{ "title": { "media": { "url": "", "alt": null, "caption": null, "credit": "The George Coates Archive" }, "text": { "headline": "The George Coates Archive Timeline", "text": "Audiovisual media from George Coates Performance Works' pioneering avant-garde multimedia theater." } }, "events": [ { "media": { "url": "https://i.vimeocdn.com/video/2191653019-7fc6ebbdc1e7c7c4b7fa9f8c3feccdd97447b48d3c11e02c65a3d985822beff5-d_1920x1080?region=us", "alt": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off", "caption": "Are/Are Tape #1 - GCPW, May 24th 1983", "link": "https://archive.georgecoates.com/items/ AA82-UM-002.html" }, "start_date": { "year": "1983" }, "text": { "headline": "Are/Are Tape #1 - GCPW, May 24th 1983", "text": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off" } },{ "media": { "url": "", "alt": "Are Are - Preshow Music, Friday 2nd Show, Aftershow, Monday March 28th 2nd show", "caption": "Are Are - Preshow Music, Friday 2nd Show, Aftershow, Monday March 28th 2nd show", "link": "https://archive.georgecoates.com/items/AA82-BC-001.html" }, "start_date": { "year": "1982" }, "text": { "headline": "Are Are - Preshow Music, Friday 2nd Show, Aftershow, Monday March 28th 2nd show" } },{ "media": { "url": "https://soundcloud.com/sudantapesarchive/01-chairdit?in=sudantapesarchive/sets/ater-bol-akech-chairdit&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing", "alt": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off", "caption": "Are Are Radio Edit", "link": "https://archive.georgecoates.com/items/AA82-CS-001.html" }, "start_date": { "year": "1983" }, "text": { "headline": "Are Are Radio Edit", "text": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off" } },{ "media": { "url": "", "alt": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off", "caption": "Are Are", "link": "https://archive.georgecoates.com/items/AA82-CS-002.html" }, "start_date": { "year": "1983" }, "text": { "headline": "Are Are", "text": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off" } },{ "media": { "url": "", "alt": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off", "caption": "Are/Are Edit '22", "link": "https://archive.georgecoates.com/items/AA82-UM-001.html" }, "start_date": { "year": "1982" }, "text": { "headline": "Are/Are Edit '22", "text": "Are Are premiered at Theatre Artaud’s Cavernous Performance Space in San Francisco in March 1983. The second part of the “How Trilogy,” it reunited Paul Dresher, Rinde Eckert, John Duykers, and Leonard Pitt, shifting from the distinct individual figures of The Way of How toward a coordinated group identity.\nThe performance opened with three performers hunched behind rear-lit screens, appearing as indistinct forms before emerging to measure their bodies with retractable tapes. Set on a deep, runway-like stage, the work developed around repeated attempts to measure, rise, and overcome physical limits. The performers moved in rolling barrels, climbed onto a rolling piano, appeared on stilts, and ultimately ascended in block-and-tackle harnesses with arms extended in flight. Pink and green projected patterns covered the performers as they rose. Through these successive scenes, Are Are developed a theme of ascent: the performers pool their efforts, negotiate gravity, and finally achieve lift-off" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/AA83-%20Are%20Are_thumbnail.png", "alt": "Are/Are", "caption": "Are/Are", "link": "https://archive.georgecoates.com/items/AA82-UM-005.html" }, "start_date": { "year": "1982" }, "text": { "headline": "Are/Are" } },{ "media": { "url": "", "alt": "The Architecture of Catastrophic Change", "caption": "The Architecture of Catastrophic Change", "link": "https://archive.georgecoates.com/items/AC90-CS-001.html" }, "start_date": { "year": "1990" }, "text": { "headline": "The Architecture of Catastrophic Change" } },{ "media": { "url": "", "alt": "The Architecture of Catastrophic Change Official Soundtrack by Marc Ream", "caption": "The Architecture of Catastrophic Change Official Soundtrack by Marc Ream", "link": "https://archive.georgecoates.com/items/AC90-CS-002.html" }, "start_date": { "year": "1990" }, "text": { "headline": "The Architecture of Catastrophic Change Official Soundtrack by Marc Ream" } },{ "media": { "url": "", "alt": "The Architecture of Catastrophic Change Revised KKSF 1@60", "caption": "The Architecture of Catastrophic Change Revised KKSF 1@60", "link": "https://archive.georgecoates.com/items/AC90-CS-003.html" }, "start_date": { "year": "1990" }, "text": { "headline": "The Architecture of Catastrophic Change Revised KKSF 1@60" } },{ "media": { "url": "", "alt": "Actual Sho 4 Sunday Closeups", "caption": "Actual Sho 4 Sunday Closeups", "link": "https://archive.georgecoates.com/items/AS87-UM-001.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho 4 Sunday Closeups" } },{ "media": { "url": "", "alt": "Actual Sho Closeups - Friday 1/6/1989 - Tape 4", "caption": "Actual Sho Closeups - Friday 1/6/1989 - Tape 4", "link": "https://archive.georgecoates.com/items/AS87-UM-003.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho Closeups - Friday 1/6/1989 - Tape 4" } },{ "media": { "url": "", "alt": "Actual Sho Closeups - Friday 1/6/1989 - Tape 3", "caption": "Actual Sho Closeups - Friday 1/6/1989 - Tape 3", "link": "https://archive.georgecoates.com/items/AS87-UM-004.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho Closeups - Friday 1/6/1989 - Tape 3" } },{ "media": { "url": "", "alt": "Actual Sho Closeups - Friday 1/6/1989 - Tape 4 (1987)", "caption": "Actual Sho Closeups - Friday 1/6/1989 - Tape 4 (1987)", "link": "https://archive.georgecoates.com/items/AS87-UM-005.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho Closeups - Friday 1/6/1989 - Tape 4 (1987)" } },{ "media": { "url": "", "alt": "Actual Sho Sunday Closeups #2", "caption": "Actual Sho Sunday Closeups #2", "link": "https://archive.georgecoates.com/items/AS87-UM-006.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho Sunday Closeups #2" } },{ "media": { "url": "", "alt": "Actual Sho Sunday Closeups #3", "caption": "Actual Sho Sunday Closeups #3", "link": "https://archive.georgecoates.com/items/AS87-UM-007.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho Sunday Closeups #3" } },{ "media": { "url": "", "alt": "Actual Sho, Thursday. 8-13-87 - Palace of Fine Arts Theatre", "caption": "Actual Sho, Thursday. 8-13-87 - Palace of Fine Arts Theatre", "link": "https://archive.georgecoates.com/items/AS87-UM-008.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho, Thursday. 8-13-87 - Palace of Fine Arts Theatre" } },{ "media": { "url": "", "alt": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke.", "caption": "KQED Piece on Actual Sho, John Rozcak", "link": "https://archive.georgecoates.com/items/AS87-VH-001.html" }, "start_date": { "year": "1987" }, "text": { "headline": "KQED Piece on Actual Sho, John Rozcak", "text": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke." } },{ "media": { "url": "", "alt": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke.", "caption": "Actual Sho Sample, Reel 1,Sat Wide Sunday Closeups", "link": "https://archive.georgecoates.com/items/AS87-VH-002.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho Sample, Reel 1,Sat Wide Sunday Closeups", "text": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke." } },{ "media": { "url": "", "alt": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke.", "caption": "Actual Sho, Friday Night Dob from 3/4 SP Originals", "link": "https://archive.georgecoates.com/items/AS87-VH-003.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho, Friday Night Dob from 3/4 SP Originals", "text": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke." } },{ "media": { "url": "", "alt": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke.", "caption": "Actual Sho, Sunday Closeups from Side Tapes 2-4", "link": "https://archive.georgecoates.com/items/AS87-VH-004.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho, Sunday Closeups from Side Tapes 2-4", "text": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke." } },{ "media": { "url": "", "alt": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke.", "caption": "Actual Shō (Sample)", "link": "https://archive.georgecoates.com/items/AS87-VH-005.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Shō (Sample)", "text": "Actual Sho (1987) was a new music theater spectacle, formed by a synthesis of familiar performance techniques with emerging ideas and technologies. The work was created through the collaboration of performers, technicians, engineers, designers, composers, architects and craftspeople from developing industries and cultural institutions in the San Francisco area. From October 1986 through June 1987 the participants met daily to pool resources and to influence each other. From these investigations a theater of phenomena is created through the interaction of talents and technology with archetypes of power; personal, political and spiritual. No single identity or individual serves as fundamental protagonist or antagonist. In Actual Sho, 'hero' is replaced by an interactive network of physical forces and human influences. Behaviors are effected through interventions of sound, light and gravity within the context o f oratorio. Performance conventions of the oratorio serve as points of departure from a form of cultural expression familiar to western audiences - the choral concert - to emerging forms of creative expression which aim to evoke, rather than provoke." } },{ "media": { "url": "", "alt": "Audition 6/28/1995", "caption": "Audition 6/28/1995", "link": "https://archive.georgecoates.com/items/BA95-CS-001.