As promised, here’s a rundown of the interactive projects by Chronotronic Wonder Transducer that will be featured in Theaterlab‘s Studio C during the MMiX Festival. You can check these out 6PM to 7:45 PM on October 8, 9 and 10 – come out and play, it’s free:
OUTIS(Mike Clemow) Thursday
Outis is a Greek word that means “nobody” and was originally intended to be an “intelligent” composition/performance using a video file or live stream as a score, which would be analyzed by a software program and turned into sound. It has become more of a performance tool since the project began in early January, 2009. Today, Outis is a performance that combines many of the same programs that comprised the first iteration of the project without the focus on artificial intelligence that characterized the first version, leaving the intelligence up to the performers themselves. For MMiX, Outis will be presented as a interactive installation in which audience becomes performer.
SANCTION OF THE VICTIM (Joe Mariglio) Thursday
“Sanction of the Victim”is a composition for a network of computers. Each computer has two tendencies, which are in tension with each other: a flock, by which the computers cooperate to build rhythmic phrases, and a virus, by which the computers compete and, as a result, cause the router to malfunction. The flock sounds like banging on metal, and the virus sounds like swarms of locusts. The result is an chance-based composition that exploits the physicality of the medium for which it was conceived.
POWER BIKE PARADE(Mike Clemow & Amy Khoshbin) Friday
Power Bike Parade is a bike-powered electronic orchestra that demonstrates the use of an alternative power source by converting the kinetic energy of pedaling a bike into electricity used to create a festival of electro-acoustic music and glittering LED lights. The two-rider parade takes this everyday act of riding a bicycle, and expands it into a visual and sonic spectacle, re-appropriating the act as a performance and a venue for expression.
SPACE EGGS(Ted Hayes) Friday
EggBeater uses the intuitive power of rhythm to let anyone control the playback of music. Shaking this small, wireless device in regular patterns can automatically adjust the tempo and timing of loops. Just start playing the EggBeater just as you would a traditional shaker, and listen as the song slows down as you slow down, or speed up as you do!
The instrument uses an accelerometer coupled with an XBee radio to send your movements to PureData, where they detect your downbeats and rhythmic tempo. The software can then control playback within PureData or send OSC or MIDI messages to other platforms.
CRUDLABS’ GINORMOUS THING(Steven Litt) Saturday and Sunday
Steven Litt spent most of the past two years designing CrudBox, a hardware step sequencer which controls essentially whatever electronic devices are plugged into it: doorbells, motors, power tools, flamethrowers, you name it. He has spent the past 6 months performing highly energized and abrasive electro-acoustic dance music as CrudLabs and CrudLabs Sound System using only his precious CrudBoxes. At MMiX, he will for the first time ever he presents an interactive installation in which attendees may play a CrudBox making rhythmic music out of a 500 square foot room full of clangorous amplified objects being struck, shaken, and generally abused by various mechanisms.
The Beatles: “Carnival of Light” (1967), John Lennon, Paul McCartney, George Harrison, Ringo Starr: vocals, organ, guitar, tambourine, effects, loops. Possibly the most sought-after unreleased Beatles track, Carnival Of Light was an experimental composition recorded in January 1967.
In 1966 McCartney had a piano painted in psychedelic colors by the design team Binder, Edwards and Vaughan. McCartney met David Vaughan through a mutual friend, Tara Browne, the Guinness heir whose death partly inspired the lyrics of A Day In The Life.
The Million Volt Light and Sound Rave Poster from 1967
In December 1966 Vaughan asked McCartney to contribute a recording for two events, to be promoted by the designers in the Roundhouse venue in Camden, London, on 28 January and 4 February 1967. The events were variously known as The Million Volt Light and Sound Rave or the Carnival of Light Rave.
Although McCartney was in the early stages of recording the Sgt Pepper album, he agreed to make a recording for Vaughan. In spite of this, Vaughan wasn’t entirely impressed with the results.
The events also featured taped contributions by Unit Delta Plus, a collective whose members included Delia Derbyshire and Brian Hodgson from the BBC Radiophonic Workshop, and fellow electronic music pioneer Peter Zinovieff.
