 So, we'll just do a quick introduction and kind of get those to start. My name is Simone Corsi and I work on the boards in Seattle. I'm on the board's TV and digital media manager there. Hi, my name is Adam Neal Kay. I am with Hellworld. Hi, I'm Ruth Wichley-Luker. I run the new arts department, Morgan. My name is Kofi Wadas and I'm the old artistic director of the Apollinaire software in Mexico. I'm Adam Sarge. I'm an alt-chimist and video artist based in Los Angeles. We're going to get started kind of along this line and just kind of go down to some information for you and we'll then have Q&A kind of period at the end. So, on the board's TV I'm going to play a little video for you that kind of gives you a sense of what it is and we'll talk a little bit more about it. On the board's TV creates a new way to experience contemporary performance, capturing the intensity and spectacle of internationally acclaimed artists who bring their work to the digital arena. Prepare to be pulled into the theater experience through a gorgeous HD video, multiple camera angles, and clarity of sound. In theaters across the U.S., on the board's TV showcases full-length, affordable performance films that you missed, that you loved, that you could share with family and friends, accessible to audiences around the globe through tablets, laptops, computers, or home TV systems. On the board's TV, making contemporary performance affordable and accessible to everyone. So, what is on the board's TV? Kind of what you just saw. We launched on the board's TV in 2010, and it is an on-demand website for contemporary performing arts films that we have filmed in Seattle, out on the boards in Portland. I was part of the Portland Institute of Contemporary Arts, time-based arts festival in New York with PS122 and in Austin with the Fusebox Festival. So, we have 51 dance and theater films, multi-disciplinary films, by 47 artists from around the globe, and then we have audiences in all 50 states, 52 countries, and right now, 99 academic institutions, which is one of our biggest growing audiences. So, some of the initial goals, I'll just kind of read through them, break down the barriers of geography, time, and cost for its participation. We have $5 to rent a performance film for 48 hours, so similar to going to a video store and just grabbing a video for a short period of time, up to a $50 one-year streaming subscription, where you have access to the entire catalog. Create an opportunity for audiences to develop relationships with the performing artists and become art fans with performances that they might not see otherwise. Establish a new standard for performance documentation, provide a new revenue stream for artists. We split 50-50 of each sale with the artist for each purchase of their performance. We want to create a new model for the field in terms of distribution, filming, and documentation. Provide content for academic institutions to teach current contemporary performance practices. That sixth one was a newer goal that once we launched, we realized that quickly realized the value of this catalog to academic institutions where current contemporary performance art was not available to them otherwise. So, kind of how does it work? I'll kind of work around it, but if I have questions, feel free to stop me. So, we work with a professional film crew, and we either film in Seattle or we fly with a director and a sound engineer to our various locations and work with a local crew there. And work with the artists to set up a filming plan, figure out the best way their performance should be captured. It's better if we can see the film before or we see the opening night and we'll film maybe the next night of the performance. We do a couple rounds of edits with the artists. The artist is the primary editor for the film, and it's important to us that it represents as close to as possible the live representation of how it happened. And then we distribute it online via our website. This is an example of one of our performance pages. So, you can stream, download there, and then kind of below you'll see there's an about section where we try to help contextualize what the performance was like. We have, you know, just like reviews and that sort of thing. And it is accessible via mobile devices as well. Just to give you a quick list of some of the artists who have potential names on there in the room as well right now. We're here for you. So, yeah, like I said, we have artists from around the globe, which is pretty great, as well as a big chunk of these are from the Pacific Northwest Seattle-based artists. So, kind of why is it important? So, like I said, access to artists and performances, some of which will never be performed again. There's pieces that just won't tour anymore that we have been able to film. It's an opportunity for artists to tour more widely and be seen internationally. We've had some artists who presenters have seen the pieces on on the board's TV and then were able to get in contact with the artist. And because of the quality of the work sample, essentially, they wanted to then bring that performance to the venue. Academic value, I spoke a little bit about this already, but we do have 99 educational institutions in the UK, Europe, Canada, and Australia. And I'll talk a little bit more about this in a minute, but what's pretty awesome is that they've been starting to pull in some of our material into just like their classrooms, and on a daily basis we'll be able to see what they're watching, how they're incorporating the films into their work, just teaching about current contemporary practices. This is the new revenue stream for artists, like I said. The cost can be as low as $5. Sorry, keep touching the screens. We have audiences in all 50 states. We've done some research and most of these are avid arts fans, intrigued browsers, students and arts professionals is what our research tells us. So most people who are coming to the website are interested in arts in general. And we also do screenings, which is actually something that we'll be talking about more in a minute and we'll be doing as part of