Collection Timeline

19 to 2004

19
Enhanced Master, Thursday, Actual Sho, Palace of Fine Arts Theatre
Wittgenstein on Mars - 1/30/1997
The Way of How 12 min 46 seconds
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. Described 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.
The Way of How, 60 minutes
Are Are - Preshow Music, Friday 2nd Show, Aftershow, Monday March 28th 2nd show
Are/Are Edit '22
Are/Are
KPFA: Spalding Gray and George Coates - August 9th 1982
Urban Arts & Politics Workshop | 1982
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. The 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
Are Are Radio Edit
Are Are
International Theatre (George Coates) | 12-17-1983
Marc Ream Music Application, 1984
SeeHear - edited selections
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. The 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.
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. The 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.
Steve Reich: The Desert Music Excerpt Part 4
Steve Reich: The Desert Music Excerpt Part 5
The Desert Music: NYPL Lincoln Archives
Meantime Excerpts, 30-60-90 second shots, August 18th, 1985, New Performance Gallery SF
Enhanced Master, Meantime - Sunday, 8-18-1985
Rare Area Tape 2
Rare Area Tape 3
Rare Area Tape 1
Rare Area Tape 5
Rare Area Tape 4
GCPW Rehearsal - Tape #3 | January 18th 1985
Dub - Tape 1 of 2 - GCPW Rare Area - 6/28/1985
Dub - Tape 2 of 2 - GCPW Rare Area - 6/28/1985 / Dub from Master - Rare Area Tape 2 of 2
Rare Area, GCPW, Rehearsal Taping, 4/15/1985 - 10 minute edit / GCPW, Rare Area, 10 minutes
Rare Area Commercials (for LA) - 1986 - Negativland
Actual Sho 4 Sunday Closeups
Actual Sho Closeups - Friday 1/6/1989 - Tape 4
Actual Sho Closeups - Friday 1/6/1989 - Tape 3
Actual Sho Closeups - Friday 1/6/1989 - Tape 4 (1987)
Actual Sho Sunday Closeups #2
Actual Sho Sunday Closeups #3
Actual Sho, Thursday. 8-13-87 - Palace of Fine Arts Theatre
KQED Piece on Actual Sho, John Rozcak
Actual Sho Sample, Reel 1,Sat Wide Sunday Closeups
Actual Sho, Friday Night Dob from 3/4 SP Originals
Actual Sho, Sunday Closeups from Side Tapes 2-4
Actual Shō (Sample)
Actual Sho GCPW Art Notes KQED-TV Sam Francisco, October 25th, 1987
Worldnet 486, Euronet 261 September 15t, 1987 Guests: Coates/Osborne/Marx, Producers: K. Sale and M. Poulard
George Coates Performance Works, Art Notes KQED-TV | October 25th, 1987
George & Steve Jobs - 4/27/1988
GCPW Video Images | 1989
Right Mind Act I: 1989 Marc Ream
SF Arts All Over the Map: Right Mind (1989)
The Architecture of Catastrophic Change
The Architecture of Catastrophic Change Official Soundtrack by Marc Ream
The Architecture of Catastrophic Change Revised KKSF 1@60
Music by Barbara Imhoff 1990
Auditions - 12/8/1991
March 12th, 1991 Rehearsal
GCPW: NPR Broadcast Morning Edition | December 22nd, 1992
Bernard Weiner Show, KPFA 1/10/1992
Invisible Site - 1992, George Coates Performance Works
Invisible Site 30 Second Spot with Titles
Invisible Site Bob Powell Titles
Invisible Site with Titles, 30 Seconds / 15 Seconds / GCPW Invisible Site 1992 - 15 seconds with Work Titles
Invisible Site, 15 Seconds, 30 Second Spots
Invisible Site Sample (1992)
Channel Surfing Rehearsal Tape #1, Screens 1-3 | October 15th, 1993
Box Conspiracy 11/27/1993 Act 1
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."
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."
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."
LBMAVIDEO - George Coates Performance Works Profile by Cathleen Kane and Joe Leonardi
GCPW Profile | LBMA
Intermedia Conference 1993
July 29th, 1993 | Evening Rehearsals
Waiting For Godot: Tape 2 | February 23rd, 1993
Waiting for Godot Tape 1 | February 23rd 1993
Act II Finale - Nowhere Nowhere | March 5th 1994
Act 2 Finale Shorter: (Nowhere Nowhere?) | March 5th, 1994
Audition 6/28/1995
Better Bad News Rehearsal | November 11 1995
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.
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.
Forum: Art & Technology - KQED-FM | February 24th, 1995
Channel 7 @ 6PM | Aug 15, 1995
GCPW Rehearsal Tape 1-18-1995 Tape 1
GCPW Rehearsal Tape 1-18-1995 Tape 2
The Memory Project | 1995
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. At 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.
Twisted Pairs | 12/20/1995 Tape 1 of 1
12-22-1995 - Twisted Pairs
Twisted Pairs Audition | July 31, 1995
Synergy Teleprompter | Sept 11, 1995
20/20 Blake Sao Paulo Brazil, 8/5/1996
2020 Blake Rehearsal | 7-19-1996
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. 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.
Passion! KPFA 6/2/1996
CA Retro World 1996
Twisted Pairs Show 1-26-1996
Twisted Pairs | January 19th 1996
Twisted Pairs (1-17-1996)
Twisted Pairs - 2/2/1996
23 Jan 1996 Twisted Pairs
Twisted Pairs: 12/06/95 & 01/15/96
Source Tape / Intermission | Mar 6, 1996
Show #2 | Jan 24, 1996
Redub | Feb 14, 1996
Show Tape | Dec 14, 1996
Excerpts from Jan–Feb 1996
2020 Blake Rehearsal 8/13/1997
20/20 Blake Music
2020 Blake Compilation CHRON
2020 blake
KQED on 2020 Blake | January 31st, 1997
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. 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.
2020 Blake (Sample)*
2020 Blake Sao Paulo, Brazil - September 5th 1998
Blind Messenger Audio Compilation | June 12th, 1998
San Jose Taiko Group | 1998
Wittgenstein Opening - January 28th, 1998
Wittgenstein on Mars Opening | January 28th, 1998
Wittgenstein On Mars - January 23rd 1998
Wittgenstein on Mars 2/3/1998
Wittgenstein: On Mars | March 1998
Berkeley Mock City Council | May 4, 1999 (1/2)
Berkeley Mock City Council | May 4, 1999 (2/2)
Mock City Council | Mar 21, 1999
Mock City Council Rehearsal | Mar 28, 1999
Mock City Council Rehearsal | Apr 11, 1999