Mark Lewisohn’s "The Complete Beatles Recording Sessions"
Of all The Beatles’ recordings, relatively little is known about ‘Carnival Of Light’. It came to light in 1988, with the publication of Mark Lewisohn’s The Complete Beatles Recording Sessions:
Thursday 5 January 1967
Studio Two: 7.00pm-12.15am. Recording: ‘Penny Lane’ (SI onto take 7); ‘Carnival of Light’ (take 1). Mono mixing: ‘Carnival of Light’ (from take 1). Producer: George Martin, Engineer: Geoff Emerick, 2nd Engineer: Phil MacDonald.
After overdubbing another McCartney vocal onto ‘Penny Lane’, replacing the one from the previous evening, the Beatles set to work on the session’s main task: preparing a sound effects tape for a ‘Carnival of Light’, being held at the Roundhouse Theatre, London, later in the month. Paul was the chief instigator behind the commission and he took charge of the creation on tape of the bizarre collections of loops and distortions. Or, as it is described in the press at the time, “a tape of electronic noises”.
The Beatles had never made a recording quite like this before, although they were certainly to repeat the exercise again, culminating in ‘Revolution 9’ on the 1968 double-album The Beatles (The White Album). This day’s attempt lasted 13’48”, the longest Beatles recording to date, and it was the combination of a basic track and numerous over dubs. Track one of the tape was full of distorted, hypnotic drum and organ sounds; track two had a distorted lead guitar; track three had sounds of a church organ, various effects (the gargling with water was one) and voices; track four featured various indescribable sound effects with heaps of echo and manic tambourine.
But of all the frightening sounds it was the voices on track three which really set the scene, John and Paul screaming dementedly and bawling aloud random phrases like “Are you alright?” and “Barcelona!”
Paul terminated the proceedings after almost 14 minutes with one final shout up to the control room: “Can we hear it back now?” They did just that, a rough mono remix was made and Paul took away the tape to hand over to the ‘Carnival of Light’ organizers, doubtless pleased that the Beatles had produced such an avant garde recording.
Geoff Emerick recalls this most unusual session. “When they had finished George Martin said to me ‘This is ridiculous, we’ve got to get our teeth into something a little more constructive’.” Twenty years later on, Martin had obviously driven the session entirely from his mind, for when reminded of the sounds on the tape and asked whether he could recall it, he replied “No, and it sounds like I don’t want to either!”
“Carnival of Light” has not yet appeared on any release, either official or a bootleg recording. In 1996 McCartney tried to release the track on the compilation album The Beatles Anthology 2, but George Harrison voted to reject it.According to McCartney, the reason was that “he didn’t like avant garde music” and referred to avant garde as ‘avant garde a clue’ (“haven’t got a clue”). George Harrison had also created avant-garde music as a solo composer (in 1969 he released an experimental album using the then new Moog synthesizer called Electronic Sound), and dabbled in the avant-garde with a couple of his Beatles compositions.
In August 1996, McCartney claimed (in an interview for Mojo) that he was working on a photo collage film of the Beatles that was similar to a film made about the Grateful Dead in 1995 called Grateful Dead — A Photo Film. He was planning to use “Carnival of Light” in the soundtrack, but this project has yet to be seen and McCartney has not commented on the film’s status since 2002.
In November 2008, Paul McCartney confirmed he still owned the master tapes, adding that he suspected “the time has come for it to get its moment. I like it because it’s the Beatles free, going off piste.” McCartney would need the consent of Lennon’s widow, Yoko Ono, and George Harrison’s widow, Olivia Harrison, as well as Ringo Starr to release the track.
Bora Yoon holds a small purple box in her hands. “It’s the Buddha Box II, which is a meditative box that Brian Eno made very famous, ” she says. “Many people think that he made them, but he just went to China and bought a lot of them.”
She flicks a tiny switch on the side of the device, and a very low-fi transistor drone emerges from its plastic speaker. “It’s just small little repeating loops of sustained tone, just something to help you, wherever you are, to meditate.”
The Buddha Machine is just one of the many strange items in Bora’s sonic arsenal. At her apartment studio in Brooklyn, there are disassembled wind chimes at her feet, effects pedals, singing bowls, a hand-cranked radio on the shelf, a conch shell, a toy xylophone and tin cans. She composes lyrical soundscapes with these objects, her ethereal voice, the viola, violin, guitar and Max/MSP.