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Audition 6/28/1995" } },{ "media": { "url": "", "alt": "Better Bad News Rehearsal | November 11 1995", "caption": "Better Bad News Rehearsal | November 11 1995", "link": "https://archive.georgecoates.com/items/BBN-CS-001.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Better Bad News Rehearsal | November 11 1995" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-001%20-%20Better%20Bad%20News%20Callbacks_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News Callbacks | August 3rd, 1995", "link": "https://archive.georgecoates.com/items/BBN-VH-001.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Better Bad News Callbacks | August 3rd, 1995", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-001%20-%20Better%20Bad%20News%20Callbacks_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News | December 9th, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-002.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News | December 9th, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-003%20%7C%20Better%20Bad%20News%20November%2011th%202003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News | November 11th, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-003.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News | November 11th, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-001%20-%20Better%20Bad%20News%20Callbacks_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News | October 21st, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-004.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News | October 21st, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-001%20-%20Better%20Bad%20News%20Callbacks_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, Raw, Zulu Spear, Kurt Reinhardt, Notonya No Welch, December 2nd, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-005.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, Raw, Zulu Spear, Kurt Reinhardt, Notonya No Welch, December 2nd, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-006%20%7C%20Better%20Bad%20News%2010.07.2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, 10/07/2003", "link": "https://archive.georgecoates.com/items/BBN-VH-006.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, 10/07/2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-008%20%7C%20Better%20Bad%20News%2012.16.2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, 11/18/2003", "link": "https://archive.georgecoates.com/items/BBN-VH-007.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, 11/18/2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-008%20%7C%20Better%20Bad%20News%2012.16.2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, 12/16/2003", "link": "https://archive.georgecoates.com/items/BBN-VH-008.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, 12/16/2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-008%20%7C%20Better%20Bad%20News%2012.16.2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, December 16th, 2003 - Tape 1 & 2*", "link": "https://archive.georgecoates.com/items/BBN-VH-008.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, December 16th, 2003 - Tape 1 & 2*", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-009%20-%20Better%20Bad%20News%2010.07.2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, December 23rd, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-009.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, December 23rd, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-010%20%7C%20Better%20Bad%20News%2012.23.2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, Episode 2, December 7th, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-010.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, Episode 2, December 7th, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-011%20%7C%20Better%20Bad%20News%20October%2028th%202003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, October 28th, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-011.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, October 28th, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-012%20%7C%20Better%20Bad%20News%20Zulu%20Spear%20Nov%204%202003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, Zulu Spear, November 4th, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-012.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News, Zulu Spear, November 4th, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-013%20-%20BE%20TV%20Cafetorium%20September%2030th%202003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Cafetorium, BE TV, September 30th, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-013.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Cafetorium, BE TV, September 30th, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-014%20%7C%20Cafetorium%20Night%201%20Setpember%203%202003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Cafetorium, Night 1, September 3rd, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-014.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Cafetorium, Night 1, September 3rd, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-015%20-%20Cafetorium%209%3A23%3A2003_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Cafetorium, September 23rd, 2003", "link": "https://archive.georgecoates.com/items/BBN-VH-015.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Cafetorium, September 23rd, 2003", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-017%20-%20Better%20Bad%20News%20Episode%201%20Dub_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, Episode 1 Dub", "link": "https://archive.georgecoates.com/items/BBN-VH-016.html" }, "start_date": { "year": "2004" }, "text": { "headline": "Better Bad News, Episode 1 Dub", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-016%20%7C%20Better%20Bad%20News%20February%2010%202004_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News | February 10th, 2004", "link": "https://archive.georgecoates.com/items/BBN-VH-017.html" }, "start_date": { "year": "2003" }, "text": { "headline": "Better Bad News | February 10th, 2004", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-018%20-%20Better%20Bad%20News%20January%2027th%202004_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News | January 27th, 2004", "link": "https://archive.georgecoates.com/items/BBN-VH-018.html" }, "start_date": { "year": "2004" }, "text": { "headline": "Better Bad News | January 27th, 2004", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-018%20%7C%20BBN%20Episode%203%20April%202004_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, Episode 3, April 2004", "link": "https://archive.georgecoates.com/items/BBN-VH-019.html" }, "start_date": { "year": "2004" }, "text": { "headline": "Better Bad News, Episode 3, April 2004", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-019%20-%20Better%20Bad%20News%20January%206th%202004%20-%20Setup%20Shots%20with%20Zulu%20Spear_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News, January 6th, 2004 | Setup Shots with Zulu Spear", "link": "https://archive.georgecoates.com/items/BBN-VH-020.html" }, "start_date": { "year": "2004" }, "text": { "headline": "Better Bad News, January 6th, 2004 | Setup Shots with Zulu Spear", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-024%20-%20BBN%20September%2019th%202004_001_thumbnail.png", "alt": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-024%20-%20BBN%20September%2019th%202004_001_thumbnail.png", "caption": "Better Bad News, Septemebr 19th, 2004", "link": "https://archive.georgecoates.com/items/BBN-VH-024.html" }, "start_date": { "year": "2004" }, "text": { "headline": "Better Bad News, Septemebr 19th, 2004", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-026%20%7C%20Better%20Bad%20News%20Audition%20Tape_001_thumbnail.png", "alt": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. ", "caption": "Better Bad News Audition Tape", "link": "https://archive.georgecoates.com/items/BBN-VH-026.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Better Bad News Audition Tape", "text": "Better Bad News (2003-2011) was a satirical public access show directed by George Coates and produced at Berkeley Community Media. The show features community members who read scripts from a teleprompter that engaged various political and sociocultural themes pertaining to the surveillance, Bush-era foreign policy, and the increasing polarization of American society in the 2000's. " } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BC93-VH-001%20%7C%20Channel%20Surfing%20Lockdown_001_thumbnail.png", "alt": "Channel Surfing Rehearsal Tape #1, Screens 1-3 | October 15th, 1993", "caption": "Channel Surfing Rehearsal Tape #1, Screens 1-3 | October 15th, 1993", "link": "https://archive.georgecoates.com/items/BBN-VH-026.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Channel Surfing Rehearsal Tape #1, Screens 1-3 | October 15th, 1993" } },{ "media": { "url": "", "alt": "Box Conspiracy 11/27/1993 Act 1", "caption": "Box Conspiracy 11/27/1993 Act 1", "link": "https://archive.georgecoates.com/items/BC93-CS-002.