Matching Items (51)
Description
Fashion is an inherently political and reflective medium for the daily ramblings and revolutions of a society. Much of the time the influence is subtle. Silhouettes and fabrics reflect different stances on conservatism, on sex, on the degrees to which we fetishize luxury, and on infinite other attitudes of an era. Other times the influence is extremely direct, with text printed on the clothing that explicitly articulates a current societal dynamic. I began exploring fashion in 2016, as the country had reached an unprecedented and linguistically weaponized divide.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
ContributorsViton, Benjamin Douglas (Author) / Sewell, Dennita (Thesis director) / Mihaleva, Galina (Committee member) / School of Art (Contributor) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
How does the idea of the visible and invisible, tangible and intangible, interact with the garments on the body? Perception, to become aware through the sense, involves the way in which the eye sees space, both visible and invisible. The way in which we see objects are significant in our everyday life and how we evaluate it. The main pattern the garments encompass are the accordion pleating and the variety in which the pattern can be utilized; the accordion pleating can be scaled, attached together, and twisted around the body. Effervescence is a 6-look collection that entails the idea of perception. The results of the project include 3 completed looks, 3 3D print on fabric, and 8 3D print accessories. In this paper, I will explain the process of creating the collection, the experimentation, and the results.
ContributorsNguyen, Juliana (Author) / Mihaleva, Galina (Thesis director) / Stephenson, Kathy (Committee member) / Tevzadze, Irina (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2022-05
Description
Anaerobic oxidation of methane (AOM) is an important process for understanding the global flux of methane and its relation to the global carbon cycle. Although AOM is known to be coupled to reductions of sulfate, nitrite, and nitrate, evidence that AOM is coupled with extracellular electron transfer (EET) to conductive solids is relatively insufficient. Here, we demonstrate EET-dependent AOM in a biofilm anode dominated by Geobacter spp. and Methanobacterium spp. using carbon-fiber electrodes as the terminal electron sink. The steady-state current density was kept at 11.0 ± 1.3 mA/m[superscript 2] in a microbial electrochemical cell, and isotopic experiments supported AOM-EET to the anode. Fluorescence in situ hybridization images and metagenome results suggest that Methanobacterium spp. may work synergistically with Geobacter spp. to allow AOM, likely by employing intermediate (formate or H[subscript 2])-dependent inter-species electron transport. Since metal oxides are widely present in sedimentary and terrestrial environments, an AOM-EET niche would have implications for minimizing the net global emissions of methane.
ContributorsGao, Yaohuan (Author) / Lee, Jangho (Author) / Neufeld, Josh D. (Author) / Park, Joonhong (Author) / Rittmann, Bruce (Author) / Lee, Hyung-Sool (Author) / Biodesign Institute (Contributor) / Swette Center for Environmental Biotechnology (Contributor)
Created2017-07-11
Description
pH and fermentable substrates impose selective pressures on gut microbial communities and their metabolisms. We evaluated the relative contributions of pH, alkalinity, and substrate on microbial community structure, metabolism, and functional interactions using triplicate batch cultures started from fecal slurry and incubated with an initial pH of 6.0, 6.5, or 6.9 and 10 mM glucose, fructose, or cellobiose as the carbon substrate. We analyzed 16S rRNA gene sequences and fermentation products. Microbial diversity was driven by both pH and substrate type. Due to insufficient alkalinity, a drop in pH from 6.0 to ~4.5 clustered pH 6.0 cultures together and distant from pH 6.5 and 6.9 cultures, which experienced only small pH drops. Cellobiose yielded more acidity than alkalinity due to the amount of fermentable carbon, which moved cellobiose pH 6.5 cultures away from other pH 6.5 cultures. The impact of pH on microbial community structure was reflected by fermentative metabolism. Lactate accumulation occurred in pH 6.0 cultures, whereas propionate and acetate accumulations were observed in pH 6.5 and 6.9 cultures and independently from the type of substrate provided. Finally, pH had an impact on the interactions between lactate-producing and -consuming communities. Lactate-producing Streptococcus dominated pH 6.0 cultures, and acetate- and propionate-producing Veillonella, Bacteroides, and Escherichia dominated the cultures started at pH 6.5 and 6.9. Acid inhibition on lactate-consuming species led to lactate accumulation. Our results provide insights into pH-derived changes in fermenting microbiota and metabolisms in the human gut.