this conference tomorrow. So here's a little bit more about how to get involved with On The Board's TV as an educational institution. There's a streaming subscription where it's a one-year sort of academic subscription. And what's great about this is that basically within campus, you know, we've set it up technology-wise so that within campus internet range is your automatically subscribed. So any student can just hop on and just go to OnTheBoards.tv within campus internet and have instant access to the films as well as at home you just log in through your library system so it becomes sort of like an e-journal like JSTOR or something like that that is an educational resource. There's a $50 academic download of a single film for institutions who are able to purchase the whole $500 subscription. And one of our latest projects, this one of my favorite right now is we're working to further contextualize our performance films. We're working with Claudio Larroco and Michelle Ellsworth, both dance scholars and writers and artists as well. And so we're starting with a handful of performance films that we've already finished. And we're working to build out contextual materials such as artist lineages behind the scenes, maybe a director's cut where the artist talks about the process. Just different things that might be helpful teaching about these artists. So here's some examples of current classroom use. I won't read them all, but they've been used in performance review and critique classes, you know, dance and theater history, just really teaching current trends in performance art, online courses. We've had some dance 101 online courses incorporate our films into their classes, faculty uses, just, you know, faculty who are stuck in a rural area may not be able to go out and see these performances live. So a quick list of our universities right now. And maybe I'll pass it to Ruth. We'll talk a little bit more about screenings and education beyond the class. Hi. So I'm Ruth and I live in Portland, Oregon. I run a small nonprofit presenting and producing organization that focuses on experimental aesthetics, meeting, community impact in February theater for working with U.S. and international artists. And I was, when Blue Marks was just starting out, this was us, on the boards engaged Blue Marks too as a partner in producing facilitating screenings in small communities in our region, so Pacific Northwest. And that was in 2013 that we started it and now we're in round two. So I'm going to talk a little bit about that first round and then also kind of what lessons we learned and what we're doing at the moment. So we, for the 2013 round one, we basically worked only exclusively with Amadio, which is the created by most people. And tomorrow morning, those who are attending the conference here will see the film. It's a beautiful theater piece about immigration issues writ large, but really about the kind of tragedy of the dangerous crossings that people make coming from Central America and Mexico venturing northward through the desert. So there's a lot about families left behind about the effect of dehydration on the body. And there's many different layers that it operates at a sort of specific and also metaphorical levels, some visual symbolism movement. There's lots and lots in there, it's pretty cool. So this piece is uniquely able to, is uniquely relevant and also able to speak to a really large range of publics. And the Tetri Nene Someturde has toured it around the world to festivals and theaters, but through On The Words TV it was able to reach much smaller communities that had art centers that wouldn't necessarily have brought the touring show through, but yet had audiences for whom it was very relevant. And that's kind of the sweet spot that we found with the Community Screenings Project was that particularly in the Pacific Northwest there are many smaller communities that have kind of a rift between or a total disconnect between these kind of Anglo-Saxon residents and the Latino community. And then perhaps they have a large agricultural, agricultural at the center as a major industry in these small towns, but like absolutely no connection. And we also found that many, in many of these towns an art center would be only serving the Anglo-Saxon community and wishing that they could have more contact, more meaningful contact with the Latino community but not knowing how to do it. So we did a number of these screenings and we partnered with a local art center and kind of helped part of what I did instead of some on the ground community outreach work to basically help them to use this event as a way of kind of bridging the divide. And for that reason these screenings were very impactful. I want to share a little bit about the... This is the trailer of the... What do you want? Are you a piece of American spy life, you know? So this is just a... We're going to show some images from some of the different screenings we did. Actually we go back one. So this one is what we did actually at the University of Oregon in Eugene and you can see Jorge Skyping in who's down here. That was the first one. So I'm going to talk a little bit about this one. So this is just as a kind of example of the places that we went. So Yakima Valley, Washington is where Monique is from and this little town is very much involved in the apple industry. So there's many apple orchards, apple picking, apple packing and it's kind of one of the epicenters of... Well that region is a national center for apples. And so one of these little towns in the valley, Titan, basically has this very interesting culture where on the one hand it's predominantly Latino in terms of who lives there, language is spoken in the town center, etc. But there's also kind of this art world aspect where there's an art book maker from Seattle who bought a lot of property in the town and started to set up kind of high end artisan workshops. And so basically they have this art world, it's kind of like Marfa, Texas. So there's a kind of art world presence and then there's also... So our screening actually was very... a lovely kind of intersection of