Doug Scholz-Carlson is a Minneapolis-based fight choreographer, actor, and director. He is Associate Director of the Great River Shakespeare Festival in Winona, Minnesota, where he directed “Macbeth” and “Cymbeline” and is a member of the acting company.
Doug’s fight choreography has included world premiers of the operas “The Grapes of Wrath” and the Pulitzer Prize winning opera “Silent Night”. It has been seen at theaters including Minnesota Opera, New York City Opera, Utah Opera, Pittsburgh Opera, Guthrie Theater, Children’s Theater Company, and the Seattle Police Department.
His recent directing credits include “Lucia di Lammermoor” for Austin Lyric Opera and Pittsburgh Opera, “Brundibar” for Palm Beach Opera and Opera Theater of St. Louis, and “Turn of the Screw” for Madison Opera. As an actor, Doug has appeared on stages including the Guthrie Theater, Seattle Repertory Theatre, Ordway Music Theatre, Utah Shakespearean Festival, and in performance with the Minnesota Orchestra. Doug holds a BA Summa cum Laude in theater from St. Olaf College and an MFA from the University of Washington’s Professional Actor Training Program.
Breaking the First Rule of Fight Club
To tell a story in the theater, an actor allows the audience to witness an event that does not take place. If successful, what the audience believes they have seen is not what actually happened.
A well choreographed and executed punch compresses this central truth of all good acting into a well-defined action on stage. A punch that is too much like reality injures an actor. A punch that is too little like reality elicits laughter at a critical dramatic moment.
An audience in the theater desires to be fooled but refuses to be deceived. The art of fight choreography lies in knowing the difference and finding the balance. In five interludes, Doug will explore how a fight choreographer uses the technique and the art of stage combat to create an imagined event that elicits real emotional response.
Gabriel Campanario earned his MA in Journalism from the University of Navarra in Pamplona, Spain.
He works as a staff artist at The Seattle Times, where his award-winning column “Seattle Sketcher” appears in print and online every Saturday.
Since founding Urban Sketchers, an online community and nonprofit organization dedicated to promoting the art of on-location drawing, Campanario has spoken about urban sketching and visual journalism at numerous universities and events in the United States and abroad.
Campanario’s book, The Art of Urban Sketching, was published in 2012 by Quarry Books.
THE ART OF URBAN SKETCHING
Thousands of drawing enthusiasts across the globe are joining a global sketching movement born out of a group blog Gabriel launched in 2008. Some of these urban sketchers use their drawing skills in their professions. Many are architects, illustrators, and graphic designers. Others are web programmers, teachers, journalists, and doctors. But their backgrounds don’t matter. It is the shared love of drawing from life, on location, that brings such a diverse group of people together.
Urban sketchers record their experiences by drawing on pen and paper, exploring their cities and the cities they visit with their sketchbooks, and sharing their visual reports online.
In this lecture, Gabriel will show how to become an urban sketcher and join in his mission of “showing the world - one drawing at a time.”
DR. YURI DANILOV
Yuri P. Danilov is a Lead Project Director at the Tactile Communication and Neurorehabilitation Laboratory (TCNL) in the Department of Biomedical Engineering at the University of Wisconsin-Madison. TCNL’s objectives are to design interventions to help people with sensory and neurological disorders regain function. They explore how touch can substitute for other lost senses such as vision or balance, which is called sensory substitution. They are determining how to enhance recovery following a stroke, head trauma, or neurological disorder by influencing the brain’s activity during rehabilitation. This approach is called neuromodulation.
TCNL uses the principle of neuroplasticity to guide their research. It is the ability of the brain to reorganize and is the process that allows all learning, training, and rehabilitation to occur. Their research is dedicated to finding new ways to assist the brain with re-learning after injury or illness and improving the quality of life of those affected.
Yuri P. Danilov is a neuroscientist with more than 25 years experience in research on brain function and the special senses, including vision, taste, hearing, and balance. Dr. Danilov is the lead discoverer of the balance retention effect. He leads development of the specific training regimens and continues to identify potential clinical and non-clinical application of neuromodulation and sensory substitution technology.
Dr. Danilov received the M.S. degree in biophysics, in 1978, from St. Petersburg University in Russia and the Ph.D. degree in neuroscience, in 1984, from the Pavlov Institute of Physiology, Russian Academy of Science. Dr. Danilov was Senior Scientist and Director of Clinical Research at Wicab, Inc., where he oversaw both conceptual development for the BrainPort system as well as its clinical testing. His interest areas are neuroplasticity, neurorehabilitation, human performance, and human sensory systems.
