tag:techtv.mit.edu,:Array/218862340 2008-07-17 16:28:47 -0400 msrp2008 Part 1 of a MSRP 2008 graduate application panel consisting of:<br /><br />Paula Hammond - Bayer Professor of Chemical Engineering, Department of Chemical Engineering<br /><br />Dava Newman - Professor, MacVicar Faculty Fellow, Director TPP, Department of Aeronautics and Astronautic<br /><br />Stephen Bell - Professor, Department of Biology<br /><br />Terry Orlando - Professor, Graduate Officer, Ashdown Housemaster, Dept of Electrical Engineering & Computer Science 4832 tag:techtv.mit.edu,:Array/218817900 2008-07-17 14:19:19 -0400 msrp2008 <p>Part 2 of MSRP 2008 a graduate application panel consisting of:</p><p>Paula Hammond - Bayer Professor of Chemical Engineering, Department of Chemical Engineering</p><p>Dava Newman - Professor, MacVicar Faculty Fellow, Director TPP, Department of Aeronautics and Astronautic</p><p>Stephen Bell - Professor, Department of Biology</p><p>Terry Orlando - Professor, Graduate Officer, Ashdown Housemaster, Dept of Electrical Engineering &amp; Computer Science</p><p>?</p><p>?</p> 3250 tag:techtv.mit.edu,:Array/219719500 2009-05-17 18:34:20 -0400 Center for Advanced Visual Studies A Very short history of toy Theatre as performed by Center for Advanced Visual Studies fellow John Bell. accompanied by: Trudi Cohen (visiting artist) on toy piano Jenny Romaine (visiting artist) on accordian Joe Zane (CAVS staff and VAP instructor) on ukulele Shaunalynn (student) Duffy on banjo shot on a handheld camera by CAVS staff member Meg Rotzel, this performance took place at the CAVS 2009 Giant Art Party 763 tag:techtv.mit.edu,:Array/219697320 2009-05-17 21:23:35 -0400 Center for Advanced Visual Studies CAVS fellow John Bell joins CAVS artists, staff and MIT students in the design, construction, and performance of the Great Small Works toy theater show, Definitely Maybe. Based on the novel of the same name by the acclaimed Soviet science fiction writers Boris and Arkady Strugatsky, Definitely Maybe questions the limits of scientific knowledge and discovery in the modern world from the perspective of a handful of Soviet scientists of the 1970s who are all on the verge of important breakthroughs. The mysterious and often surreal ways in which they are all prevented from advancing their work turn out to be the effects the Homeostatic Universe, a vast, undefined force of Nature that insists on maintaining creation-wide entropy. Definitely Maybe poses questions about the limits of modern knowledge and the ecological effects of modern society through a series of fantastic, comic, and spectacular tableaux on a miniature toy theater stage representing a Soviet-era apartment building. Definitely Maybe, a novel by Boris and Arkady Strugatsky, was adapted for the toy theater by John Bell, Larissa Harris and Jessica Rylan, with Jenny Romaine from Great Small Works, and MIT student Shaunalynn Duffy. Special thanks to Slava Gerovitch for his dramaturgical advice. Set and puppet designs by Isaac Bell and Meg Rotzel; stage construction by Kaolin Kinsey; stage design by Joe Zane; special synthesizer effects created by Jessica Rylan. 1899 tag:techtv.mit.edu,:Array/219677200 2009-06-27 02:56:26 -0400 Center for Advanced Visual Studies John Bell discusses his work as a creator of street spectacles with Bread and Puppet Theater, Great Small Works, and the Honk! Festival in Boston, New York, and other cities in North America and Europe. Street spectacle is one of the oldest forms of global performance, in which larger-than-life theatricality combines with urban architecture and public thoroughfare to articulate a community's ideas about politics, religion, and society. How have the rituals of street spectacle functioned in previous centuries, and how might they function in the 21st century? John Bell is a puppeteer, scholar, and teacher whose interests combine practice and theory. He started performing as a puppeteer with the Bread and Puppet Theater and as a member of that company for over a dozen years learned about the global breadth of puppetry. Recognized as one of the preeminent historians of puppet theater in the US, he performs, directs, and otherwise collaborates with Great Small Works, a Brooklyn-based theater collective. He is the author of Strings, Hands, Shadows: A Modern Puppet History (Detroit Institute of Art), edited Puppets, Masks, and Performing Objects (MIT Press), and is currently working on American Puppet Modernism, a study of US confrontations with puppet and object theater over the past 150 years. 