those two worlds where the screening place in a building that had been bought by this... as part of this kind of art complex. It was an old apple warehouse and they set up a taco truck outside and had some outro band perform afterwards, which was amazing. So it was kind of a lovely integration of those two worlds which in this little tiny town sometimes you're a little distant, yeah. I think just to mention also one of the things we tried to do with these screenings, particularly with Amarillo, was to do a bilingual post screening conversation that was led and facilitated and moderated. And that was really important to us because the idea was to also not just attract the white people in that particular area. Yeah, so we had a 90... I have the statistics for 90 attended. It was about 60 to 70% Spanish speaking. And then, yeah. And then the speakers we had were scholars and community members. So then the next one I want to mention is in another small town that's also... that's also an agricultural center. So this is in Hood River, Oregon. They have cherries and pears primarily. And so this was an art center called Columbia Center for the Arts hosted us. And anecdotally, they were founded in a building which we learned later served as a holding center for the teen Japanese-Americans during World War II. But anyway, this art center also had this feeling of zero connection to the Latino community, which is huge in that region. Like about half. No, no. So it's about a third... So it's about a third of that community of Latino heritage, whether it's Mexican or... Anyway, this art center, which is located right in this sort of touristic downtown, had zero connection. And so for them, this event was important. And about 63 attended and vast majority were like, you know, who would never come to the... And then this particular conversation we had with community health promoters who lived in the town and would tend to the needs of many people, including the micro-families that come to pick fruit seasonally. And we learned that there were about 10,000 families that come into the town every year with a two-month harvest season. This organization helps provide services and help promotion there. Anyway, their comments were very interesting in terms of just educating the other people in the room about what kind of work they do, whether they're realities or challenges that there can be faces, et cetera. And so that made the event have a community resonance that was above and beyond the piece. But certainly the piece, the intention of the art work was to open up those spaces for curiosity and wanting to learn a connection. And then one last example from 2013 is a town called Potomac Falls, Oregon. This is a town that's 11% Latino. And this is a theater that doesn't also have very little connection with the Latino community. And the executive director kind of saw potential again for this event to catalyze, to bridge divides, and he was very excited about it. This was an interesting experience because the community was actually quite conservative, so of all the different towns, it was probably the most conservative. And so that resulted, and also the Latino community would have the least level of organization and self and advocacy, I think. So it was very hard to find community leaders, and they were often working within Anglo-Saxon Run, social service organizations, so there wasn't very much self determination going on. And there was a lower turnout for the event, and then there also was some Fox News style polemics that emerged during the conversation. So that was an interesting window for us into kind of a more hostile environment. And even though the artwork did speak to many people, it also kind of gave us a kind of picture of what people were up against, people were invisible. So just a couple of conclusions from that first phase was that it was amazing to see how this particular piece, which we'll see tomorrow, spoke to a very non-traditional audience, and that has to do with the piece itself and the artist, the amazing artist, who created it. So it's that mix of, you know, the approach to the topic and then the topic is where it isn't. And also it was magical to see how on the board's TVs making this film possible allowed these much larger communities to see the film, the work, and they never would have seen it in this, absolutely never would have. And then there was also this, the function of the film with the community screening, it's kind of like the community screenings project, maybe you could say it's kind of like intentional delivery of the service, right? Intentional, so it was kind of like through on the board's community screenings project we were able to find the ideal audience or the new audience, the right audience for a work that has the potential to speak to a larger audience than just its traditional arts contemporary art. Yeah, on the rest of your house to kind of seek out those audiences and all of this. So then we have this round two and some of the questions that were brought up for round two were what if we return to the same communities with a different performance film, is that possible? And what if we expand in the geographic imprint of the community screenings project to include more regions of the US? So we've now completed two of those five screenings and we're planning and then tomorrow is another one and then we've got some more in Austin, Texas. So the two that are interesting to know for the Pacific Northwest is we did go back to Planet Falls this more conservative community working with this executive director and saying well what other films in the archive are interesting to you and this of course would have another service, a different kind of audience and we found that the strength of the on the board's archive in more general terms, not just about this particular piece was the relationships that on the board's has with local artists and civic artists. And so we found that the value that on the board was able to add with this kind of potential screening was that on the board's money brought the graph for two Planet Falls in person and that she