When we visited her last week, Bora shared with us a piece she’s working on now, which is based on her travels in Thailand and the sound of a new instrument she’s created with LEMUR, called the Subwoofing Spoons. In this first video clip, she discusses her compositional process and the origins of the spoons:
In the next clip, Bora performs the piece, using the Subwoofing Spoons, her voice, viola, the chime sticks and the Buddha Machine. Some neighborhood dogs make their own contribution:
Musical Instruments: These will be used as objects, as part of the set. Moreover they need to act deeply and direct on our sensibility through the senses, and from the point of view of sound they invite research into utterly unusual sound properties and vibrations which present-day musical instruments do not possess, urging us to use ancient or forgotten instruments or to invent new ones. Apart from music, research is also needed into instruments and appliances based on refining and new alloys which can reach a new scale in the octave and produce an unbearably piercing sound or noise.
One could say that one of the main reasons that Theaterlab is presenting The MMiX Festival of Interactive Music Technology is to make good on Antonin Artaud‘s vision on the future of music and sound in the theater. There is no doubt that Artaud’s manifestoes were ahead of their time and, like most visionaries who are born into that situation, he paid the price, mentally-spirtually-and physically, of not seeing many of his ideas become reality in his lifetime. As a result, his writings and his work have become inspiration for generations of artists that followed, myself included.
One of the projects I undertook was a commission from The Cornell Gamelan Ensemble when I was a visiting composer there during 2002-2003 in a joint venture of the Digital Music Lab (David Borden) and the Dept. of Enthomusicology (Martin Hatch). Through that I was able to create a tone poem for gamelan, keyboards, & strings based uponThe Philosopher’s Stone (La Pierre Philosophale – 1931), a scenario by Artaud in which I tried to fused his passion of the Balinese theater with the vision of new musical sounds via the synthesizers as laid out in the excerpt above.
As curator of The MMiX Festival, and in doing it at Theaterlab, I hope that we can show how close we’ve come to Artaud’s vision, how far we have yet to go, and can look forward to its multi-disciplinary application on the stage in the future work of all artists. For right now, enough theory. Let’s see where were at in 2009 (MMIX) and have a blast doing it!
Antonin Artaud (September 4, 1896, in Marseille – March 4, 1948 in Paris) was a French playwright, poet, actor and theatre director.
Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance.
In his book The Theatre and Its Double, which contained the first and second manifesto for a “Theatre of Cruelty,” Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. He admired Eastern theatre because of the codified, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a “Theatre of Cruelty“. At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in space.
The MMiX FESTIVAL of Interactive Music Technology October 8-11, 2009 at Theaterlab
137 W 14th Street, New York City
(212) 929-2545 http://www.theaterlabnyc.com
6:00-7:45 PM Thursday through Saturday
Free and open to the public in Studio C
Interactive sound installations by Chronotronic Wonder Transducer
led by sound inventor Steven Litt
PLUS product giveaways of Ableton LIVE 8 and Cycling ’74’s MAX 5
* * * * * * *
The MMiX Festival of Interactive Music Technology is produced by Theaterlab, radio producer Jocelyn Gonzales, and curated by composer/performer Patrick Grant.
All events take place in the studios of Theaterlab which is located at 137 West 14th St., between 6th and 7th Ave., New York City. For more information (ticket info, directions, etc.) visit Theaterlab’s web site at http://www.theaterlabnyc.com.
Software and laptop improvements present new possibilities for composer/performers to create complex soundscapes in real-time during live performance. The focus of the festival is to demonstrate that these emerging audio technologies are instrumental in new artistic creations, and to inform the public regarding the current state of this art form. The artists presented in MMiX have set a new bar in that discourse and will provide live performances, media installations and workshops.
Ableton, creators of LIVE 8 and Cycling ’74, creators of Max/MSP/Jitter are primary sponsors of the festival with additional support by DubSpot NYC and Eventide.
Media sponsorship for the festival is generously provided by WNYC 93.9 FM and 820 AM, New York City listener supported radio.
MEATWARE: the human element in a technological system.
Here’s but a few links to some artists in NYC that have been embracing new technologies on the stage in the creation of their work. We’ll be adding more as time goes on. I’m sure that many of you reading this blog know of them, if not personally or as collaborators, but they are worth pointing out, especially if they are news to you.
