New York State Council On The Arts

Geologic City

New Yorkers co-exist intimately with the traces of powerful geo forces. Apartments made of red sandstone from the Triassic (245-208 million years ago) both shelter us and populate our visual space. Rockefeller Center elevates and displays limestone from the Mississippian Period. The iron of the Manhattan Bridge stands as a message from Pre-Cambrian times.

Geologic City: a field guide to the GeoArchitecture of New York will visualize the reality that modern life and geologic time are deeply intertwined. With the field guide in hand, residents and visitors will be able to interact with familiar, even iconic New York architecture and infrastructure in an unexpected way: by sensing for themselves the forces of deep time that give form and materiality to the built environment of the City.

During 2010-11, we will research geologic materials of New York’s architecture and infrastructure and design the printed field guide and a supporting website. The project will illustrate several themes: geologic time is neither inert nor inaccessible; geologic time has composed—and continues to compose—the materials that make New York City; through design, humans enculturate those materials as the city’s architecture and infrastructure.

The City’s architecture and infrastructure depends upon extractions of geologic materials that took millennia to form. Yet, we have virtually no cultural awareness of this reality. Some people argue that this is because humans are cognitively incapable of imagining deep time. We disagree. With this field guide to New York’s geoarchitecture, we offer a speculative tool that humans can use to project their imaginations into deep time as they move through the City. We believe that as works made in response to geologic time become more common, human capacities to design, imagine, and live in relation to deep time will expand.

Geologic City is funded in part by a grant from the New York State Council on the Arts, Architecture Planning & Design Program, 2011.
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Geologic City: a field guide to the GeoArchitecture of New York is a project of Friends of the Pleistocene (FOP). An illustrated project description can be viewed here.

Project updatese will be posted at fopnews.wordpress.com

For more information contact: Jamie Kruse and Elizabeth Ellsworth at smudgestudio@gmail.com

Quantum Poetics: A Science Experiment for the Stage

Stolen Chair launches its 8th season with a workshop presentation of its 13th original work, developed in conjunction with America’s first Community Supported Theatre:

Quantum Poetics: A Science Experiment for the Stage

June 11-13, 2010

“Scrappy”-American Theatre “Endearingly eclectic” -Village Voice “Inventive” -TimeOut NY “Smashes genres in an aesthetic supercollider” -NY Press

Laboratory theatre meets laboratory science in Kiran Rikhye’s latest “unholy hybrid,” Quantum Poetics: A Science Experiment for the Stage. Directed by Jon Stancato, the one-weekend workshop production runs June 11-13 at the Connelly Theatre.

Quantum Poetics is a mind-bending science experiment for the stage. Setting out to prove the existence of his creations, God, a god, enlists the support of a quantum physicist, a 19th century children’s book author, a 13th century mystic nun, a 16th century alchemist, a 7-year old girl, and, stepping straight from the pages of a storybook (or movie musical), Lancelot and Guinevere, taking the audience on a time-travelling adventure through the multiverse. Impossible paradoxes and cognitive dissonance abound in this Escher-esque philosophical romp.

The production stars returning Stolen Chair veterans David Berent, Liz Eckert, Liza Wade Green (Gemini Collisionworks’ George Bataille’s Bathrobe), Chris Hale, Timothy McCown Reynolds (Untiled Theatre #61’s Rudolf II), and Noah Schultz, welcoming Sarah Engelke (Banana Bag & Bodice’s Sandwich) and Miriam Lipner, with production design by David Bengali. The production was made possible, in part, by the Nancy Quinn Fund and public funds from the New York State Council on the Arts. It was created in Stolen Chair’s Community Supported Theatre (CST). Drawing inspiration from Community Supported Agriculture (CSA), Stolen Chair’s pilot CST brought theatre-goers into the studio with theatre-makers each month for the entire development process, offering work-in-progress sharings of Quantum Poetics paired with thematically linked cultural activities, like an intimate talk with quantum physicist Gabriel Cwilich, a screening with science cartoonist Odd Todd, and the science-themed Atoms & Eves Valentine’s party. The CST is made possible by The Field’s Economic Revitalization for Performing Artists (ERPA) program, supported by the Rockefeller Foundation’s 2008 Cultural Innovation Fund

Named “Best Genre-Bending Theatre” by New York Press, Stolen Chair is a theatre laboratory dedicated to the creation of playfully intellectual, wickedly irreverent, and exuberantly athletic original works. Since its inception in 2002, Stolen Chair has created 13 critically-acclaimed original works including the absurdist noir Kill Me Like You Mean It, the Weimar child’s-play cabaret Kinderspiel, and the vaudevillian memento-mori, Theatre is Dead and So Are You.

Quantum Poetics runs Jun 11-13, Friday & Saturday at 8pm and Sunday at 6pm, with a free post- show panel with the company, science journalists, and physicists following the Saturday performance. The Connelly Theater is located at 220 East 4th Street, accessible from the F at 2nd Ave-Houston St or the 6 at Bleeker. Free wine at all performances.

Tickets are $12, available at 1-800-838-3006 or www.stolenchair.org