would participate in on this show. Yeah and we did a master class with about 50 dancers from the area ranging from age 11 to mid 50's which is actually pretty great and I think that the kind of the art piece that was centered around was the film but actually the most impact that Zoey's go field had from this event was actually that master class and the idea of kind of going into this community it definitely served a different purpose than the previous screening but for her it was very impactful for her to go into this community and really being able to talk with an access people that she would never otherwise be able to get to talk to and be inspired by them as artists as well as like see their appreciation for her work where she works in a entirely different field. Yeah so the value added was bringing the artist into the room and so and the same thing as what we did in going back to Portland I had learned a lesson that in a smaller community a screening can be a big deal whereas in an urban setting it maybe doesn't get headlines or whatever as it did on the phone so we went to a smaller town and also we're able to bring working in Alicia to the event itself and so that made for this community it made it quite a big deal two days ago and that was two days ago yeah and so as we continue I'm just noticing that as we try to kind of expand this idea nationally we rely also on relationships and kind of the value added having the artist participate brings to it and so yeah so I just want to ask a perfectly good question so um perfectly do you want to talk a little bit about we talked we said about that on the worst TV this film can bring to audiences can you talk about how you you've done that with my group okay do you think it's possible to translate because I think I I am more smart in Spanish and well, since we were a couple of days in Portland and we were screening in Cornelius so they were in Portland for a couple of days this week and we were part of the screening and we were talking a little bit about this this event well we thought a little about the origin of the work of Amarillo when they were having many conversations around the screening they started thinking about what was the work of making Amarillo because when we made Amarillo we thought it was important to maximize that many migrants were dying on the way to the desert on the way to the desert and that's because there had been a a wall built a high technology wall between Mexico and Mexico and that's because there had been a a wall built a high technology wall between Mexico and Mexico so Amarillo had a political intentionality to it that was related to this so we thought a lot about who is it for so until Amarillo made this beautiful film in Seattle we tried to go places with national international but it was very expensive to be able to take Amarillo to the communities so for them it was I mean it was touring a lot to festivals and theaters nationally and internationally it was also very expensive to bring it to the community so this project allowed us to be able to be or maybe another important point that we wanted to be in the conversations or in the classes of certain universities that are interested in it so this on the way to be allowed the peace to reach communities that they never would have thought they would be able to reach then and also to be discussed in the classes but I want to create a paradox that bring up the paradox so two years ago they were able to receive funds to bring Amarillo to migrant points along the migrant route in Mexico so they have a project called Amarillo in the migrant route so they have a project called Amarillo in the migrant route so they have a big van in Mexico City they pack everything including the tools they need to actually build the theater pipes, wires everything and we travel to the border with Guatemala so they travel down to the south to the border so that was their first stop and we built a theater to be able to present Amarillo and at the same time Amarillo has been the pretext to be able to have a relationship of social intervention between the community and the migrant routes so Amarillo becomes the pretext for a series of interventions that's kind of so basically actions to kind of social justice social justice trying to connect the community with albergues shelter shelter my good shelter so our technology is from the American with wires wires and in the end they use the Mexican techniques to wire to some ties to bring the play an artisanal technology while in this experiment I think is the pretext so he says that he feels the same way about these screenings that the film is a pretext for creating those relationships so when we were in Cornelius the film served as a pretext for the community to speak and in the conversation we had after this was just as rich as the film they talked for a little bit and then the people in the audience spoke a lot about their desires their wishes to go back to Mexico or not so so the same thing that's happening on the board of Guatemala in the more handmade way is happening 6,000 kilometers through the University thank you hi yes I have you hi my name is Adamumi I'm from the Hall of the Round they're based in Boston at University College essentially Hall of the Round is a knowledge commons buy and for the theater community so what does Hall of the Round you might ask well I have a video you might be wondering what is a Hall of the Round what have I got myself into is it like a bunch of people standing in a circle pretending to be wolves because frankly I want nothing to do with that are you ready for this I am ready Hall of the Round is a knowledge commons buy and for the theater community yeah I don't get it well let's bring it down the theater community directors, actors, stage managers, players, designers so being an artist can be isolating at times where do you share your ideas and frustrations and find a connection with other creators is that where the commons comes in is it like the Boston commons or like common sense it's shared knowledge for everyone and you mean everyone like no exclusive access you don't require a