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Box Conspiracy 11/27/1993 Act 1" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BC93-VH-002%20-%20Box%20Conspiracy%20Channel%20Surfing_001_thumbnail.png", "alt": "Box Conspiracy: An Interactive Sho (1993), premiered in San Francisco November 10, 1993. It takes its title from the impending introduction of the Digital Converter Box that will make interactive communication a possibility (perhaps even a necessity for every home television. George Coates' first character-driven production, it is the story of Derek Hornsby, an unemployed white collar professional, and his family. They are selected as a test family by a market research firm eager to learn which of the new 5,000 interactive TV channels people would use if they were free of charge. \"The dark side to this,\" Coates says, \"is that two-way television also means that without their knowledge, home users of the box will be monitored, their use of it recorded, and their service purchase records sold to marketers and insurance companies to learn everything about us.\"", "caption": "Channel Surfing, October 11th, 1993, #1,2.3,3A,4", "link": "https://archive.georgecoates.com/items/BC93-VH-001.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Channel Surfing, October 11th, 1993, #1,2.3,3A,4", "text": "Box Conspiracy: An Interactive Sho (1993), premiered in San Francisco November 10, 1993. It takes its title from the impending introduction of the Digital Converter Box that will make interactive communication a possibility (perhaps even a necessity for every home television. George Coates' first character-driven production, it is the story of Derek Hornsby, an unemployed white collar professional, and his family. They are selected as a test family by a market research firm eager to learn which of the new 5,000 interactive TV channels people would use if they were free of charge. \"The dark side to this,\" Coates says, \"is that two-way television also means that without their knowledge, home users of the box will be monitored, their use of it recorded, and their service purchase records sold to marketers and insurance companies to learn everything about us.\"" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BC93VH-003%20-%20Richard%20Harts%20Next%20Step_001_thumbnail.png", "alt": "Box Conspiracy: An Interactive Sho (1993), premiered in San Francisco November 10, 1993. It takes its title from the impending introduction of the Digital Converter Box that will make interactive communication a possibility (perhaps even a necessity for every home television. George Coates' first character-driven production, it is the story of Derek Hornsby, an unemployed white collar professional, and his family. They are selected as a test family by a market research firm eager to learn which of the new 5,000 interactive TV channels people would use if they were free of charge. \"The dark side to this,\" Coates says, \"is that two-way television also means that without their knowledge, home users of the box will be monitored, their use of it recorded, and their service purchase records sold to marketers and insurance companies to learn everything about us.\"", "caption": "Richard Hart's Next Step on 'Box Conspiracy' | November 25th, 1993", "link": "https://archive.georgecoates.com/items/BC93-VH-002.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Richard Hart's Next Step on 'Box Conspiracy' | November 25th, 1993", "text": "Box Conspiracy: An Interactive Sho (1993), premiered in San Francisco November 10, 1993. It takes its title from the impending introduction of the Digital Converter Box that will make interactive communication a possibility (perhaps even a necessity for every home television. George Coates' first character-driven production, it is the story of Derek Hornsby, an unemployed white collar professional, and his family. They are selected as a test family by a market research firm eager to learn which of the new 5,000 interactive TV channels people would use if they were free of charge. \"The dark side to this,\" Coates says, \"is that two-way television also means that without their knowledge, home users of the box will be monitored, their use of it recorded, and their service purchase records sold to marketers and insurance companies to learn everything about us.\"" } },{ "media": { "url": "https://i.vimeocdn.com/video/2191655624-1ce665d0a5e77f41533d188587178e3e3ef55190094942d4d16dba8735733989-d_1920x1080", "alt": "Box Conspiracy: An Interactive Sho (1993), premiered in San Francisco November 10, 1993. It takes its title from the impending introduction of the Digital Converter Box that will make interactive communication a possibility (perhaps even a necessity for every home television. George Coates' first character-driven production, it is the story of Derek Hornsby, an unemployed white collar professional, and his family. They are selected as a test family by a market research firm eager to learn which of the new 5,000 interactive TV channels people would use if they were free of charge. \"The dark side to this,\" Coates says, \"is that two-way television also means that without their knowledge, home users of the box will be monitored, their use of it recorded, and their service purchase records sold to marketers and insurance companies to learn everything about us.\"", "caption": "Channel Surfing #3 Dub, October 15th 1993", "link": "https://archive.georgecoates.com/items/BC93-VH-007.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Channel Surfing #3 Dub, October 15th 1993", "text": "Box Conspiracy: An Interactive Sho (1993), premiered in San Francisco November 10, 1993. It takes its title from the impending introduction of the Digital Converter Box that will make interactive communication a possibility (perhaps even a necessity for every home television. George Coates' first character-driven production, it is the story of Derek Hornsby, an unemployed white collar professional, and his family. They are selected as a test family by a market research firm eager to learn which of the new 5,000 interactive TV channels people would use if they were free of charge. \"The dark side to this,\" Coates says, \"is that two-way television also means that without their knowledge, home users of the box will be monitored, their use of it recorded, and their service purchase records sold to marketers and insurance companies to learn everything about us.\"" } },{ "media": { "url": "", "alt": "2020 Blake Rehearsal 8/13/1997", "caption": "2020 Blake Rehearsal 8/13/1997", "link": "https://archive.georgecoates.com/items/BL97-CS-003.html" }, "start_date": { "year": "1997" }, "text": { "headline": "2020 Blake Rehearsal 8/13/1997" } },{ "media": { "url": "", "alt": "20/20 Blake Sao Paulo Brazil, 8/5/1996", "caption": "20/20 Blake Sao Paulo Brazil, 8/5/1996", "link": "https://archive.georgecoates.com/items/BL97-CS-004.html" }, "start_date": { "year": "1996" }, "text": { "headline": "20/20 Blake Sao Paulo Brazil, 8/5/1996" } },{ "media": { "url": "", "alt": "2020 Blake Sao Paulo, Brazil - September 5th 1998", "caption": "2020 Blake Sao Paulo, Brazil - September 5th 1998", "link": "https://archive.georgecoates.com/items/BL97-CS-005.html" }, "start_date": { "year": "1998" }, "text": { "headline": "2020 Blake Sao Paulo, Brazil - September 5th 1998" } },{ "media": { "url": "", "alt": "2020 Blake Rehearsal | 7-19-1996", "caption": "2020 Blake Rehearsal | 7-19-1996", "link": "https://archive.georgecoates.com/items/BL97-CS-006.html" }, "start_date": { "year": "1996" }, "text": { "headline": "2020 Blake Rehearsal | 7-19-1996" } },{ "media": { "url": "", "alt": "20/20 Blake Music", "caption": "20/20 Blake Music", "link": "https://archive.georgecoates.com/items/BL97-CS-007.html" }, "start_date": { "year": "1997" }, "text": { "headline": "20/20 Blake Music" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BL97-VH-001%20%7C%202020%20Blake%20August%2020th%201996_001_thumbnail.png", "alt": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.\n\nRather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance.", "caption": "2020 Blake | August 20th 1996", "link": "https://archive.georgecoates.com/items/BL97-VH-001.html" }, "start_date": { "year": "1996" }, "text": { "headline": "2020 Blake | August 20th 1996", "text": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.\n\nRather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance." } },{ "media": { "url": "", "alt": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.", "caption": "2020 Blake Compilation CHRON", "link": "https://archive.georgecoates.com/items/BL97-VH-002.html" }, "start_date": { "year": "1997" }, "text": { "headline": "2020 Blake Compilation CHRON", "text": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery." } },{ "media": { "url": "", "alt": "2020 blake", "caption": "2020 blake", "link": "https://archive.georgecoates.com/items/BL97-VH-003.html" }, "start_date": { "year": "1997" }, "text": { "headline": "2020 blake" } },{ "media": { "url": "", "alt": "Rather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance.", "caption": "KQED on 2020 Blake | January 31st, 1997", "link": "https://archive.georgecoates.com/items/BL97-VH-004.html" }, "start_date": { "year": "1997" }, "text": { "headline": "KQED on 2020 Blake | January 31st, 1997", "text": "Rather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance." } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BL97-VH-005%20%7C%202020%20Blake%20Work%20Sample_001_thumbnail.png", "alt": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.\n\nRather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance.", "caption": "2020 Blake (Sample)", "link": "https://archive.georgecoates.com/items/BL97-VH-005.html" }, "start_date": { "year": "1997" }, "text": { "headline": "2020 Blake (Sample)", "text": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.\n\nRather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance." } },{ "media": { "url": "", "alt": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.