ContributorsIlhan, Zehra (Author) / Marcus, Andrew (Author) / Kang, Dae-Wook (Author) / Rittmann, Bruce (Author) / Krajmalnik-Brown, Rosa (Author) / Biodesign Institute (Contributor) / Swette Center for Environmental Biotechnology (Contributor) / College of Liberal Arts and Sciences (Contributor) / School of Life Sciences (Contributor) / Fundamental and Applied Microbiomics (Contributor) / Ira A. Fulton Schools of Engineering (Contributor) / School of Sustainable Engineering and the Built Environment (Contributor)
Created2017-05-03
Description
Background
Syngas fermentation, the bioconversion of CO, CO[subscript 2], and H[subscript 2] to biofuels and chemicals, has undergone considerable optimization for industrial applications. Even more, full-scale plants for ethanol production from syngas fermentation by pure cultures are being built worldwide. The composition of syngas depends on the feedstock gasified and the gasification conditions. However, it remains unclear how different syngas mixtures affect the metabolism of carboxidotrophs, including the ethanol/acetate ratios. In addition, the potential application of mixed cultures in syngas fermentation and their advantages over pure cultures have not been deeply explored. In this work, the effects of CO[subscript 2] and H[subscript 2] on the CO metabolism by pure and mixed cultures were studied and compared. For this, a CO-enriched mixed culture and two isolated carboxidotrophs were grown with different combinations of syngas components (CO, CO:H[subscript 2], CO:CO[subscript 2], or CO:CO[subscript 2]:H[subscript 2]).
Results
The CO metabolism of the mixed culture was somehow affected by the addition of CO[subscript 2] and/or H[subscript 2], but the pure cultures were more sensitive to changes in gas composition than the mixed culture. CO[subscript 2] inhibited CO oxidation by the Pleomorphomonas-like isolate and decreased the ethanol/acetate ratio by the Acetobacterium-like isolate. H[subscript 2] did not inhibit ethanol or H[subscript 2] production by the Acetobacterium and Pleomorphomonas isolates, respectively, but decreased their CO consumption rates. As part of the mixed culture, these isolates, together with other microorganisms, consumed H[subscript 2] and CO[subscript 2] (along with CO) for all conditions tested and at similar CO consumption rates (2.6 ± 0.6 mmol CO L[superscript −1] day[superscript −1]), while maintaining overall function (acetate production). Providing a continuous supply of CO by membrane diffusion caused the mixed culture to switch from acetate to ethanol production, presumably due to the increased supply of electron donor. In parallel with this change in metabolic function, the structure of the microbial community became dominated by Geosporobacter phylotypes, instead of Acetobacterium and Pleomorphomonas phylotypes.
Conclusions
These results provide evidence for the potential of mixed-culture syngas fermentation, since the CO-enriched mixed culture showed high functional redundancy, was resilient to changes in syngas composition, and was capable of producing acetate or ethanol as main products of CO metabolism.
Syngas fermentation, the bioconversion of CO, CO[subscript 2], and H[subscript 2] to biofuels and chemicals, has undergone considerable optimization for industrial applications. Even more, full-scale plants for ethanol production from syngas fermentation by pure cultures are being built worldwide. The composition of syngas depends on the feedstock gasified and the gasification conditions. However, it remains unclear how different syngas mixtures affect the metabolism of carboxidotrophs, including the ethanol/acetate ratios. In addition, the potential application of mixed cultures in syngas fermentation and their advantages over pure cultures have not been deeply explored. In this work, the effects of CO[subscript 2] and H[subscript 2] on the CO metabolism by pure and mixed cultures were studied and compared. For this, a CO-enriched mixed culture and two isolated carboxidotrophs were grown with different combinations of syngas components (CO, CO:H[subscript 2], CO:CO[subscript 2], or CO:CO[subscript 2]:H[subscript 2]).
Results
The CO metabolism of the mixed culture was somehow affected by the addition of CO[subscript 2] and/or H[subscript 2], but the pure cultures were more sensitive to changes in gas composition than the mixed culture. CO[subscript 2] inhibited CO oxidation by the Pleomorphomonas-like isolate and decreased the ethanol/acetate ratio by the Acetobacterium-like isolate. H[subscript 2] did not inhibit ethanol or H[subscript 2] production by the Acetobacterium and Pleomorphomonas isolates, respectively, but decreased their CO consumption rates. As part of the mixed culture, these isolates, together with other microorganisms, consumed H[subscript 2] and CO[subscript 2] (along with CO) for all conditions tested and at similar CO consumption rates (2.6 ± 0.6 mmol CO L[superscript −1] day[superscript −1]), while maintaining overall function (acetate production). Providing a continuous supply of CO by membrane diffusion caused the mixed culture to switch from acetate to ethanol production, presumably due to the increased supply of electron donor. In parallel with this change in metabolic function, the structure of the microbial community became dominated by Geosporobacter phylotypes, instead of Acetobacterium and Pleomorphomonas phylotypes.