3-Legged Dog
3-LEGGED DOG is a non-profit theater and media group focusing on large-scale experimental artwork. Their work has been seen in New York City at such venues as the Kitchen, La Mama, The Ontological-Hysteric Theater, PS 122, and Signature Theatre Co. Since 1994, they have become a mainstay in the experimental arts community and have been performing downtown ever since.
Five years after the destruction of their headquarters at 30 West Broadway on September 11th, 2001, 3-Legged Dog Media and Theater Group announced the launch of a new home in Spring 2006. 3LD Art & Technology Center is located at 80 Greenwich Street in Lower Manhattan, just 3 blocks south of the WTC site.
3-Legged Dog is the first producing arts group to sign a lease in the Liberty Zone and the first to rebuild downtown. A cultural anchor for the Greenwich Street Arts Corridor, 3LD Art & Technology Center provides complete production and presentation facilities for emerging and established artists and organizations that create large-scale experimental works, many of which incorporate and create new tools and technologies.
"Fire Island" by 3-Legged Dog
3LD ART & TECHNOLOGY CENTER is a community-oriented and artist-run production development studio. They offer artists a unique experience with specialized equipment, flexible space and expert knowledge, as well as the desperately needed time to fully realize their visions. If New York City is to remain at the forefront of experimentation, then its artists must have the means to create cutting-edge work. Since opening in 2006, they have offered the latest materials and innovative tools to more than 900 artists from veterans like Laurie Anderson to the newest prodigies like J. Reid Farrington, recently of the Wooster Group. They have structured programs to ensure the aesthetic and financial success of their residents. They provide a critical resource and development home for these artists, who carry on the traditions of risk-taking and boundary-pushing aesthetics, a tradition that reaches back in New York City’s history to the late 1800s.
Troika Ranch
TROIKA RANCH is the collaborative vision of artists Mark Coniglio and Dawn Stoppiello. Established in 1994, and based in New York City and Berlin, Germany, Troika Ranch produces live performances, interactive installations, and digital films, all of which combine traditional aspects of these forms with advanced technologies. The artists’ mission in producing this wide range of art experiences is to create artwork that best reflects and engages contemporary society.
The name Troika Ranch refers to Coniglio and Stoppiello’s creative methodology, which involves a hybrid of three artistic disciplines, dance/theater/media (the Troika), in cooperative interaction (the Ranch). This method preceded the organization Troika Ranch, which was formed as a means to support the artists’ engagement in this process. During the 1990’s, Coniglio, Stoppiello and their company Troika Ranch were among the pioneers in the field that came to be known as Dance and Technology.
As the use of technology in the arts has developed and integrated over the last decade, the need for the separate moniker Dance and Technology has dissolved. Troika Ranch’s present concerns correspondingly reflect this broader scope, expanding across genres and pioneering new frontiers. As innovators and visionaries, Coniglio and Stoppiello produce art that values live interaction – between viewer and viewed, performer and image, movement and sound, people and technology. It is time-based but typically includes an element of spontaneity, in that the events and images that unfold lie within a certain range but are not exactly replicable. As authors, they establish images, direct performances, determine time frames, and devise technologies. The works may be presented as performances, installations, or in portable formats. In sum, Troika Ranch engages in creative endeavors using all that contemporary invention has to offer.
The arts world, well, the world in fact, recently suffered the loss of MERCE CUNNINGHAM. He extended the frontiers of choreography for more than half a century, most recently with his use of the computer program called DanceForms (formerly LifeForms).
DanceForms
Merce was on the development team for this dance software. Each work he choreographed since 1991 made use of this program, and each one was quite different from the others. Those of you interested in seeing firsthand how DanceForms works can download a demo of the program from their web site at http://www.charactermotion.com/danceforms/
Jonah Bokaer
Former Cunningham performer, choreographer & media artist JONAH BOKAER seems to be the heir apparent to Cunningham and his use of technology in the creation of dance.
Over the past several years, Jonah Bokaer has developed a body of work addressing the creative potential of digital technologies in movement production. He makes choreography by rendering a virtual body in the built domain, employing motion capture, digital animation, 3D modeling, and choreographic software to generate movement material. “Choreography” involves designing a body inscreen, embodying its movements in real time, and performing the choreography live.