MICHAEL C. FORTUNE
Designer/maker, teacher, and mentor Michael C. Fortune, is one of Canada and North Americas’ most respected and creative contemporary furniture masters.
Since his career began 38 years ago, Michael has been acclaimed for his innovative objects in wood. His work ranges from elegant commissioned residential furnishings to setting-up factories to make furniture in places with very limited resources. His work has brought him an international clientele and reputation. He has taught at many schools and craft centers including: Sheridan College School of Crafts and Design, Ryerson Polytechnical Institute, the Rochester Institute of Technology NY, Worcester Center for Crafts in Massachusetts, Anderson Arts Center, Colorado, Savannah College of Art and Design, and the Marc Adams School in Indiana.
Michael received the 2007 Award of Distinction from the Furniture Society. Of the fourteen award recipients, Michael is the first Canadian awardee.
BETWEEN CRAFT AND ECONOMIC RELEVANCE
“Although the terms of reference in all my work vary, I am committed to creating objects and solutions that fulfill the intended function yet are appropriate and satisfy my personal aesthetic vision. It is important to me that I not work in a void, but invite interaction with the user or observer. I feel my work is successful when it makes a statement that is understood yet possesses additional layers of detailing and subtleties of design. I also believe that it is essential that I achieve a balance between my own artistic vision and desire to master my craft with projects that have a broader degree of social and economic relevance to the world in which we live.”
This presentation will follow Michael’s career with a focus on where he gets his ideas and how he develops them into practical pieces of furniture. He has a very pragmatic design process that he’ll graphically lay out. Michael values the relationship between design/skill intensive studios and product design for small-scale value-added manufacturing.
ELIZABETH P. GRAY, FAIA
Elizabeth P. Gray, FAIA, is the founding principal and a partner at Gray Organschi Architecture in New Haven, a firm recognized nationally for its residential, institutional, and landscape infrastructure design. She is committed to fusing design excellence with community engagement.
Gray Organschi purposefully seeks a wide range of project types, believing that the firm’s architectural solutions are enriched by the variety of projects it tackles. Its work includes private houses, adaptive re-use, and reclamation of existing structures, educational buildings, devotional spaces, timber bridge design, and park structures.
Elizabeth is the founder and principal designer of Gray Design, an interior design and furnishings firm with projects ranging from private homes to public institutions.
This practice weaves furnishings specification and fabrication with an expertise in contemporary and historical material design culture, providing innovative, warm, and livable spaces for homes and institutions.
Site Work: A Constraint is a Resource
Limits, boundaries, parameters: these provide the catalyst for architectural explorations within the practice of Gray Organschi Architecture. Site provides the conceptual key to a project’s spatial organization and the motivation for its physical character and detail. Working within sensitive ecologies, treasured towns and communities, the firm embraces each project as an opportunity to improve the vitality of the places for which they design: restoring wetlands once ravaged by exploitative land-use; bridging streambeds to facilitate the co-existence of people, flora and fauna; revitalizing buildings, public places and structures; reconfiguring urban surfaces to function as sources of natural cooling, storm-water cleansing and oxygen production. They carefully consider climate, topography, hydrology, ecology and even past and potential patterns of human settlement to understand a site as a set of embodied energies and embedded resources and approach architectural solutions as a material and spatial means to harness them.
Anna Kipnis had wanted to make games since she played Mario brothers at age 9. Kipnis received her computer science degree from Rutgers University with minors in philosophy, psychology, and cognitive science, and started working at Double Fine Productions in San
Francisco. She has worked as a Gameplay Programmer on many of
the Double Fine games, including Psychonauts, Brütal Legend, and
the working titled Double Fine Adventure.
All Your Tweets Are Belong To Us An Exploration of MolyJam2012
In March of 2012, game designer Anna Kipnis tweeted offhandedly that she really loved the tweets of Peter Molydeux (@petermolydeux), a Twitter account parodying the musings of famous UK game designer Peter Molyneux, and wondered why the fantastical 140 character offerings of bizarre and wonderful game ideas coming from Molydeux couldn’t become reality.
Three programmers immediately responded and together they
formed the idea to make a game jam – a 48-hour programming marathon where more than 900 programmers from 35 countries all over the world stayed up to create more than 300 games based on tweets from @petermolydeux. The entire process from idea to GameJam took just over three weeks - with the resulting games being made available to the public by April of 2012.
Kipnis will talk about the Game Jam culture within the indie video game world and discuss the process for mobilizing an international group around an idea. Featuring examples of games and Tweets, Kipnis will illustrate how indie gaming has created a culture of experimentation, collaboration, and sharing.