\n\nRather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance.", "caption": "2020 Blake (Sample)*", "link": "https://archive.georgecoates.com/items/BL97-VH-005.html" }, "start_date": { "year": "1997" }, "text": { "headline": "2020 Blake (Sample)*", "text": "20/20 Blake was inspired by the life, poetry, and visual art of William Blake. Premiering in São Paulo in 1996 and receiving its North American premiere in San Francisco in 1997, the production used digitally manipulated projections of Blake’s paintings and engravings, viewed through 3-D glasses, to create an immersive stage environment in which performers appeared to move through Blake’s illuminated imagery.\n\nRather than presenting a linear biography, the work staged a sequence of imaginative and emotional moments from Blake’s life and visionary world. Choral performance, orchestral and rock music, dance, pantomime, projected imagery, and limited spoken text combined to translate Blake’s poetry and mythological figures—including Catherine Blake, Urizen, Thel, and Los—into a contemporary theatrical experience. The production aimed to introduce new audiences to the intensity and visual imagination of Blake’s illuminated books through an expansive, technologically experimental form of live performance." } },{ "media": { "url": "", "alt": "Blind Messenger Audio Compilation | June 12th, 1998", "caption": "Blind Messenger Audio Compilation | June 12th, 1998", "link": "https://archive.georgecoates.com/items/BM98-CS-002.html" }, "start_date": { "year": "1998" }, "text": { "headline": "Blind Messenger Audio Compilation | June 12th, 1998" } },{ "media": { "url": "", "alt": "Steve Reich: The Desert Music Excerpt Part 4", "caption": "Steve Reich: The Desert Music Excerpt Part 4", "link": "https://archive.georgecoates.com/items/DM92-CS-001.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Steve Reich: The Desert Music Excerpt Part 4" } },{ "media": { "url": "", "alt": "Steve Reich: The Desert Music Excerpt Part 5", "caption": "Steve Reich: The Desert Music Excerpt Part 5", "link": "https://archive.georgecoates.com/items/DM92-CS-002.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Steve Reich: The Desert Music Excerpt Part 5" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/DM92-VH-001%20%7C%20Desert%20Music%20NYPLLincoln%20Center%20Archives_thumbnail.png", "alt": "The Desert Music: NYPL Lincoln Archives", "caption": "The Desert Music: NYPL Lincoln Archives", "link": "https://archive.georgecoates.com/items/DM92-VH-001.html" }, "start_date": { "year": "1985" }, "text": { "headline": "The Desert Music: NYPL Lincoln Archives" } },{ "media": { "url": "", "alt": "International Theatre (George Coates) | 12-17-1983", "caption": "International Theatre (George Coates) | 12-17-1983", "link": "https://archive.georgecoates.com/items/INT-CS-001.html" }, "start_date": { "year": "1983" }, "text": { "headline": "International Theatre (George Coates) | 12-17-1983" } },{ "media": { "url": "", "alt": "GCPW: NPR Broadcast Morning Edition | December 22nd, 1992", "caption": "GCPW: NPR Broadcast Morning Edition | December 22nd, 1992", "link": "https://archive.georgecoates.com/items/INT-CS-002.html" }, "start_date": { "year": "1992" }, "text": { "headline": "GCPW: NPR Broadcast Morning Edition | December 22nd, 1992" } },{ "media": { "url": "", "alt": "Forum: Art & Technology - KQED-FM | February 24th, 1995", "caption": "Forum: Art & Technology - KQED-FM | February 24th, 1995", "link": "https://archive.georgecoates.com/items/INT-CS-003.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Forum: Art & Technology - KQED-FM | February 24th, 1995" } },{ "media": { "url": "", "alt": "George & Steve Jobs - 4/27/1988", "caption": "George & Steve Jobs - 4/27/1988", "link": "https://archive.georgecoates.com/items/INT-CS-005.html" }, "start_date": { "year": "1988" }, "text": { "headline": "George & Steve Jobs - 4/27/1988" } },{ "media": { "url": "", "alt": "KPFA: Spalding Gray and George Coates - August 9th 1982", "caption": "KPFA: Spalding Gray and George Coates - August 9th 1982", "link": "https://archive.georgecoates.com/items/INT-CS-007.html" }, "start_date": { "year": "1982" }, "text": { "headline": "KPFA: Spalding Gray and George Coates - August 9th 1982" } },{ "media": { "url": "", "alt": "Passion! KPFA 6/2/1996", "caption": "Passion! KPFA 6/2/1996", "link": "https://archive.georgecoates.com/items/INT-CS-009.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Passion! KPFA 6/2/1996" } },{ "media": { "url": "", "alt": "Bernard Weiner Show, KPFA 1/10/1992", "caption": "Bernard Weiner Show, KPFA 1/10/1992", "link": "https://archive.georgecoates.com/items/INT-CS-011.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Bernard Weiner Show, KPFA 1/10/1992" } },{ "media": { "url": "https://i.vimeocdn.com/video/2129580928-1b620ecee09c6409f473b01b4ae8bbb8412aaa3a3fa8bc8fb8341dfeb3f230df-d_1920x1080?region=us", "alt": "LBMAVIDEO - George Coates Performance Works Profile by Cathleen Kane and Joe Leonardi", "caption": "LBMAVIDEO - George Coates Performance Works Profile by Cathleen Kane and Joe Leonardi", "link": "https://archive.georgecoates.com/items/INT-UM-001.html" }, "start_date": { "year": "1993" }, "text": { "headline": "LBMAVIDEO - George Coates Performance Works Profile by Cathleen Kane and Joe Leonardi" } },{ "media": { "url": "", "alt": "Actual Sho GCPW Art Notes KQED-TV Sam Francisco, October 25th, 1987", "caption": "Actual Sho GCPW Art Notes KQED-TV Sam Francisco, October 25th, 1987", "link": "https://archive.georgecoates.com/items/INT-UM-003.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Actual Sho GCPW Art Notes KQED-TV Sam Francisco, October 25th, 1987" } },{ "media": { "url": "https://i.vimeocdn.com/video/2129580659-f9fcb785c1825f785ae44470d82d6ddb90ff1000904b3f087cc8de7acf24d78b-d_1920x1080?region=us", "alt": "Worldnet 486, Euronet 261 September 15t, 1987 Guests: Coates/Osborne/Marx, Producers: K. Sale and M. Poulard", "caption": "Worldnet 486, Euronet 261 September 15t, 1987 Guests: Coates/Osborne/Marx, Producers: K. Sale and M. Poulard", "link": "https://archive.georgecoates.com/items/INT-UM-004.html" }, "start_date": { "year": "1987" }, "text": { "headline": "Worldnet 486, Euronet 261 September 15t, 1987 Guests: Coates/Osborne/Marx, Producers: K. Sale and M. Poulard" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/INT-VH-001%20%7C%20Art%20Notes%20KQED%20(1987)_thumbnail.png", "alt": "George Coates Performance Works, Art Notes KQED-TV | October 25th, 1987", "caption": "George Coates Performance Works, Art Notes KQED-TV | October 25th, 1987", "link": "https://archive.georgecoates.com/items/INT-VH-001.html" }, "start_date": { "year": "1987" }, "text": { "headline": "George Coates Performance Works, Art Notes KQED-TV | October 25th, 1987" } },{ "media": { "url": "", "alt": "GCPW Profile | LBMA", "caption": "GCPW Profile | LBMA", "link": "https://archive.georgecoates.com/items/INT-VH-002.html" }, "start_date": { "year": "1993" }, "text": { "headline": "GCPW Profile | LBMA" } },{ "media": { "url": "https://imglink.cc/cdn/OrfzQqkdSn.png", "alt": "Intermedia Conference 1993", "caption": "Intermedia Conference 1993", "link": "https://archive.georgecoates.com/items/INT-VH-006.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Intermedia Conference 1993" } },{ "media": { "url": "", "alt": "Channel 7 @ 6PM | Aug 15, 1995", "caption": "Channel 7 @ 6PM | Aug 15, 1995", "link": "https://archive.georgecoates.com/items/INT-VH-008.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Channel 7 @ 6PM | Aug 15, 1995" } },{ "media": { "url": "", "alt": "California State of the Arts | 2001", "caption": "California State of the Arts | 2001", "link": "https://archive.georgecoates.com/items/INT-VH-009.html" }, "start_date": { "year": "2001" }, "text": { "headline": "California State of the Arts | 2001" } },{ "media": { "url": "", "alt": "Auditions - 12/8/1991", "caption": "Auditions - 12/8/1991", "link": "https://archive.georgecoates.com/items/IS91-CS-004.html" }, "start_date": { "year": "1991" }, "text": { "headline": "Auditions - 12/8/1991" } },{ "media": { "url": "https://i.vimeocdn.com/video/2191656382-e6e5baa72a28947823d2a4b411f2bc667f995fcc7066bcd1ef617aa95f5b68c3-d_1920x1080", "alt": "Invisible Site - 1992, George Coates Performance Works", "caption": "Invisible Site - 1992, George Coates Performance Works", "link": "https://archive.georgecoates.com/items/IS91-UM-001.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Invisible Site - 1992, George Coates Performance Works" } },{ "media": { "url": "", "alt": "Invisible Site 30 Second Spot with Titles", "caption": "Invisible Site 30 Second Spot with Titles", "link": "https://archive.georgecoates.com/items/IS91-UM-002.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Invisible Site 30 Second Spot with Titles" } },{ "media": { "url": "", "alt": "Invisible Site Bob Powell Titles", "caption": "Invisible Site Bob Powell Titles", "link": "https://archive.georgecoates.com/items/IS91-UM-003.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Invisible Site Bob Powell Titles" } },{ "media": { "url": "", "alt": "Invisible Site with Titles, 30 Seconds / 15 Seconds / GCPW Invisible Site 1992 - 15 seconds with Work Titles", "caption": "Invisible Site with Titles, 30 Seconds / 15 Seconds / GCPW Invisible Site 1992 - 15 seconds with Work Titles", "link": "https://archive.georgecoates.com/items/IS91-UM-004.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Invisible Site with Titles, 30 Seconds / 15 Seconds / GCPW Invisible Site 1992 - 15 seconds with Work Titles" } },{ "media": { "url": "", "alt": "Invisible Site, 15 Seconds, 30 Second Spots", "caption": "Invisible Site, 15 Seconds, 30 Second Spots", "link": "https://archive.georgecoates.com/items/IS91-UM-005.