4579 tag:techtv.mit.edu,:Array/219657580 2009-07-09 19:16:21 -0400 Center for Advanced Visual Studies “Let's Put On a Puppet Show!” is an afternoon event revolving around puppetry scheduled for Friday April 6. The event will be open to the public at large. Participants can make their own puppets (led by professional puppeteers, Tuckers' Tales); hear lectures by prominent contributors to the puppet field; and produce an improvisational puppet show of their own. The Center has invited John Bell, artist and co-founder of Great Small Works; Linda Norden, curator of the American Pavilion for the 2005 Venice Biennale and curator of Pierre Huyghe's 2004 "puppet opera"(featuring a puppet of Linda); Karen Zasloff, artist and shadow-puppeteer; and other special guests. “Let's Put on a Puppet Show” brings together artists, curators, and puppeteers to explore the ways puppets and puppet theater have functioned within contemporary art and society. + Tuckers' Tales Puppet Theater, the Performing division of Puppet Perceptions, Inc., is a Philadelphia area based performing company founded in 1981. Co-directors Marianne and Tom Tucker have performed at puppet, folk, ethnic and street festivals, and at craft fairs, shopping centers, theaters and schools around the country.Audiences from small children to senior citizens have enjoyed the variety of styles skillfully displayed in their interesting programs. Tom and Marianne Tucker also teach workshops in puppetry and construct puppets by special order. John Bell started performing as a puppeteer with the Bread and Puppet Theater, and as a member of that company for over a dozen years learned about the global breadth of puppetry. After earning his Ph.D. in theater history at Columbia University, he began teaching at the college level, and is presently an assistant professor of performing arts at Emerson College. He is a founding member of the Brooklyn-based theater group Great Small Works, with whom he performs and directs. He is a Contributing Editor to both TDR and Puppetry International and the author of Strings, Hands, Shadows: A Modern Puppet History (Detroit Institute of Arts) and editor of Puppets, Masks, and Performing Objects (MIT Press). Karen Zasloff is an artist, puppeteer and educator. For the past ten years she has designed, built and performed original shows in museums, theaters and public spaces in New York City, Massachusetts and Vermont. These have included PS1 Contemporary Art Center, St. Ann’s Warehouse, PS122, Here Arts Center and the Ontological Theater. Outdoor performances have included several summers in the States and abroad with The Bread and Puppet Theater and Chicago’s RedMoon Theater, and a project on Staten Island for the New York City Housing Authority. Her drawings are currently featured in the documentary, Banished, which premiered at the Sundance Film Festival this year. She studied Design for Stage and Film at the Tisch School of the Arts, and is now studying performance at the Gallatin School at NYU. She has taught English, Art and Drama for many years in New York City public schools and community centers. Linda Norden is a curator and occasional writer on contemporary art. Though puppetry is not a specialization per se, she was responsible, together with Artforum senior editor Scott Rothkopf, for the production of Pierre Huyghe's 2004 film, "This is not a time for dreaming," an allegorical fable that drew heavily on the multiple metaphortical implications of the marionette to explore the fate of commissions and creative experiment within the university in particular and institutions more generally. Hired in 1998 to help establish the first department of contemporary art at the Harvard University Art Museums, Norden worked to build both programming and the museum's fledgling contemporary art collection. As Commissioner of the U.S. Pavilion for the 2005 Venice Biennale, she curated Ed Ruscha's "Course of Empire" with the Whitney Museum's Donna DeSalvo, which was reconcieved for the Whitney in the fall of that year. Future projects include advising on the 2008 Whitney Biennial and the UK-wide exhibition of emerging artists titled "New Contemporaries." + This program is organized by Joe Zane, artist, director of production at the Center, and lecturer at MIT’s Visual Art Program. “(Puppet) Show!” is generously supported by the MIT Arts Council. Special thanks to the Puppet Showplace Theatre, the Visual Art Program @ MIT, Joe Gibbons, Ingrid Schaffner, and Michael Smith. 5959