Conclusions
These results provide evidence for the potential of mixed-culture syngas fermentation, since the CO-enriched mixed culture showed high functional redundancy, was resilient to changes in syngas composition, and was capable of producing acetate or ethanol as main products of CO metabolism.
ContributorsEsquivel Elizondo, Sofia (Author) / Delgado, Anca (Author) / Rittmann, Bruce (Author) / Krajmalnik-Brown, Rosa (Author) / Biodesign Institute (Contributor) / Swette Center for Environmental Biotechnology (Contributor) / Ira A. Fulton School of Engineering (Contributor) / School of Sustainable Engineering and the Built Environment (Contributor)
Created2017-09-16
Description
The ASU School of Dance presents Undergraduate Projects Showing, October 25-26, with works by undergraduate dance students, performed at Margaret Gisolo Dance Studio.
ContributorsPinholster, Jacob (Director, Artistic director) / Koch, Carolyn (Production manager) / Rex, Melissa S. (Technical director, Lighting designer) / Swayze, William (Musician) / Benard, Jacqueline (Costume designer) / Mihaleva, Galina (Costume designer) / Dodt, Alli (Artistic director) / Edwards, Allison (Artistic director, Performer) / Levin, Felicia (Performer) / Hughes, Haylee (Performer) / Groom, Léla (Performer) / Gastelo, Jr., Gabriel (Lighting designer) / Singleton, Kiah (Choreographer, Lighting designer, Costume designer, Performer) / DeSantis, Kimberly (Performer) / Freirich, Gordon (Performer) / Harkey, Noah (Performer) / Nguyen, Dana (Performer) / Bartholomew, Jessica (Choreographer, Musician, Costume designer) / Dorrel, Kayla (Performer) / Johnson, Sarah (Performer) / LeBlanc, Casey (Performer) / Norris, Sarah (Performer) / Rivera, Paola (Performer) / Sammons, Rylee (Performer) / Soto, Jose (Performer) / Wardarski, Jessie (Performer) / Witzke, Nikki (Performer, Choreographer, Costume designer) / Moraco, Steve (Videographer, Videographer) / Jackson, Sydney (Choreographer, Costume designer) / Castronova, Naomi (Performer) / Garcia, Lacee (Performer) / Keefe, Shelby (Performer) / Kerr, Elena (Performer) / Waitz, Jessica (Performer) / Riojas, David (Choreographer, Costume designer) / Calvano, Jourdan (Performer) / Locker, Rain (Performer) / Pullman, Gracie (Performer) / Reis, Ashley (Performer) / Nunn, Jasmine (Choreographer, Costume designer) / Koji, Saito (Musician) / Avery, Vickie (Musician) / Salcido, Alejandro (Lighting designer) / Baker, Ashley (Performer) / Siegfried, Jordyn (Performer) / Yoder, Allyson (Performer) / Gallagher, Grace (Choreographer, Costume designer, Videographer, Performer) / Dix, Geoffrey (Musician) / Stephens, Alexis (Choreographer, Costume designer, Performer) / Keating, Zoe (Musician) / Hernandez, Martha "Patty" (Choreographer, Costume designer, Performer) / Yuen, Priscilla (Performer) / Herberger Institute School of Dance (Musician)
Created2012
Description
The ASU School of Dance presents School of Dance LIVE!, September 7-9, with works by dance faculty, performed at Galvin Playhouse.