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Invisible Site, 15 Seconds, 30 Second Spots" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/IS92-VH-001%20%7C%20Invisible%20Site%20Sample_thumbnail.png", "alt": "Invisible Site Sample (1992)", "caption": "Invisible Site Sample (1992)", "link": "https://archive.georgecoates.com/items/IS92-VH-001.html" }, "start_date": { "year": "1992" }, "text": { "headline": "Invisible Site Sample (1992)" } },{ "media": { "url": "", "alt": "March 12th, 1991 Rehearsal", "caption": "March 12th, 1991 Rehearsal", "link": "https://archive.georgecoates.com/items/MS-CS-004.html" }, "start_date": { "year": "1991" }, "text": { "headline": "March 12th, 1991 Rehearsal" } },{ "media": { "url": "", "alt": "July 29th, 1993 | Evening Rehearsals", "caption": "July 29th, 1993 | Evening Rehearsals", "link": "https://archive.georgecoates.com/items/MS-CS-005.html" }, "start_date": { "year": "1993" }, "text": { "headline": "July 29th, 1993 | Evening Rehearsals" } },{ "media": { "url": "", "alt": "Marc Ream Music Application, 1984", "caption": "Marc Ream Music Application, 1984", "link": "https://archive.georgecoates.com/items/MS-CS-006.html" }, "start_date": { "year": "1984" }, "text": { "headline": "Marc Ream Music Application, 1984" } },{ "media": { "url": "", "alt": "Mock City Council Read-ins August 5th 2002", "caption": "Mock City Council Read-ins August 5th 2002", "link": "https://archive.georgecoates.com/items/MS-CS-016.html" }, "start_date": { "year": "2002" }, "text": { "headline": "Mock City Council Read-ins August 5th 2002" } },{ "media": { "url": "", "alt": "Music by Barbara Imhoff 1990", "caption": "Music by Barbara Imhoff 1990", "link": "https://archive.georgecoates.com/items/MS-CS-017.html" }, "start_date": { "year": "1990" }, "text": { "headline": "Music by Barbara Imhoff 1990" } },{ "media": { "url": "", "alt": "GCPW Rehearsal Tape 1-18-1995 Tape 1", "caption": "GCPW Rehearsal Tape 1-18-1995 Tape 1", "link": "https://archive.georgecoates.com/items/MS-CS-019.html" }, "start_date": { "year": "1995" }, "text": { "headline": "GCPW Rehearsal Tape 1-18-1995 Tape 1" } },{ "media": { "url": "", "alt": "GCPW Rehearsal Tape 1-18-1995 Tape 2", "caption": "GCPW Rehearsal Tape 1-18-1995 Tape 2", "link": "https://archive.georgecoates.com/items/MS-CS-020.html" }, "start_date": { "year": "1995" }, "text": { "headline": "GCPW Rehearsal Tape 1-18-1995 Tape 2" } },{ "media": { "url": "", "alt": "Meantime Excerpts, 30-60-90 second shots, August 18th, 1985, New Performance Gallery SF", "caption": "Meantime Excerpts, 30-60-90 second shots, August 18th, 1985, New Performance Gallery SF", "link": "https://archive.georgecoates.com/items/MS-UM-001.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Meantime Excerpts, 30-60-90 second shots, August 18th, 1985, New Performance Gallery SF" } },{ "media": { "url": "", "alt": "Enhanced Master, Meantime - Sunday, 8-18-1985", "caption": "Enhanced Master, Meantime - Sunday, 8-18-1985", "link": "https://archive.georgecoates.com/items/MS-UM-003.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Enhanced Master, Meantime - Sunday, 8-18-1985" } },{ "media": { "url": "", "alt": "Enhanced Master, Thursday, Actual Sho, Palace of Fine Arts Theatre", "caption": "Enhanced Master, Thursday, Actual Sho, Palace of Fine Arts Theatre", "link": "https://archive.georgecoates.com/items/MS-UM-004.html" }, "start_date": { "year": "19" }, "text": { "headline": "Enhanced Master, Thursday, Actual Sho, Palace of Fine Arts Theatre" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/MS-VH-001%20%7C%20Urban%20Art%20%26%20Politics%20Workshop%20February%201982_thumbnail.png", "alt": "Urban Arts & Politics Workshop | 1982", "caption": "Urban Arts & Politics Workshop | 1982", "link": "https://archive.georgecoates.com/items/MS-VH-001.html" }, "start_date": { "year": "1982" }, "text": { "headline": "Urban Arts & Politics Workshop | 1982" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/MS-VH-002%20-%20GCPW%20Video%20Images%202.26.1989_001_thumbnail.png", "alt": "GCPW Video Images | 1989", "caption": "GCPW Video Images | 1989", "link": "https://archive.georgecoates.com/items/MS-VH-002.html" }, "start_date": { "year": "1989" }, "text": { "headline": "GCPW Video Images | 1989" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/NEEDS%20AUDIO%20RESYNC%20-%20MS-VH-004%20-%20The%20Memory%20Project%2C%201995_001_thumbnail.png", "alt": "The Memory Project | 1995", "caption": "The Memory Project | 1995", "link": "https://archive.georgecoates.com/items/MS-VH-004.html" }, "start_date": { "year": "1995" }, "text": { "headline": "The Memory Project | 1995" } },{ "media": { "url": "", "alt": "San Jose Taiko Group | 1998", "caption": "San Jose Taiko Group | 1998", "link": "https://archive.georgecoates.com/items/MS-VH-006.html" }, "start_date": { "year": "1998" }, "text": { "headline": "San Jose Taiko Group | 1998" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/MS-VH-007%20%7C%20Berkeley%20City%20Mock%20Council%2C%20May%204th%2C%201999%20(Tape%201%20of%202)_thumbnail.png", "alt": "Berkeley Mock City Council | May 4, 1999 (1/2)", "caption": "Berkeley Mock City Council | May 4, 1999 (1/2)", "link": "https://archive.georgecoates.com/items/MS-VH-007.html" }, "start_date": { "year": "1999" }, "text": { "headline": "Berkeley Mock City Council | May 4, 1999 (1/2)" } },{ "media": { "url": "", "alt": "Berkeley Mock City Council | May 4, 1999 (2/2)", "caption": "Berkeley Mock City Council | May 4, 1999 (2/2)", "link": "https://archive.georgecoates.com/items/MS-VH-008.html" }, "start_date": { "year": "1999" }, "text": { "headline": "Berkeley Mock City Council | May 4, 1999 (2/2)" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/MS-VH-009%20-%20Mock%20City%20Council%20March%2021%2C%201999_001_thumbnail.png", "alt": "Mock City Council | Mar 21, 1999", "caption": "Mock City Council | Mar 21, 1999", "link": "https://archive.georgecoates.com/items/MS-VH-009.html" }, "start_date": { "year": "1999" }, "text": { "headline": "Mock City Council | Mar 21, 1999" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/MS-VH-010%20%7C%20Mock%20City%20Council%20Rehearsal%20Tape%20March%2028th%201999%20copy_001_thumbnail.png", "alt": "Mock City Council Rehearsal | Mar 28, 1999", "caption": "Mock City Council Rehearsal | Mar 28, 1999", "link": "https://archive.georgecoates.com/items/MS-VH-010.html" }, "start_date": { "year": "1999" }, "text": { "headline": "Mock City Council Rehearsal | Mar 28, 1999" } },{ "media": { "url": "", "alt": "Mock City Council Rehearsal | Apr 11, 1999", "caption": "Mock City Council Rehearsal | Apr 11, 1999", "link": "https://archive.georgecoates.com/items/MS-VH-011.html" }, "start_date": { "year": "1999" }, "text": { "headline": "Mock City Council Rehearsal | Apr 11, 1999" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/MS-VH-012%20%7C%20Berkeley%20Mock%20City%20Council%2C%20August%209th%2C%202002_001_thumbnail.png", "alt": "Berkeley Mock City Council | Aug 9, 2002", "caption": "Berkeley Mock City Council | Aug 9, 2002", "link": "https://archive.georgecoates.com/items/MS-VH-012.html" }, "start_date": { "year": "2002" }, "text": { "headline": "Berkeley Mock City Council | Aug 9, 2002" } },{ "media": { "url": "", "alt": "Mock City Council 2002", "caption": "Mock City Council 2002", "link": "https://archive.georgecoates.com/items/MS-VH-013.html" }, "start_date": { "year": "2002" }, "text": { "headline": "Mock City Council 2002" } },{ "media": { "url": "", "alt": "Rehearsal | Aug 16, 2002", "caption": "Rehearsal | Aug 16, 2002", "link": "https://archive.georgecoates.com/items/MS-VH-014.html" }, "start_date": { "year": "2002" }, "text": { "headline": "Rehearsal | Aug 16, 2002" } },{ "media": { "url": "", "alt": "CA Retro World 1996", "caption": "CA Retro World 1996", "link": "https://archive.georgecoates.com/items/MS-VH-017.html" }, "start_date": { "year": "1996" }, "text": { "headline": "CA Retro World 1996" } },{ "media": { "url": "", "alt": "Act II Finale - Nowhere Nowhere | March 5th 1994", "caption": "Act II Finale - Nowhere Nowhere | March 5th 1994", "link": "https://archive.georgecoates.com/items/NN94-CS-001.html" }, "start_date": { "year": "1994" }, "text": { "headline": "Act II Finale - Nowhere Nowhere | March 5th 1994" } },{ "media": { "url": "", "alt": "Act 2 Finale Shorter: (Nowhere Nowhere?) | March 5th, 1994", "caption": "Act 2 Finale Shorter: (Nowhere Nowhere?) | March 5th, 1994", "link": "https://archive.georgecoates.com/items/NN94-CS-002.html" }, "start_date": { "year": "1994" }, "text": { "headline": "Act 2 Finale Shorter: (Nowhere Nowhere?) | March 5th, 1994" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/NN94-VH-003%20%3D%20The%20Nowwhere%20Band%2C%20March%202%201995_001_thumbnail.png", "alt": "Nowhere Nowhere (1994) was an immersive multimedia stage work by George Coates that combined live singing and performance with real-time computer graphics, film imagery, and stereoscopic 3-D effects. Developed through Coates’s collaborations with engineers and technology partners—including NASA Ames Research Center, Apple Computer, Intel, and the Science Meets the Arts Society (SMARTS)—the production explored how emerging digital tools could extend live theater beyond the conventional stage.