sacrifice to the Hall of the Round gods uh no because when it comes to art everyone's story matters even my coworker Polly who steals my yogurt every week yeah even Polly is part of the community huh and Hall of the Round is built on the community absolutely it's driven by the community these are generated content so you watching are part of the community you are Hall of the Round congratulations well now all that's left to do is for you to tell us your story check out our participate page or put yourself on the map write for the journal join an event on Hall of the Round TV or join us every Thursday for a live theater twitter chat using hashtag Hall of the Round our team is eagerly waiting to hear from you look at those faces so eager if you want to get some more details on Hall of the Round or you already forgot everything we just said head to Hall of the Round.com slash participate and some more good news we use social media run Facebook we use store by you can find us on Twitter at Hall of the Round and Instagram at Hall of the Round under four comments so make sure you check us out Hall of the Round sorry I think the only way is to go all the way back there oh okay just turn over all that we've talked to them so so essentially what Hall of the Round is is it's an online community produced by 300 makers we're committed to advancing theater's cultural impact and so for us I guess another example of like a comment is if you think of like the ocean that's an environmental comment it's something that we don't own but every individually we have access to it another example of a knowledge comment is Wikipedia it's user generated people edit articles about all different types of subjects and it's green open so the name of Hall of the Round actually comes from an actual term which is what we call Hall of the Round it's an amplified feedback loop and so for us it's this idea we see Hall of the Round as a place to share feedback learning expertise and vision so these are this is a short list of some of the platforms that we have all of our platforms are open and free anyone can participate something to note is that a lot of our content the majority of our content is peer production which in another way term is open sourcing in which the community finds itself the community itself co-creates our platforms so we have the journal Hall of the Round when we play map which we revamp into the world theater map convenings and touristic sections so one of the ways that anyone can participate is that they can write for the journal publish one of the three articles per day anyone can pitch to us we also pay all of our contributors and as a team we edit all of the all of the journal so an interesting thing that I think about when I think of our journal is that we have authors who range from students, professors, artists and practitioners in the field and so by having this open platform we're really leveling the playing field in terms especially when you think of peer-reviewed journals there's always like this process especially with an academia of like what is we recommend in our journal and like who's voice is mentioned is included and so we really like to open up the space of like who gets to share their experience their knowledge so it's out there for everyone to consume can you crack? I think another important thing is that we archive all of our articles and so you can do a simple search based on a topic that you're interested in and we also tag all of our articles in which so if you're interested in a political theater or a queer theater or an immersive theater you'd be able to click on a tag to see what type of content that we've already published concerning that topic we also have How Long TV which is free as well anyone can livestream and so we livestream panels from conferences and also performances and I'll actually be livestreaming segments so if you see me, that's what I'm doing an interesting thing about How Long TV is that because it's free and it's online we're really able to have a global reach and so an interesting thing there have been quite a few events that happened that we livestreamed a while ago we livestreamed the Belarus free theaters festival back in November they have a very interesting story so it's a lot but I definitely recommend looking that up as well as I mentioned before we have a current map of the new play map we're actually revamping it so what the new play map currently does it focuses on the journey of new plays and that focus primarily has been in the states and so we're revamping it to the world theater map in which it's so it's more encompassing of what is actually going on in theater around the world so it has two parts it is a directory of who's who in theater in terms of directors playwrights, designers and also producers of that sort and it's also going to be a real time map of theater that's happening across the globe and this project is currently in development and we're launching it sometime in December next we another platform that we have are convenings which are in person gatherings dedicated to theater makers and practitioners who are interested in passing current issues within the field and proposing ideas of how they can remedy that situation those issues one convening there was a convening three years ago that was centered around Latino theater and a group of seven Latino theater artists got together and they decided that they wanted to meet beyond they wanted to have a bigger reach than just this single convening and so they formed the Latino theater commons which kind of is like almost it kind of with how long it's kind of grown almost like say hand in hand in terms of maturation and so this is a photo from one of the Latino theater commons is moderating a total discussion so anyone can moderate we basically just put out a call on twitter asking if anyone has any ideas if they want to suggest a topic and or moderate and we had the twitter discussions are on thursdays at 2 p.m. eastern 1 p.m. central time and 11 a.m. specific time and use the hashtag just over you there's several different ways to participate I would say the easiest