean for the economics of theatrical production?
5. How is movement on stage, and the dramatic imagination, adapting to 01 conditions?

One of the shows Jeff worked on.We'll be continuing a discussion started earlier this summer when OAS Co-organizer Paul McLean visited Jeff at St. James Theater to view a tech rehearsal for Bring It On - The Musical, while Jeff was working. We'll be talking about how the computer has shaped new theater practices and hierarchies.

[OAS Node #1 [July 13]

Technical

[Session 5]

Today we visited the St. James Theater and a tech rehearsal for the "Bring It On - The Musical," at the invitation of designer Jeff Sugg.

[CONSIDERATIONS, OBSERVATIONS + CONJECTURES]

• OWS has been characterized as an art medium, and analyzed relative to performance, performance art, relational art and other modalities of staged expression or exchange. Precursors to the Occupation like Zefrey Throwell's naked staged intervention on Wall Street ("Ocularpation: Wall Street") expand the set of considerations, as do the actions of the original Arts & Culture group/gamers and the Aaron Burr Society, suggesting that there is something to it. Many kinds and instances of performance, often involving professional performers, were and continue to be integrated into Occupational activities, such as "The Tax Dodgers," the Brecht performers and so on. One of the most compelling collective circle-discussions hosted by Hrag Vartanian during the Spatial Occupation @Hyperallergic centered on these phenomena. Where does performance (as situated in entertainment or artifice) stop and Occupation-as-performance begin and/or end? Does the conflation of performance and occupation diminish the latter and trivialize it, by compressing the redress of grievances into a modality of coded narrative for desire-satisfaction? Etc. Certainly this is fertile territory for analysis with tactical or strategic implications. [David Graeber has written on this subject relative to protest, police, puppets and media propaganda, which we also attempted to address in SO@H residency reading group. Graeber's text(s) indicated the anarchist's jaundiced and limited vision for art in conjunction with direct action, minimizing art into a protest utility functionary, and redefining it to the extent that art is a fungible creativity applicable to all activities human, an absurdist conjecture ultimately. Is falling down art (if an art does it)? And, if everyone is an artist, is all falling down artistic? 
• The observation of the "Bring It On" tech rehearsal was profound for this viewer, who has been away from professional theater for the most part for the past decade, with some notable exceptions (Circle X at Ford Theater in LA, and other theatrical entertainments covered elsewhere). The opportunity to assess the evolving role of electronics in the medium led to the formation of some important seams of conjecture, mainly pertaining to the reformation of hierarchies in production, and the staged spaces in which artifacts from old, even ancient, models of dramatic transmission are being fundamentally redesigned, reoriented or constituted as ana-spaces for performance, due to the intervention of computer-sited processes in play-making and/or 4d presentation. Jeff and I briefly discussed these "advances" and related effects, and committed enthusiastically to further explore their significance. The power of theater in revolutionary change cannot be underestimated. These developments potentially point toward new theatrical practice that obviates the insipid corporatized "creative" economic content that passes often for top-shelf theater, now. Like similar spectacle-ism in sports, music, art, political races, war coverage, etc., the need for dimensional veracity for collective sharing of imaginary-real experience as vision is vital in reclaiming a democratic commons for us all. This is a key in expelling propaganda in all its insidious iterations from the field of dimensional perception. 

[Session 6]

Art Gatherings, Community, Exchange

• SLAG Gallery, Bushwick
• Opening for Claudia Chaseling, "Infiltration"

This communique is a stub. The subject is the continuing progressive evolution of Bushwick, Brooklyn as a locus for an international art community and market, and much, much more. [Full disclosure: The author is represented by SLAG] OAS Node #1 will host Bushwick-focused study and celebration of the dimensional "art scene" materializing in the neighborhood, which is our neighborhood. Bushwick's emergence is THE art story of the moment, now. Chronicling its "happening" is vital, and must not be left to the 1% or corporate media. Each OAS Node will be encouraged to analyze and document the art topology(-ies) it inhabits. The accumulation of data drawn from this analysis and documentation we hope will eventually yield a database that in its totality will paint a very different picture than the one(s) that exists now about art, artists and especially art-/artists-in-community. 

Tonight [#f22] at Living Theatre!

Very Special Events happening tonight at The Living Theatre!

---

"Political Origins of The Living Theatre"

Today, Wednesday February 22nd: come see Paul Goodman Changed My Life by Jonathan Lee, about the man who made anarchists out of Judith Malina and Julian Beck.  9:45pm start time after the play, and talkback featuring Judith and Paul McLean from Occupy With Art. Learn more at http://www.paulgoodmanfilm.com/

LIVING THEATRE: [LINK]

MORE THIS WEEK AT LIVING THEATRE: [LINK]