While developing this new artistic practice, Bokaer frequently questions (and subverts) the spaces in which works are performed, creating site-specific installations that playfully critique the venue presenting a dance. This generally involves a visual or sonic intervention in the periphery of each individual venue.
As an arts activist, Bokaer is also deeply committed to fostering interdisciplinary dialogue with artists across media. With this in mind, he has established a cooperative studio space called “Chez Bushwick,” in which artists can congregate, develop ideas, and present their work in a catalytic environment. Bringing innovative new work into direct conversation with contemporary thought and culture is the main interest of this artist.
Bokaer’s unparalleled dancing in Merce Cunningham’s company, his co-founding of the Brooklyn performance space Chez Bushwick, and his well-crafted yet cutting edge choreography that moves dance into the new century, have made him a convincing advocate for the dance community.
Chez Bushwick in Brooklyn
CHEZ BUSHWICK, an artist-run organization based in Brooklyn, is dedicated to the advancement of interdisciplinary art and performance, with a strong focus on new choreography. Since its inception in 2002, the organization has been acknowledged as a new model for economic sustainability in the performing arts, offering New York City’s only $5 subsidy for rehearsal space, and thereby fostering the creation, development, and performance of new work. Chez Bushwick is also responsible for a number of monthly performance programs that encourage artistic freedom, collaboration, and creative risk-taking.
This is just the tip of the iceberg and, even then, this is just one city. I’m very interested in where all this development is leading us. Personally, I feel that much of it still has far to go. As advanced as it may seem to us now, I still get that feeling that we’re like those folks who first marveled at the Model T.
Whatever progress is to be made, one thing I am sure of, is that it is going to be based on the “meatware” which has a much longer tradition of moving the people’s hearts and minds. My hope is that a lot of what I like to call “The Gee Whiz Factor” will fade as this ubiquitous technology is increasingly greeted by a de-mystified public, one that will demand more and more meaningful creations that will continue to close the gap between the hardware/software and the “meatware.”
In Bb 2.0 is a collaborative music and spoken word project conceived by Darren Solomon from Science for Girls, and developed with contributions from users. The videos can be played simultaneously — the soundtracks will work together, and the mix can be adjusted with the individual volume sliders.
A. I was making a site with embedded YouTube videos (as a complement to this blog post) when I realized that YouTube doesn’t stop the user from running more than one video at a time. I was curious to see if there was a musical way to explore that concept, so I recorded some instrumental videos and eventually came up with In Bb v1.
Q. Are you playing any of the instruments?
A. I played the instruments in v1 – glass marimba, electric guitar, Kaoss Pad/synth, Rhodes electric piano, and the electric bass. Those are videos 1,2,3,4, and 6, counting from the top left, in the current site.
Q. How did you get the rest of the videos?
A. I sent out emails, and I put up an open call on the website for submissions, with these instructions:
-Sing or play an instrument, in Bb major. Simple, floating textures work best, with no tempo or groove. Leave lots of silence between phrases.
-Record in a quiet environment, with as little background noise as possible.
-Wait about 5-10 seconds to start playing.
-Total length should be between 1-2 minutes.
-Thick chords or low instruments don’t work very well.
-Record at a low volume to match the other videos.
-You can listen to this mix on headphones while you record.
-After you upload to YouTube, play your video along with the other videos on this page to make sure the volume matches.
Q. How did you pick from the submissions?
A. There was a lot of creative submissions. I played each one along with the other videos, in different combinations. Ultimately, it was a subjective call, certain videos just felt right to me.
Q. Are you still accepting submissions?
A. I have all that I need, but if you’re feeling inspired, do one and send it to me, and maybe I can put it in a future update.
Q. Are you still working on the site?
A. For now I’m topping off the videos at 20, which seems to be a good balance between not taxing the user’s browser, and giving the user plenty of options. I may develop the concept some more in the future.
A. It’s a Chromatic Aquarion, made by Jim Doble at Elemental Design. Jim is a super cool guy who makes fantastic instruments. I highly recommend them for you creative music types.
Q. Who wrote the music of In Bb?
A. Interesting question! I think the traditional concept of authorship doesn’t really apply here. You wrote it, the participants wrote it, I wrote it. For lack of a better idea, if you need to credit the music, it would probably be best to say “by inbflat.net”.