way is to follow us and share and like us on social media as we mentioned we're on facebook storefi twitter also on instagram also you can write for the journal or read articles from the journal that interests you in particular you can also live stream for how long tv and something I forgot to mention is you can also watch the tv events live or on video on demand we actually archive those videos as well so probably within this coming week there is a tv announcement for this symposium so go to that announcement and you'll see all of the things that I have recorded or live streams about the entire conference this weekend and lastly you can moderate the twitter discussion that missed snapshot is how around it's fascinating what I hear but both of them are very important because even if you archive what you do with it you've got to be touched and educated by it so I'm basically archiving to me it started naturally 27 years ago when I met the young artist in Los Angeles I had a small video company and when I saw his passion for arts and theater and I saw his new ways of approaching theater I said this has got to be film that lucky me that he approved not every artist wants to be filmed not every actor approves so I was following him everywhere and what happened I worked with him for 10 years and then after he died he left a huge legacy and then we decided to share that with the world and so what if we would not film an archive his life and work of his life to inspire other people so to make him naturally I started going and then I was hired by LA Opera to film everything they do and there was other people and as you know archiving has two sides, I mean two steps one you have to film but then you have to digitize it or do something with it for the future or show it somewhere so it was very confusing today we didn't know what do we do with another video what do we do with a VHS I thought that was okay so what do we do and then DVD came along we were so happy it was horrible we could never see an SDVD until we blew it but still that's not a good archiving thing so we researched and finally came we know either MPEG or most of JPEG is the best for the future because we don't know what's happening tomorrow so anyway that's settled for now and hopefully we're going to stay that way so everything we film we can transfer, file it and keep it to different hard drives so it's something it's very sensitive it can be gone in a second in a second it's gone I tell everybody here is the main make a copy of this hard drive and keep it in a different place if you care about your thing I don't know if you guys don't probably have no way of storing what you film so those are the things what I was interested in are research archiving a long time ago and they say that the French National Archives is the biggest archive in the world because they mean archiving in Napoleon and so on but I think the biggest archive in the world which we have no access to is the Vatican they have everything in the past and I don't know what they have for the new stuff but archiving is important because how do we show the future that what happened today and I'm so proud to be part of this archiving and just a couple of things about what happened 16 years ago Vanessa Redliffe hired me to follow her in Kosovo where she did a huge thing, a big festival so I said yeah, it's great and then suddenly in the middle of everything she gave up the project she said well you know filming is not important anymore so do what you want to do but I am not interested in the project anymore and I said but that's crazy this is so important everything is important and I said that's fine she gave me everything that was fine then I saw the importance of this event that she did and on my own term my own money, my own time I edited a one hour documentary and I tried to show it to her she didn't want to see it nobody was interested I said okay forget it 16 years ago somebody asked me do you still have any I said yes I have and I haven't seen it for 16 years and then just last week they showed you the big festival it was that innovation because it was a historical piece it wasn't what happened yesterday I said oh I saw my dad I wasn't even born and my dad was there stuff like that but that's emotional but they're also historical and educational and this is so important what you do because how do you reach the migrants it's like there's no way unless you do what you do how do you reach the world and this is really really important work and I applaud everyone and you know if you have any questions I'm pretty good at it I'm reading everything what you need to archive your footage into the best possible future use because if you if you film it and leave it there that's going to be outdated and proper fire in 10 years nobody can read it I don't know but that's the thing so I applaud everyone on the panel this is a great job I love what you guys do and you know wonderful and Adam has a film across the way in like 45 minutes this is what al-qaimin is all about if I wouldn't be inspired I just loved what he did and he gave me permission but if I wouldn't done that this film would not have and I hope if you see the film this artist who died 25 years ago young he was only 22 he left behind a great body of work that any artist can inspire so I invite you do you guys have any questions we have a couple more minutes I'm going to open it up I do want to say the idea that you didn't know he was going to die no no I didn't you start documenting not knowing the future you guys don't know if something is going to be taken out of circulation or when there's a certain amount of just to say this needs to be preserved somehow but who knows what's going to happen and now there's a whole generation of artists that were marked by Rosado and they don't have any way to explain their artistic heritage except for yours though and just to thank you and this is one thing we saw it in a portugal which we've got in the world and the young lady she was 24 and she said I got treatment from the producers and please I need to see more of his work as I saw this film I don't know