1977
Wittgenstein on Mars - 1/30/1997

1980
The Way of How 12 min 46 seconds
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. Described 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.
The Way of How, 60 minutes

1982
Are Are - Preshow Music, Friday 2nd Show, Aftershow, Monday March 28th 2nd show
Are/Are Edit '22
Are/Are
KPFA: Spalding Gray and George Coates - August 9th 1982
Urban Arts & Politics Workshop | 1982

1983
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. The 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
Are Are Radio Edit
Are Are
International Theatre (George Coates) | 12-17-1983

1984
Marc Ream Music Application, 1984
SeeHear - edited selections
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. The 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.
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. The 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.

1985
Steve Reich: The Desert Music Excerpt Part 4
Steve Reich: The Desert Music Excerpt Part 5
The Desert Music: NYPL Lincoln Archives
Meantime Excerpts, 30-60-90 second shots, August 18th, 1985, New Performance Gallery SF
Enhanced Master, Meantime - Sunday, 8-18-1985
Rare Area Tape 2
Rare Area Tape 3
Rare Area Tape 1
Rare Area Tape 5
Rare Area Tape 4
GCPW Rehearsal - Tape #3 | January 18th 1985
Dub - Tape 1 of 2 - GCPW Rare Area - 6/28/1985
Dub - Tape 2 of 2 - GCPW Rare Area - 6/28/1985 / Dub from Master - Rare Area Tape 2 of 2
Rare Area, GCPW, Rehearsal Taping, 4/15/1985 - 10 minute edit / GCPW, Rare Area, 10 minutes

1986
Rare Area Commercials (for LA) - 1986 - Negativland

1987
Actual Sho 4 Sunday Closeups
Actual Sho Closeups - Friday 1/6/1989 - Tape 4
Actual Sho Closeups - Friday 1/6/1989 - Tape 3
Actual Sho Closeups - Friday 1/6/1989 - Tape 4 (1987)
Actual Sho Sunday Closeups #2
Actual Sho Sunday Closeups #3
Actual Sho, Thursday. 8-13-87 - Palace of Fine Arts Theatre
KQED Piece on Actual Sho, John Rozcak
Actual Sho Sample, Reel 1,Sat Wide Sunday Closeups
Actual Sho, Friday Night Dob from 3/4 SP Originals
Actual Sho, Sunday Closeups from Side Tapes 2-4
Actual Shō (Sample)
Actual Sho GCPW Art Notes KQED-TV Sam Francisco, October 25th, 1987
Worldnet 486, Euronet 261 September 15t, 1987 Guests: Coates/Osborne/Marx, Producers: K. Sale and M. Poulard
George Coates Performance Works, Art Notes KQED-TV | October 25th, 1987