\n\nAt its 1994 world premiere at IC ’94, the work used the Livemax 4D system to transform the stage environment in response to performers’ movements. Actors appeared to enter and disappear from virtual spaces, pass through architectural forms, and become digitally altered figures, while audiences wearing 3-D glasses experienced the imagery as a shared theatrical environment. Framed as a fantasy of childhood imagination, the work follows a young girl who learns a magical song from a bird and journeys through a mutable electronic forest, changing her appearance, age, and surroundings along the way.", "caption": "The Nowhere Band | March 2, 1995", "link": "https://archive.georgecoates.com/items/NN94-VH-001.html" }, "start_date": { "year": "1995" }, "text": { "headline": "The Nowhere Band | March 2, 1995", "text": "Nowhere Nowhere (1994) was an immersive multimedia stage work by George Coates that combined live singing and performance with real-time computer graphics, film imagery, and stereoscopic 3-D effects. Developed through Coates’s collaborations with engineers and technology partners—including NASA Ames Research Center, Apple Computer, Intel, and the Science Meets the Arts Society (SMARTS)—the production explored how emerging digital tools could extend live theater beyond the conventional stage.\n\nAt its 1994 world premiere at IC ’94, the work used the Livemax 4D system to transform the stage environment in response to performers’ movements. Actors appeared to enter and disappear from virtual spaces, pass through architectural forms, and become digitally altered figures, while audiences wearing 3-D glasses experienced the imagery as a shared theatrical environment. Framed as a fantasy of childhood imagination, the work follows a young girl who learns a magical song from a bird and journeys through a mutable electronic forest, changing her appearance, age, and surroundings along the way." } },{ "media": { "url": "", "alt": "Rare Area Tape 2", "caption": "Rare Area Tape 2", "link": "https://archive.georgecoates.com/items/RA85-BC-001.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Rare Area Tape 2" } },{ "media": { "url": "", "alt": "Rare Area Tape 3", "caption": "Rare Area Tape 3", "link": "https://archive.georgecoates.com/items/RA85-BC-002.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Rare Area Tape 3" } },{ "media": { "url": "", "alt": "Rare Area Tape 1", "caption": "Rare Area Tape 1", "link": "https://archive.georgecoates.com/items/RA85-BC-003.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Rare Area Tape 1" } },{ "media": { "url": "", "alt": "Rare Area Tape 5", "caption": "Rare Area Tape 5", "link": "https://archive.georgecoates.com/items/RA85-BC-004.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Rare Area Tape 5" } },{ "media": { "url": "", "alt": " Rare Area Tape 4\n", "caption": " Rare Area Tape 4\n", "link": "https://archive.georgecoates.com/items/RA85-BC-005.html" }, "start_date": { "year": "1985" }, "text": { "headline": " Rare Area Tape 4\n" } },{ "media": { "url": "", "alt": "Rare Area Commercials (for LA) - 1986 - Negativland", "caption": "Rare Area Commercials (for LA) - 1986 - Negativland", "link": "https://archive.georgecoates.com/items/RA85-CS-003.html" }, "start_date": { "year": "1986" }, "text": { "headline": "Rare Area Commercials (for LA) - 1986 - Negativland" } },{ "media": { "url": "", "alt": "GCPW Rehearsal - Tape #3 | January 18th 1985\n", "caption": "GCPW Rehearsal - Tape #3 | January 18th 1985\n", "link": "https://archive.georgecoates.com/items/RA85-CS-006.html" }, "start_date": { "year": "1985" }, "text": { "headline": "GCPW Rehearsal - Tape #3 | January 18th 1985\n" } },{ "media": { "url": "", "alt": "Dub - Tape 1 of 2 - GCPW Rare Area - 6/28/1985", "caption": "Dub - Tape 1 of 2 - GCPW Rare Area - 6/28/1985", "link": "https://archive.georgecoates.com/items/RA85-UM-001.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Dub - Tape 1 of 2 - GCPW Rare Area - 6/28/1985" } },{ "media": { "url": "", "alt": "Dub - Tape 2 of 2 - GCPW Rare Area - 6/28/1985 / Dub from Master - Rare Area Tape 2 of 2", "caption": "Dub - Tape 2 of 2 - GCPW Rare Area - 6/28/1985 / Dub from Master - Rare Area Tape 2 of 2", "link": "https://archive.georgecoates.com/items/RA85-UM-002.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Dub - Tape 2 of 2 - GCPW Rare Area - 6/28/1985 / Dub from Master - Rare Area Tape 2 of 2" } },{ "media": { "url": "", "alt": "Rare Area, GCPW, Rehearsal Taping, 4/15/1985 - 10 minute edit / GCPW, Rare Area, 10 minutes", "caption": "Rare Area, GCPW, Rehearsal Taping, 4/15/1985 - 10 minute edit / GCPW, Rare Area, 10 minutes", "link": "https://archive.georgecoates.com/items/RA85-UM-005.html" }, "start_date": { "year": "1985" }, "text": { "headline": "Rare Area, GCPW, Rehearsal Taping, 4/15/1985 - 10 minute edit / GCPW, Rare Area, 10 minutes" } },{ "media": { "url": "", "alt": "Right Mind Act I: 1989 Marc Ream", "caption": "Right Mind Act I: 1989 Marc Ream", "link": "https://archive.georgecoates.com/items/RM89-CS-001.html" }, "start_date": { "year": "1989" }, "text": { "headline": "Right Mind Act I: 1989 Marc Ream" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/RM89%20-%20Right%20Mind_thumbnail.png", "alt": "SF Arts All Over the Map: Right Mind (1989)", "caption": "SF Arts All Over the Map: Right Mind (1989)", "link": "https://archive.georgecoates.com/items/RM89-VH-001.html" }, "start_date": { "year": "1989" }, "text": { "headline": "SF Arts All Over the Map: Right Mind (1989)" } },{ "media": { "url": "", "alt": "Seehear (1983) completed the “How Trilogy” in summer 1984 at Zellerbach Hall in Berkeley. Structured around the conventions of a chamber concert, the production featured a thirteen-member ensemble, conductor Roger Nelson, singers John Duykers, Rinde Eckert, and Tomasa Eckert, and mime Hitomi Ikuma.\nThe work began as a formal concert: musicians tuned their instruments, the conductor entered, and the audience applauded. As the overture progressed, screens and borders descended around the orchestra, forming a projected enclosure whose colors and patterns gradually covered the musicians and made them appear to dissolve into their surroundings. Singers and performers appeared high above the orchestra amid images of ancient rock carvings, while the conductor performed from a revolving tripod that allowed him to turn upside down or lie horizontally. A projected chess game appeared to float overhead. The finale transformed the expected grand operatic conclusion into a disappearing act: the orchestra continued playing as the front of the stage lowered the musicians into the pit, while the performers waved goodbye from above. Seehear closes the trilogy with an image of performers, music, projected light, and stage architecture merging into a single environment.", "caption": "SeeHear - edited selections", "link": "https://archive.georgecoates.com/items/SH83-UM-001.html" }, "start_date": { "year": "1984" }, "text": { "headline": "SeeHear - edited selections", "text": "Seehear (1983) completed the “How Trilogy” in summer 1984 at Zellerbach Hall in Berkeley. Structured around the conventions of a chamber concert, the production featured a thirteen-member ensemble, conductor Roger Nelson, singers John Duykers, Rinde Eckert, and Tomasa Eckert, and mime Hitomi Ikuma.\nThe work began as a formal concert: musicians tuned their instruments, the conductor entered, and the audience applauded. As the overture progressed, screens and borders descended around the orchestra, forming a projected enclosure whose colors and patterns gradually covered the musicians and made them appear to dissolve into their surroundings. Singers and performers appeared high above the orchestra amid images of ancient rock carvings, while the conductor performed from a revolving tripod that allowed him to turn upside down or lie horizontally. A projected chess game appeared to float overhead. The finale transformed the expected grand operatic conclusion into a disappearing act: the orchestra continued playing as the front of the stage lowered the musicians into the pit, while the performers waved goodbye from above. Seehear closes the trilogy with an image of performers, music, projected light, and stage architecture merging into a single environment." } },{ "media": { "url": "https://i.vimeocdn.com/video/2191655983-3248d46070d8bc03885617ab41ea3c93a2ee3c4225028bde18e9df70826f15bd-d_1920x1080", "alt": "Seehear (1984) completed the “How Trilogy” in summer 1984 at Zellerbach Hall in Berkeley. Structured around the conventions of a chamber concert, the production featured a thirteen-member ensemble, conductor Roger Nelson, singers John Duykers, Rinde Eckert, and Tomasa Eckert, and mime Hitomi Ikuma.\nThe work began as a formal concert: musicians tuned their instruments, the conductor entered, and the audience applauded. As the overture progressed, screens and borders descended around the orchestra, forming a projected enclosure whose colors and patterns gradually covered the musicians and made them appear to dissolve into their surroundings. Singers and performers appeared high above the orchestra amid images of ancient rock carvings, while the conductor performed from a revolving tripod that allowed him to turn upside down or lie horizontally. A projected chess game appeared to float overhead. The finale transformed the expected grand operatic conclusion into a disappearing act: the orchestra continued playing as the front of the stage lowered the musicians into the pit, while the performers waved goodbye from above. Seehear closes the trilogy with an image of performers, music, projected light, and stage architecture merging into a single environment.", "caption": "SeeHear excerpts 11:30 edit, Zellerbach Auditorium - 5/5/1984 / SeeHear Excerpts", "link": "https://archive.georgecoates.com/items/SH83-UM-002.html" }, "start_date": { "year": "1984" }, "text": { "headline": "SeeHear excerpts 11:30 edit, Zellerbach Auditorium - 5/5/1984 / SeeHear Excerpts", "text": "Seehear (1984) completed the “How Trilogy” in summer 1984 at Zellerbach Hall in Berkeley. Structured around the conventions of a chamber concert, the production featured a thirteen-member ensemble, conductor Roger Nelson, singers John Duykers, Rinde Eckert, and Tomasa Eckert, and mime Hitomi Ikuma.