who he was but I was very proud I want to write a paper on this director I was like this is what I my work have sent so I sent her and then gave me an idea I said my god we got to show his work and by the way we documented everything in it and we put 6 on the internet right now on his own website it's on Vimeo we didn't know how to go mine we put it on Vimeo and we link them to Vimeo so somebody goes on his website wants to see a play he can see the full length play it's done with the deadly camera available it wasn't digital, it wasn't high definition but it's pretty good quality so that thing that this young woman asked me to see more of Rosado's work it was the biggest of Rosado's but also I think for a net for an ensemble theater focus video documentation is the text only tells a small portion of the story so even though with literary theater you publish script and you have it preserved and then other people will interpret it with ensemble theater or director driven through creations the video is the primary the primary source and to be fair video cannot be based on experience I am a theater person, I love theater I love to be there but video gives you a chance to research to educate, to see to have it as a whole thing I don't think anybody would watch as much for pleasure than for wow I want to know more about this I still can't be pleasure it's one dimensional for God's sake I want big dimensions I have a question so I guess thinking about taking a chance on a piece of art that you're going to preserve how do you think about connecting those two communities that you're going to which pieces are the ones that you think will resonate with particular communities do you mean for the community screenings? yeah, so I know that this piece in particular was a little profound with connecting to migrant communities if you were to select another piece how do you go about figuring out which one you think will be the most effective in a different area well I think that it's a great question because not all work has a lot of what's on the board's archive was selected for its contemporary art in a formal quality not necessarily for its content and so what we found is that when you matchmaking with a non-traditional community you wouldn't necessarily otherwise be interested in kind of that formal exploration then the content is really key how does this content speak to a particular person and then in something like a video it's beautifully what winds up happening is that because the content is rendered in a certain way non-linear metaphorical symbolic multi-sensory it actually has this interesting effect on non-traditional audiences who are not used to this kind of work where it opens up a space for conversation so it's kind of like because it is contemporary work it is able to have an effect that you wouldn't predict anyway so that's unique about this piece we had a lot of conversations about what next what else is in the archive particularly on the board's archive and I think that if the community screenings project were on the board's series like number one program they might seek out work to film because of its ability to speak to communities where it is at the moment we are continuing to evaluate what's in the archive and see what leaps at us is something that might have power to reach beyond an art audience I would just say also to that Ruth is specifically talking about the more pieces that even we have or that anyone has the idea is that you're documenting everything so that you then have a community that is interested in something and then you can connect with that community and what you have they can choose you have a catalog of films available so when we went back to Klamath Falls they chose a different type of way to connect with a different part of their community which is part of what we want to do we want to be the catalog, the resource that can provide the content and the community can choose the conversation that they want to engage with and so there's contemporary performance films that by nature have a social political dynamic within the performance itself and so the pieces like Amarillo can speak more directly to that and then there are pieces that are more artistically focused and more traditional dance or something like that and that might be actually what the organization and community is interested in engaging in a dialogue about a different level of artistic quality that they haven't been able to bring before so I think kind of like both sides of that it's just it's hard to say like you have to look for specific things within a piece of work in order to say it's worth filming because you kind of want to have everything available to you when someone comes and asks do you have that piece that you filmed 16 years ago and you're like that's a lot of work that's given it to your objective is about documenting contemporary performance so it's about that it's not the one format but about a certain realm of artistic product and within that those disciplines you'll find a large range between something that's purely abstract to mean it's more content and timely so there's the range but I think just like anything you might present to the public you always want to find what is the kind of public for whom this is super relevant or something that really resonates and for something that's more like traditional dance it's like okay there are lots of dance students who are learning this stuff and for them it's going to be electrifying and so that's what when you went back to Thomas Falls that's what the ability to add value by bringing in an artist in live in person was magical for these particular students we sort of it really is a question of priorities and sort of like what's the question you start out with this question was if you go back to this art center and say what among our gallery are you interested and for them it was like oh wow a Pacific Northwest artist could be in the room amazing and so that was the next phase I just want to add something about archiving and the reality of it because it's very strange in the United States which is not the same in Europe