ContributorsPinholster, Jacob (Director) / Koch, Carolyn (Artistic director, Production manager, Lighting designer) / Swayze, William (Musician, Performer, Composer) / Jones, Ben (Performer) / Mack, Austen (Performer) / Ortego, Garrett (Performer) / Benard, Jacqueline (Costume designer, Creator) / Burk, Ashley (Collaborator deprecated, use Contributor, Performer) / Arredondo, Julia (Performer) / Groom, Léla (Performer) / Giordano, Erin (Performer) / Bouey, Billie-Joe "J." (Performer) / Bartholomew, Jessica (Performer) / Chapman, Eric (Collaborator deprecated, use Contributor)) / Peterson, Haley (Collaborator deprecated, use Contributor)) / Vissicaro, Pegge (Collaborator deprecated, use Contributor)) / Mitchell, John D. (Designer, Musician) / Standley, Eileen (Designer, Choreographer, Performer) / Kyriakides, Yannis (Composer) / Tomooka, Kayla (Performer) / Waitz, Jessica (Performer) / McNutt, Eden (Costume designer, Performer) / DeWitt, Inertia (Musician, Performer) / Murphey, Claudia (Director, Interviewer) / Mumford, Jessica (Videographer, Editor) / Britt, Melissa (Choreographer, Costume designer, Performer) / Alvarez, Emily (Musician) / Salcido, Alejandro (Lighting designer) / Calleros, Vince (Performer) / Dimmick, Saza (Performer) / Granado, Michaela (Performer) / Kusch, Liz (Performer) / Lopez, Cassidy (Performer) / Kaplan, Rob (Composer, Performer) / Rex, Melissa S. (Choreographer, Lighting designer, Technical director) / Bocchino, Corinne (Performer, Performer) / Mihaleva, Galina (Costume designer, Creator) / Cooper, Carol (Performer) / Crissman, Angel (Performer) / Bouey, J (Performer) / Bouey, Majee (Performer) / Bouey, Najee (Performer) / Matthews, Emily (Performer) / Vago, Haley (Performer) / Witzke, Nikki (Performer) / Goodson, Naomi (Performer) / Levin, Felicia (Performer) / Gonzales, Anthony (Performer) / Hughs, Haylee (Performer) / Ling, Amanda (Performer) / Pourzal, Kristopher K. Q. (Performer) / Munoz, Jessica (Performer) / Peterson, Britta (Performer) / Poto, Ana Maria (Performer) / Rickert, Austin (Performer) / Schupp, Karen (Director, Costume designer, Performer) / McMahon Ward, Frances (Editor) / Khoilian, Jarek (Cinematographer) / Heath, Jason (Musician) / Page, Martin (Composer) / Fairweather, Brian (Composer) / Thornton, Trevor (Composer) / Richardson, Chris (Composer) / Fitzgerald, Mary (Choreographer, Performer) / Ford, Lindsey (Performer) / Garibay, Elissa (Performer) / Barrett, Kristen (Performer) / Herberger Institute School of Dance (Musician)
Created2012
Description
The ASU School of Dance presents Emerging Artists I, February 9-12, with works by guest artists, dance faculty, and students, performed at Dance Studio Theatre, PEBE 132.
ContributorsSedlack, Kate (Choreographer, Lighting designer, Costume designer) / Bormann, Megan (Dancer) / Brack, Ashley (Dancer) / Hauk, Chelsey (Dancer) / Koeppel, Alex (Dancer) / Pesque, Julia (Dancer) / Roberts, Cassie (Dancer) / Roethler, Eva (Dancer) / Spenceley, Jenni (Dancer) / Trujillo, David (Dancer) / Fitzgerald, Mary (Artistic director, Choreographer, Lighting designer, Costume designer) / Ammerman, Mark C. (Technical director, Set designer, Lighting designer) / Benard, Jacqueline (Costume designer) / Mihaleva, Galina (Costume designer) / Swayze, William (Sound designer, Composer) / Archambault, Jared (Stage manager) / King, Natalie (Dancer) / Skrentny, Adrian (Choreographer, Lighting designer, Costume designer, Set designer, Dancer) / Bajromovic, Saban (Musician) / Parsons, Niamh (Musician) / Cortez, Sarah (Dancer) / Galindo, Rolanda (Dancer) / Kenworthy, Julianna (Dancer, Choreographer, Costume designer) / Kriston, Jordan (Dancer) / Wong, Jennifer (Dancer) / Taylor, Michelle (Choreographer) / Hart, Keira (Lighting designer) / Smith, Vanessa (Costume designer, Dancer) / Chesley, Andrea (Choreographer, Lighting designer, Costume designer, Dancer) / Chappman, Richard (Composer, Performer) / Childers, Emily (Dancer) / Cortez, Maggie (Dancer) / Howe, Martha E. (Choreographer) / Blake, Casey (Lighting designer) / Blukis, Audrey (Dancer) / Holcman, Sarah (Choreographer, Lighting designer, Costume designer, Set designer) / Lecuona, Margarita (Musician) / Santaolalla, Gustavo (Musician) / Aste, Cuti (Musician) / Lobos, Jorge (Musician) / Zamora, Maria Esther (Musician) / González, Polito (Musician) / Lindl, Roberto (Musician) / Sternke, Amy (Dancer) / Anderson, Laurie (Musician) / McGloin, Aaron (Lighting designer) / Bingle, Meghan (Dancer) / Jordan, Paul (Dancer) / Kuo, Alexis I-Cheng (Dancer) / Lederman, Christiana (Dancer) / Lerner, Kristin (Dancer) / Parish, Sara (Dancer) / Hatzis, Amy E. (Choreographer, Composer, Costume designer, Lighting designer) / Dumont, Marguerite (Dancer) / Ebling, Brett (Dancer) / Kettner, Lauren (Dancer) / Pannier, Nicci (Dancer) / Kelley, Jean (Costume designer, Dancer) / Monk, Meredith (Composer) / Kriston, Micah (Choreographer, Lighting designer, Costume designer) / Fox, Stacey (Cinematographer) / Herberger Institute School of Dance (Musician)
Created2006
Description
The ASU School of Dance presents Rhythms of Life, November 3-5, with works by guest artists performed at Dance Studio Theatre, PEBE 132.
