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the relationship of computer programming and new multimedia software to the physical body. All of our work is movement-based, yet we incorporate camera, video projection, digital sound processing, motion capture, sensor and MIDI (musical instrument digital interface ) devices in our choreography and spatial designs, working toward a redefinition of performance. Our intention is to influence technological design and the understanding of corporeal presence in interactive territory, shifting the emphasis from machine applications to narrative content through full, bodyconscious interfaces and contemporary prostheses. Since its formation, AlienNation Co. has worked as a laboratory for cross-cultural , integrated arts research and has evolved organically out of several collaborative performance projects. Over the past 3 years, AlienNation Co. has been exploring the connections between live performance and cinematic/ video space-time, inventing new processes of composition that combine dance-theater choreography with video choreography, acoustic and electronic music, poetry and the visual arts. Experimenting with both site-specific and cross-cultural performance materials, the company has been particularly concerned with physical and emotional bodily experience and with the ideology ofvisual objects and images. Our experimental work, which includes theater and dance pieces, installations and film concerts, evolves along with our video/film production, documentation and writing. The work is committed to addressing issues of our time and our various, overlapping cultural experiences . As collaborative work with artists in other locations, it contributes to the crossing of borders and the exchange of creative dialogues in the world. Formed in 1993, AlienNation Co. currently has three productions in its repertoire. After the premiere and international touring of AlienNation (1993-1994), the second production, Lovers Fragments (Fig. 1), was created in two different versions shown in Cleveland , Ohio, and Chicago, Illinois, between April and December 1995. Film versions of Lovers Fragments were presented at festivals and conferences in London, Helsinki, Montreal and Havana . The latest project, Parsifal (19951997 ), is a sequence of three site-specific opera experiments based on an exploration of myth, religion and the production of sexualities. The com142 Artists' Statements pany produces its video works at Xenologue Productions Studio. Manuscript received 23 April 1996. RUSSIANS LEAVE EUROPE Bulat M. Galeyev, Institute Prometei, KGTU, K.Marx str., 10, Kazan, 420111, Russia. Acceptedfor publication I7y RogerF. Malina. This video installation of new works was based on my ideas and produced by cameraman Kamil Gimazutdinov and other colleagues from the SKB "Prometei" staff [1]. A row of 10-12 TV sets and video tape recorders was displayed along the length of one wall of the exhibition hall. An adjoining wall was inscribed with the word "West" and the wall opposite with the word "East." Videotaped images of tanks moving and rattling were reproduced on each TV set, forming a "row of tanks." Two additional TV sets were mounted on a podium in front of this row, their back sides facing each other and their screens facing outward. On the TV set Fig. 2. Bulat M. Galeyev, partial view of The Last Soviet Tank Monument, part of Russians Leave Europe, video installation, Kazan, Russia, 1996. This image faced the audience , while a rearview image of the tank faced the rear waIl of the gallery. facing the audience, the front part of a rattling tank was reproduced, while the rear part of the tank was reproduced on the second TV set, facing the rear wall of the gallery. This piece was called The Last Soviet Tank Monument (Fig. 2). An archival video recording featuring Russian president Boris Yeltsin's visit to Germany for the withdrawal of the last Russian regiments in August 1994 was projected onto a large video screen above the TV sets. Specifically, the video showed a famous episode in which Yeltsin conducted the German military orchestra [2]. This episode was recorded over and over until it filled the entire length of the video tape. A well-known Russian military march, "Farewell of the Slavic Woman," was used as a soundtrack for the recording. When viewing the entire installation, spectators could see how the Russians left Europe to the music of a wellknown march, conducted by no less of a "conductor" than Boris Yeltsin. This is why the installation is entitled Russians Leave Europe. The...

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 142-143
Launched on MUSE
2017-01-04
Open Access
No
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