I don't know how it's in Mexico but in Europe it's different just two days ago I was supposed to film an amazingly important play and game by Beckett played by the two last remaining Beckett friends Elementale and Barry so these two guys are playing right now in Los Angeles and they both wanted me to film in my way and I couldn't they denied me and they used one camera which is good which is very good to have that a one camera static and I asked why because we don't want to have good sound we don't want to have good audio we don't want it to be good so this doesn't get out in the public because it's illegal because the union and so on I knew the law that we can to say well if you archive let my friend archive the way he knows how to move the camera anyway I lost it it doesn't matter it's not about that it's about this important end game that's playing in the lights closing Sunday and it's going to be archived with a one little camera with that sound so that was a very upset but this is legality and I have to respect that but when you go to Europe no and then he can if the actors approve if the house will come with a camera to film and do it's a little destructive is Mexico has also some kind of I think there are not much restrictions I thought so we have no knowledge but in 99 99 seats I think it's easy they have to see and make some fault what is changing now also I didn't follow the big deal but it's I don't know it's sad because it needs to be archived and the last thing I tell you eight years ago Julie Kamer did this her first album I think was Brando or something it's a big album and so I was at LA Opera the videographer and they let me only ten minutes they said you only film ten minutes I said can I film two minutes Julie needs more than ten minutes so somehow they agree okay okay you can film here and here and here so I broke the law but not because of my own profit it wasn't for me I said there's no way Julie Kamer cannot use a whole performance for her own and I did I filmed the whole thing and I had a little red button and said yeah I gave it to the PRB and the bodyboarder said oh my god I hope nobody is going to find out just don't worry about it two weeks later Julie Kamer called oh do you have to vote before once and they said no the theater said no but you know call Adam maybe he does because they didn't want to have any and she called me I gave her the whole thing she thanked me that oh my god I have to look every frame because it's her director you know I don't know what to make of it there's kind of a a tension between a more traditional American model where the key preservation is in the form of literary publication and then all the rest is just interpretation and actors unions are there to protect copying of different forms of interpretation so that's kind of when you're talking about collective creation or director led visions of a piece the piece what the piece is is not a series of interpretation it is the whole scenic thing and so the only video we really did so the American model is very stuck in the kind of more traditional model well that probably clues us because you know it would be nice to have it available and for a fee I mean it's so nice of you to charge five dollars but share the fee with you know that's going on all the time I mean Louis C.K. the comedian did you see what he did? he said forget producers forget I make my own and I pay five dollars and eight dollars because I love the way he does things and I'm one of the probably millions who pay for his art and he splits with the artist interesting again and maybe that changes the idea like the heterodox in the file of the document maybe this could change the idea of the heterodox standard statistical idea of the document but when you study in Cornelius the people who were in Palomitas Rapida they were going to see a movie when we were in this little town a friend of theirs for the screening people were eating popcorn and because they were ready for a movie tank yeah and we told them that this was an archived performance they were ready to see a story then he thinks they have great time so he thinks maybe there could be a more flexible form for certain audiences in terms of editing actually this is for you for people like Palomitas to see a movie he's saying that actually when we left the theater if we had edited this or that note of it it could succeed more as a film in itself for people to be eating popcorn while they watch it rather than just an archive so it does change the life of the disease they don't think they don't think the idea of an archive they think in terms of freedom part of our goal right now and at the beginning was to fight, we launched this we started the project in 2008 oh you can't replace live performance with film which is true and we acknowledge that but also one of our goals was like this is a representation of the live performance and so we try to make it as realistic as possible but there is also a lot of footage that we have stored away just in archives but you could go back and make more of a film out of it instead of it being sort of documentary production which is a really interesting idea actually next screen depends what your life is now are we done I only want to say that the advantage of filming the theater I think is that you can go further, that you can do an approach like closer approach to the thing that if you are seeing the theater you have this live experience but you have the distance of the performer but is maybe in a frontal way but with film you can be closer to the performer, closer to the backstage maybe so that can be another interesting point of view from the stage with the film I think is that view there is another film which is a another piece and it was filmed closer to the archive you can reframe it in a way without an audience I just want to say it's very interesting that you both brought up this idea it was a conference on a theater and film it's so interesting can you have a picture together we have some thank you nice time with you very lovely, thank you very much I think we are all here for the rest of the conference yes