Q. Was Kutiman an inspiration?
A. I love the Kutiman videos. I’ve watched ThruYou #3 probably 50 times, and the song that starts at 4:38 makes me melt, it’s so good. But I did In Bb v1 before I’d ever seen his work.
Q. My computer is not happy running all those embedded videos. How can I make it work better?
A. Closing other browser windows helps, or you can try the smaller versions, with 16 or 12 videos.
Q. Can I post my own tweaked version of the site?
A. Please do. Some people have already done some cool things with the site. Here’s a Buddha Machine version that plays continuously, and here’s a version with a mixer interface. The videos also work nicely on YouCube (takes a few minutes to fully load).
It’s another hot, steamy Monday evening in the city. You’ve been plug-in away all day and your circuits are fried. Well, we know one place where you can cool your compressors and chill out to some great new music…
It’s “The Pre-MMiX” at Theaterlab, a benefit party for The MMiX Festival of Interactive Music Technology, happening on August 24th, 2009 at 6:30pm. The Pre-MMiX Party will offer a sampling of the kind of vibrant works we’ll feature this October 8-11 at MMiX, and will also serve as a fundraiser for the festival.
Kathy Supove is well-known for displaying her virtuosic and theatrical keyboard skills in her Exploding Piano series, and she’s curator of the Music With a View concerts at The Flea Theater.
Kathleen Supove
We talked to her earlier this summer about her work with interactive electronics in this bit of audio:
Elan Vytal, the boundary-breaking DJ who cut his teeth in the clubs and went on to scratch it up in opera houses and museums, has also appeared on this blog with 6 string violinist, Matt Szemela. He sent along this video which features a cut off Elan and Matt’s forthcoming album as the group, LB (Pound).
Patrick Grant, a composer of multiple disciplines, from string quartets and club music, to hip-hop marching bands and not-so-subliminal advertising, creates scores and soundscapes for film, theater and media, is curator of the MMiX Festival in October, and will talk a little bit about the mission, the artists and the technology behind MMiX, and will school ya on some of his “sTRANGE mUSIC” at the Pre-MMiX party.
Patrick Grant
So next Monday evening, August 24th, come on up and escape the summer distortion at the Pre-MMix Benefit Party. The event starts at 6:30pm at Theaterlab’s studios and a wine reception follows the performances. Theaterlab is located at 137 West 14th Street, between 6th and 7th Avenue, and near the F and L train, as well as Union Square. The suggested minimum donation at the door will be $10.
I expect to watch video in almost every situation in my daily life, whether it’s CNN on my TV, YouTube on my computer, or home movies on my cel phone. Not to mention, video in the back seat of cabs, at the dentist and in the elevator. The only place I can get away from video is in the shower, but luckily, my NY apartment is too small to support a plasma screen in the commode. So it’s no surprise that I, like many cultural consumers, am very open to the use of video in the theater.
Now this is a tricky thing: Just because live audiences are used to seeing movie-like bits in a show, it doesn’t mean we want to be bombarded with flashing lights and explosive images that don’t mean anything to the piece or obscure the work of the human performers. I pay for an blended experience, not a seizure.
Last year, during the 2008 Tony Awards season, I was assigned by Studio 360 to do a segment on the use of video in the Broadway revival of Sunday in the Park with George. The show was nominated in the best scenic design category, which for the first time, recognized video projection as an integral part of the storytelling. Over a cranky ISDN line to London, I spoke with David Farley, the show’s set and costume designer, and Timothy Bird of KnifeEdge Creative Network, who designed the digital imaging. In addition, I visited the Manhattan studio of video designer, Dustin O’Neill, of Fountainhead Design Group, who works with musicals and operas. (Dustin did not work on Sunday in the Park.)
In both interviews, the designers discussed the technical and aesthetic challenges of how projected images support the live performances of actors and musicians. And Dustin pointed out how video can interact with human players in real time. You can listen to the segment here:
For the record, Sunday in the Park with George did not win the 2008 Tony for scenic design. Instead, South Pacific took home the prize.
When I did this story, I wound up with extra material from Dustin O’Neill which I’d planned to include on the web. But since deadlines usually creep up on you too fast and online real estate is sometimes wanting, I was not able to post this stuff then. So, back from the archives, the video below contains a further sampling of Dustin’s comments on his process and excerpts of his work.
The MMiXdown 