1988
George & Steve Jobs - 4/27/1988

1989
GCPW Video Images | 1989
Right Mind Act I: 1989 Marc Ream
SF Arts All Over the Map: Right Mind (1989)

1990
The Architecture of Catastrophic Change
The Architecture of Catastrophic Change Official Soundtrack by Marc Ream
The Architecture of Catastrophic Change Revised KKSF 1@60
Music by Barbara Imhoff 1990

1991
Auditions - 12/8/1991
March 12th, 1991 Rehearsal

1992
GCPW: NPR Broadcast Morning Edition | December 22nd, 1992
Bernard Weiner Show, KPFA 1/10/1992
Invisible Site - 1992, George Coates Performance Works
Invisible Site 30 Second Spot with Titles
Invisible Site Bob Powell Titles
Invisible Site with Titles, 30 Seconds / 15 Seconds / GCPW Invisible Site 1992 - 15 seconds with Work Titles
Invisible Site, 15 Seconds, 30 Second Spots
Invisible Site Sample (1992)

1993
Channel Surfing Rehearsal Tape #1, Screens 1-3 | October 15th, 1993
Box Conspiracy 11/27/1993 Act 1
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."
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."
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."
LBMAVIDEO - George Coates Performance Works Profile by Cathleen Kane and Joe Leonardi
GCPW Profile | LBMA
Intermedia Conference 1993
July 29th, 1993 | Evening Rehearsals
Waiting For Godot: Tape 2 | February 23rd, 1993
Waiting for Godot Tape 1 | February 23rd 1993

1994
Act II Finale - Nowhere Nowhere | March 5th 1994
Act 2 Finale Shorter: (Nowhere Nowhere?) | March 5th, 1994

1995
Audition 6/28/1995
Better Bad News Rehearsal | November 11 1995
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.
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.
Forum: Art & Technology - KQED-FM | February 24th, 1995
Channel 7 @ 6PM | Aug 15, 1995
GCPW Rehearsal Tape 1-18-1995 Tape 1
GCPW Rehearsal Tape 1-18-1995 Tape 2
The Memory Project | 1995
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. At 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.
Twisted Pairs | 12/20/1995 Tape 1 of 1
12-22-1995 - Twisted Pairs
Twisted Pairs Audition | July 31, 1995
Synergy Teleprompter | Sept 11, 1995

1996
20/20 Blake Sao Paulo Brazil, 8/5/1996
2020 Blake Rehearsal | 7-19-1996
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. 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.
Passion! KPFA 6/2/1996
CA Retro World 1996
Twisted Pairs Show 1-26-1996
Twisted Pairs | January 19th 1996
Twisted Pairs (1-17-1996)
Twisted Pairs - 2/2/1996
23 Jan 1996 Twisted Pairs
Twisted Pairs: 12/06/95 & 01/15/96
Source Tape / Intermission | Mar 6, 1996
Show #2 | Jan 24, 1996
Redub | Feb 14, 1996
Show Tape | Dec 14, 1996
Excerpts from Jan–Feb 1996

1997
2020 Blake Rehearsal 8/13/1997
20/20 Blake Music
2020 Blake Compilation CHRON
2020 blake
KQED on 2020 Blake | January 31st, 1997
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. 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.
2020 Blake (Sample)*

1998
2020 Blake Sao Paulo, Brazil - September 5th 1998
Blind Messenger Audio Compilation | June 12th, 1998
San Jose Taiko Group | 1998
Wittgenstein Opening - January 28th, 1998
Wittgenstein on Mars Opening | January 28th, 1998
Wittgenstein On Mars - January 23rd 1998
Wittgenstein on Mars 2/3/1998
Wittgenstein: On Mars | March 1998

1999
Berkeley Mock City Council | May 4, 1999 (1/2)
Berkeley Mock City Council | May 4, 1999 (2/2)
Mock City Council | Mar 21, 1999
Mock City Council Rehearsal | Mar 28, 1999
Mock City Council Rehearsal | Apr 11, 1999

2000
Up Your Ass World Premiere
Spark! Interview / Raw Footage

2001
California State of the Arts | 2001

2002
Mock City Council Read-ins August 5th 2002
Berkeley Mock City Council | Aug 9, 2002
Mock City Council 2002
Rehearsal | Aug 16, 2002

2003
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Cafetorium, Night 1, September 3rd, 2003
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.
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.

2004
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.
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.
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.
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.
https://storage.googleapis.com/thegeorgecoatesarchive/gc%20archive%20thumbnails/BBN-VH-024%20-%20BBN%20September%2019th%202004_001_thumbnail.png