\nThe work began as a formal concert: musicians tuned their instruments, the conductor entered, and the audience applauded. As the overture progressed, screens and borders descended around the orchestra, forming a projected enclosure whose colors and patterns gradually covered the musicians and made them appear to dissolve into their surroundings. Singers and performers appeared high above the orchestra amid images of ancient rock carvings, while the conductor performed from a revolving tripod that allowed him to turn upside down or lie horizontally. A projected chess game appeared to float overhead. The finale transformed the expected grand operatic conclusion into a disappearing act: the orchestra continued playing as the front of the stage lowered the musicians into the pit, while the performers waved goodbye from above. Seehear closes the trilogy with an image of performers, music, projected light, and stage architecture merging into a single environment." } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/SH83-VH-001%20%7C%20SeeHear%20Excerpts_thumbnail.png", "alt": "Seehear (1983) completed the “How Trilogy” in summer 1984 at Zellerbach Hall in Berkeley. Structured around the conventions of a chamber concert, the production featured a thirteen-member ensemble, conductor Roger Nelson, singers John Duykers, Rinde Eckert, and Tomasa Eckert, and mime Hitomi Ikuma.\nThe work began as a formal concert: musicians tuned their instruments, the conductor entered, and the audience applauded. As the overture progressed, screens and borders descended around the orchestra, forming a projected enclosure whose colors and patterns gradually covered the musicians and made them appear to dissolve into their surroundings. Singers and performers appeared high above the orchestra amid images of ancient rock carvings, while the conductor performed from a revolving tripod that allowed him to turn upside down or lie horizontally. A projected chess game appeared to float overhead. The finale transformed the expected grand operatic conclusion into a disappearing act: the orchestra continued playing as the front of the stage lowered the musicians into the pit, while the performers waved goodbye from above. Seehear closes the trilogy with an image of performers, music, projected light, and stage architecture merging into a single environment.", "caption": "SeeHear Excerpts", "link": "https://archive.georgecoates.com/items/SH83-VH-001.html" }, "start_date": { "year": "1984" }, "text": { "headline": "SeeHear Excerpts", "text": "Seehear (1983) completed the “How Trilogy” in summer 1984 at Zellerbach Hall in Berkeley. Structured around the conventions of a chamber concert, the production featured a thirteen-member ensemble, conductor Roger Nelson, singers John Duykers, Rinde Eckert, and Tomasa Eckert, and mime Hitomi Ikuma.\nThe work began as a formal concert: musicians tuned their instruments, the conductor entered, and the audience applauded. As the overture progressed, screens and borders descended around the orchestra, forming a projected enclosure whose colors and patterns gradually covered the musicians and made them appear to dissolve into their surroundings. Singers and performers appeared high above the orchestra amid images of ancient rock carvings, while the conductor performed from a revolving tripod that allowed him to turn upside down or lie horizontally. A projected chess game appeared to float overhead. The finale transformed the expected grand operatic conclusion into a disappearing act: the orchestra continued playing as the front of the stage lowered the musicians into the pit, while the performers waved goodbye from above. Seehear closes the trilogy with an image of performers, music, projected light, and stage architecture merging into a single environment." } },{ "media": { "url": "", "alt": "Twisted Pairs Show 1-26-1996", "caption": "Twisted Pairs Show 1-26-1996", "link": "https://archive.georgecoates.com/items/TP97-BC-001.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Twisted Pairs Show 1-26-1996" } },{ "media": { "url": "", "alt": "Twisted Pairs | January 19th 1996", "caption": "Twisted Pairs | January 19th 1996", "link": "https://archive.georgecoates.com/items/TP97-CS-001.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Twisted Pairs | January 19th 1996" } },{ "media": { "url": "", "alt": "Twisted Pairs | 12/20/1995 Tape 1 of 1", "caption": "Twisted Pairs | 12/20/1995 Tape 1 of 1", "link": "https://archive.georgecoates.com/items/TP97-CS-003.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Twisted Pairs | 12/20/1995 Tape 1 of 1" } },{ "media": { "url": "", "alt": "Twisted Pairs (1-17-1996)", "caption": "Twisted Pairs (1-17-1996)", "link": "https://archive.georgecoates.com/items/TP97-CS-004.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Twisted Pairs (1-17-1996)" } },{ "media": { "url": "", "alt": "Twisted Pairs - 2/2/1996", "caption": "Twisted Pairs - 2/2/1996", "link": "https://archive.georgecoates.com/items/TP97-CS-005.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Twisted Pairs - 2/2/1996" } },{ "media": { "url": "", "alt": "23 Jan 1996 Twisted Pairs", "caption": "23 Jan 1996 Twisted Pairs", "link": "https://archive.georgecoates.com/items/TP97-CS-006.html" }, "start_date": { "year": "1996" }, "text": { "headline": "23 Jan 1996 Twisted Pairs" } },{ "media": { "url": "", "alt": "12-22-1995 - Twisted Pairs", "caption": "12-22-1995 - Twisted Pairs", "link": "https://archive.georgecoates.com/items/TP97-CS-007.html" }, "start_date": { "year": "1995" }, "text": { "headline": "12-22-1995 - Twisted Pairs" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/TP95-VH-001%20%7C%20Twisted%20Pairs%20Audition%2C%20July%2031st%2C%201995%2C%20Teleprompter%20Reading_001_thumbnail.png", "alt": "Twisted Pairs Audition | July 31, 1995", "caption": "Twisted Pairs Audition | July 31, 1995", "link": "https://archive.georgecoates.com/items/TP97-VH-001.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Twisted Pairs Audition | July 31, 1995" } },{ "media": { "url": "", "alt": "Synergy Teleprompter | Sept 11, 1995", "caption": "Synergy Teleprompter | Sept 11, 1995", "link": "https://archive.georgecoates.com/items/TP97-VH-002.html" }, "start_date": { "year": "1995" }, "text": { "headline": "Synergy Teleprompter | Sept 11, 1995" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/TP95-VH-003%20-%20Twisted%20Pairs%2C%2012%3A06%3A1995%20and%2001%3A15%3A1996_001_thumbnail.png", "alt": "Twisted Pairs: 12/06/95 & 01/15/96", "caption": "Twisted Pairs: 12/06/95 & 01/15/96", "link": "https://archive.georgecoates.com/items/TP97-VH-003.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Twisted Pairs: 12/06/95 & 01/15/96" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/TP95-VH-005%20-%20Twisted%20Pairs%20Intermission%20Source%20Tape_001_thumbnail.png", "alt": "Source Tape / Intermission | Mar 6, 1996", "caption": "Source Tape / Intermission | Mar 6, 1996", "link": "https://archive.georgecoates.com/items/TP97-VH-005.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Source Tape / Intermission | Mar 6, 1996" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/TP95-VH-006%20-%20Twisted%20Pairs%20%232%20%7C%20January%2024th%201996_001_thumbnail.png", "alt": "Show #2 | Jan 24, 1996", "caption": "Show #2 | Jan 24, 1996", "link": "https://archive.georgecoates.com/items/TP97-VH-006.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Show #2 | Jan 24, 1996" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/TP95%3DVH-007%20%7C%20Twisted%20Pairs%20Redub%20February%2014th%201996_001_thumbnail.png", "alt": "Redub | Feb 14, 1996", "caption": "Redub | Feb 14, 1996", "link": "https://archive.georgecoates.com/items/TP97-VH-007.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Redub | Feb 14, 1996" } },{ "media": { "url": "", "alt": "Show Tape | Dec 14, 1996", "caption": "Show Tape | Dec 14, 1996", "link": "https://archive.georgecoates.com/items/TP97-VH-009.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Show Tape | Dec 14, 1996" } },{ "media": { "url": "", "alt": "Excerpts from Jan–Feb 1996", "caption": "Excerpts from Jan–Feb 1996", "link": "https://archive.georgecoates.com/items/TP97-VH-010.html" }, "start_date": { "year": "1996" }, "text": { "headline": "Excerpts from Jan–Feb 1996" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/UYA00-VH-001_thumbnail.png", "alt": "Up Your Ass World Premiere", "caption": "Up Your Ass World Premiere", "link": "https://archive.georgecoates.com/items/UYA00-VH-001.html" }, "start_date": { "year": "2000" }, "text": { "headline": "Up Your Ass World Premiere" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/UYA00-VH-002_thumbnail.png", "alt": "Spark! Interview / Raw Footage", "caption": "Spark! Interview / Raw Footage", "link": "https://archive.georgecoates.com/items/UYA00-VH-002.html" }, "start_date": { "year": "2000" }, "text": { "headline": "Spark! Interview / Raw Footage" } },{ "media": { "url": "", "alt": "Waiting For Godot: Tape 2 | February 23rd, 1993", "caption": "Waiting For Godot: Tape 2 | February 23rd, 1993", "link": "https://archive.georgecoates.com/items/WG93-CS-001.