ContributorsVissicaro, Pegge (Artistic director) / Mooney, Elina (Artistic director) / Koch, Carolyn (Production manager) / Ammerman, Mark C. (Technical director, Lighting designer, Set designer) / Mihaleva, Galina (Costume designer) / Benard, Jacqueline (Costume designer) / Swayze, William (Sound designer) / Valentin-Martinez, Joel (Artistic director, Choreographer) / Amegago, Modesto Mawulolo (Performer) / Chipaumire, Nora (Performer, Choreographer) / Butty, Tamba (Director, Performer) / Bodou, Princess (Performer) / Byne, Princess (Performer) / Dogbeh, Decontee (Performer) / Fredericks, Roseline (Performer) / Gaie, Aaron (Performer) / Morris, Janet (Performer) / Morris, Musa (Performer) / Morris, Musu (Performer) / Morris, Peace (Performer) / Morris, Viddy (Performer) / Nyankum, William (Performer) / Toe, Eliza (Performer) / Wallace, Chuco Glen (Performer) / Caldee, Víctor (Director, Performer) / Cactellanos, Yaisa Pérez (Performer) / Rodíguez, Edwin J (Performer) / Alvarez, Idalberto (Performer) / Becerra, Jhon (Performer) / Domínguez, Miguel (Performer) / Wilson, Sule Greg C. (Choreographer, Performer) / Downs, Lila (Musician) / Milam, Nichole (Dancer) / Verrelli, Emily (Dancer) / Yanez, Avery (Dancer) / Silvestre, Rosangela (Choreographer) / Lunn, Dani (Dancer, Dancer) / Badaró, Luiz (Musician) / Edwards, Margit (Dancer) / Brundage, Kirk (Musician) / Pallais, Mario (Musician) / Moraes, Katia (Vocalist deprecated, use Singer)) / dos Santos, Maria Lourdes Silvestre (Costume designer) / Williams, Shelby (Dancer) / Jones, Erica (Dancer) / Abdullah, Laila (Dancer) / Mullen, Kimberly (Dancer) / Yulin, Linda (Dancer) / Oliveira, Valter (Costume designer)
Created2006
Description
The ASU School of Dance presents Celebrating the Nagrin Legend, September 16-18, with works by dance faculty and visiting artists, performed at the Galvin Playhouse Theatre.
ContributorsNagrin, Daniel (Choreographer) / O'Hara, Shane (Performer) / Mooney, Elina (Choreographer, Dancer, Artistic director) / Cage, John (Musician) / Bolcom, William (Musician) / Ammerman, Mark C. (Set designer, Technical director) / Mihaleva, Galina (Costume designer, Set designer) / Benard, Jacqueline (Costume designer, Set designer) / Waters, Renee (Dancer) / Keuter, Cliff (Choreographer) / Chopin, Frederic (Musician) / Ammerman, Candace (Dancer) / Robins, Amber (Dancer) / Sobotnik, Morton (Musician) / Morita, Theodora (Musician) / Pitot, Genevieve (Musician) / Juste, Roxane D'Orleans (Dancer) / Kenton, Stan (Musician) / Rugolo, Pete (Musician) / Swayze, William (Sound designer)
Created2005