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Waiting For Godot: Tape 2 | February 23rd, 1993" } },{ "media": { "url": "", "alt": "Waiting for Godot Tape 1 | February 23rd 1993", "caption": "Waiting for Godot Tape 1 | February 23rd 1993", "link": "https://archive.georgecoates.com/items/WG93-CS-004.html" }, "start_date": { "year": "1993" }, "text": { "headline": "Waiting for Godot Tape 1 | February 23rd 1993" } },{ "media": { "url": "", "alt": "The Way of How premiered at the San Francisco International Theatre Festival in September 1981 and later toured throughout the United States and Europe, including a 1983 presentation in the Brooklyn Academy of Music’s Next Wave series. It was the first work in George Coates’ “How Trilogy,” created with composer Paul Dresher, tenor singers Rinde Eckert and John Duykers, and mime Leonard Pitt.\nDescribed by Coates as a “reverie,” the performance followed four distinct figures as they explored an environment of tubes, poles, hoops, mirrors, hand trucks, and other elemental objects. The performers transformed these materials into musical instruments, sculptural forms, and visual events: tubes became pitched percussion instruments, hoops became horns, and two descending poles appeared to carry the singers’ voices into the mime’s body. The work used operatic excerpts, musical games, monologues—including a “To B” sequence of composers whose names begin with B—and live vocal looping. Its scenes centered on discovery, tentative alliances, and the changing relationships among performers, objects, sound, and space.", "caption": "The Way of How 12 min 46 seconds", "link": "https://archive.georgecoates.com/items/WH80-UM-001.html" }, "start_date": { "year": "1980" }, "text": { "headline": "The Way of How 12 min 46 seconds", "text": "The Way of How premiered at the San Francisco International Theatre Festival in September 1981 and later toured throughout the United States and Europe, including a 1983 presentation in the Brooklyn Academy of Music’s Next Wave series. It was the first work in George Coates’ “How Trilogy,” created with composer Paul Dresher, tenor singers Rinde Eckert and John Duykers, and mime Leonard Pitt.\nDescribed by Coates as a “reverie,” the performance followed four distinct figures as they explored an environment of tubes, poles, hoops, mirrors, hand trucks, and other elemental objects. The performers transformed these materials into musical instruments, sculptural forms, and visual events: tubes became pitched percussion instruments, hoops became horns, and two descending poles appeared to carry the singers’ voices into the mime’s body. The work used operatic excerpts, musical games, monologues—including a “To B” sequence of composers whose names begin with B—and live vocal looping. Its scenes centered on discovery, tentative alliances, and the changing relationships among performers, objects, sound, and space." } },{ "media": { "url": "https://i.vimeocdn.com/video/2191654620-b9fb4720dee398df8e4adac1814ee0197b5cc2781998fd7691ddc2f820f7335b-d_1920x1080", "alt": "The Way of How premiered at the San Francisco International Theatre Festival in September 1981 and later toured throughout the United States and Europe, including a 1983 presentation in the Brooklyn Academy of Music’s Next Wave series. It was the first work in George Coates’ “How Trilogy,” created with composer Paul Dresher, tenor singers Rinde Eckert and John Duykers, and mime Leonard Pitt.\nDescribed by Coates as a “reverie,” the performance followed four distinct figures as they explored an environment of tubes, poles, hoops, mirrors, hand trucks, and other elemental objects. The performers transformed these materials into musical instruments, sculptural forms, and visual events: tubes became pitched percussion instruments, hoops became horns, and two descending poles appeared to carry the singers’ voices into the mime’s body. The work used operatic excerpts, musical games, monologues—including a “To B” sequence of composers whose names begin with B—and live vocal looping. Its scenes centered on discovery, tentative alliances, and the changing relationships among performers, objects, sound, and space.", "caption": "The Way of How", "link": "https://archive.georgecoates.com/items/WH80-UM-002.html" }, "start_date": { "year": "1980" }, "text": { "headline": "The Way of How", "text": "The Way of How premiered at the San Francisco International Theatre Festival in September 1981 and later toured throughout the United States and Europe, including a 1983 presentation in the Brooklyn Academy of Music’s Next Wave series. It was the first work in George Coates’ “How Trilogy,” created with composer Paul Dresher, tenor singers Rinde Eckert and John Duykers, and mime Leonard Pitt.\nDescribed by Coates as a “reverie,” the performance followed four distinct figures as they explored an environment of tubes, poles, hoops, mirrors, hand trucks, and other elemental objects. The performers transformed these materials into musical instruments, sculptural forms, and visual events: tubes became pitched percussion instruments, hoops became horns, and two descending poles appeared to carry the singers’ voices into the mime’s body. The work used operatic excerpts, musical games, monologues—including a “To B” sequence of composers whose names begin with B—and live vocal looping. Its scenes centered on discovery, tentative alliances, and the changing relationships among performers, objects, sound, and space." } },{ "media": { "url": "", "alt": "The Way of How premiered at the San Francisco International Theatre Festival in September 1981 and later toured throughout the United States and Europe, including a 1983 presentation in the Brooklyn Academy of Music’s Next Wave series. It was the first work in George Coates’ “How Trilogy,” created with composer Paul Dresher, tenor singers Rinde Eckert and John Duykers, and mime Leonard Pitt.\nDescribed by Coates as a “reverie,” the performance followed four distinct figures as they explored an environment of tubes, poles, hoops, mirrors, hand trucks, and other elemental objects. The performers transformed these materials into musical instruments, sculptural forms, and visual events: tubes became pitched percussion instruments, hoops became horns, and two descending poles appeared to carry the singers’ voices into the mime’s body. The work used operatic excerpts, musical games, monologues—including a “To B” sequence of composers whose names begin with B—and live vocal looping. Its scenes centered on discovery, tentative alliances, and the changing relationships among performers, objects, sound, and space.", "caption": "The Way of How, 60 minutes", "link": "https://archive.georgecoates.com/items/WH80-UM-003.html" }, "start_date": { "year": "1980" }, "text": { "headline": "The Way of How, 60 minutes", "text": "The Way of How premiered at the San Francisco International Theatre Festival in September 1981 and later toured throughout the United States and Europe, including a 1983 presentation in the Brooklyn Academy of Music’s Next Wave series. It was the first work in George Coates’ “How Trilogy,” created with composer Paul Dresher, tenor singers Rinde Eckert and John Duykers, and mime Leonard Pitt.\nDescribed by Coates as a “reverie,” the performance followed four distinct figures as they explored an environment of tubes, poles, hoops, mirrors, hand trucks, and other elemental objects. The performers transformed these materials into musical instruments, sculptural forms, and visual events: tubes became pitched percussion instruments, hoops became horns, and two descending poles appeared to carry the singers’ voices into the mime’s body. The work used operatic excerpts, musical games, monologues—including a “To B” sequence of composers whose names begin with B—and live vocal looping. Its scenes centered on discovery, tentative alliances, and the changing relationships among performers, objects, sound, and space." } },{ "media": { "url": "", "alt": "Wittgenstein Opening - January 28th, 1998", "caption": "Wittgenstein Opening - January 28th, 1998", "link": "https://archive.georgecoates.com/items/WT98-CS-001.html" }, "start_date": { "year": "1998" }, "text": { "headline": "Wittgenstein Opening - January 28th, 1998" } },{ "media": { "url": "", "alt": "Wittgenstein on Mars Opening | January 28th, 1998", "caption": "Wittgenstein on Mars Opening | January 28th, 1998", "link": "https://archive.georgecoates.com/items/WT98-CS-003.html" }, "start_date": { "year": "1998" }, "text": { "headline": "Wittgenstein on Mars Opening | January 28th, 1998" } },{ "media": { "url": "", "alt": "Wittgenstein On Mars - January 23rd 1998", "caption": "Wittgenstein On Mars - January 23rd 1998", "link": "https://archive.georgecoates.com/items/WT98-CS-004.html" }, "start_date": { "year": "1998" }, "text": { "headline": "Wittgenstein On Mars - January 23rd 1998" } },{ "media": { "url": "", "alt": "Wittgenstein on Mars 2/3/1998", "caption": "Wittgenstein on Mars 2/3/1998", "link": "https://archive.georgecoates.com/items/WT98-CS-005.html" }, "start_date": { "year": "1998" }, "text": { "headline": "Wittgenstein on Mars 2/3/1998" } },{ "media": { "url": "", "alt": "Wittgenstein on Mars - 1/30/1997", "caption": "Wittgenstein on Mars - 1/30/1997", "link": "https://archive.georgecoates.com/items/WT98-CS-006.html" }, "start_date": { "year": "1977" }, "text": { "headline": "Wittgenstein on Mars - 1/30/1997" } },{ "media": { "url": "https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/WT98-VH-001%20-%20Wittgenstein%20on%20Mars%20March%201998_001_thumbnail.png", "alt": "Wittgenstein: On Mars | March 1998", "caption": "Wittgenstein: On Mars | March 1998", "link": "https://archive.georgecoates.com/items/WT98-VH-001.html" }, "start_date": { "year": "1998" }, "text": { "headline": "Wittgenstein: On Mars | March 1998" } } ] }