Ryan Holsopple / 31 Down (NYC)
dataPurge is the first live exploration of PS122’s Virtual programming which investigates how we create live performance digitally, interactively and beyond the stage.
dataPurge is a live, virtual cleansing of one’s digital life. Clients will undergo data dialysis by monitoring the emotions associated with their online identities using body sensors and brain wave monitors during a live-streamed event. Online viewers can influence client outcomes through an interactive platform – a dataPurge version of group therapy. Upon completion, each client leaves with their soul awakened and ready to re-enter the digital world again with a clean slate.
Online viewing and participation from 11am-11am starting January 15th at https://datapurge.me
24 hours durational
24-Hour Online Participation/Viewing begins January 15th – 11AM
Jan 15 from 7-9pm
FREE; Reservations Recommended
Gibney Dance: Agnes Varis Performing Arts Center
280 Broadway [entrance at 53A chambers], Manhatttan
Ryan Holsopple (31 Down’s Artistic Director/Sound Designer/Programmer) is a creator of performance work and the founder of 31 Down.
Recent projects include: Interaction Design for Mallory Catlett’s This Was The End, The Chocolate Factory, (2014 Bessie Award for Visual Design). Played Kenney in Radiohole’s production of Tom Murrin’s Myth (or Maybe Meth), La Mama, 2014 (Bessie Award Nominee). Associate Video Design for Annie Dorsen’s A Piece of Work, BAM Next Wave 2013, On The Boards, Seattle (2013). Interaction Design for Radiohole’s Inflatable Frankenstein, The Kitchen, January 2013. Interaction Design for Mantra Percussion’s performance of Timber, by Michael Gordon, BAM, December 2012. Programming laser pointer audience interaction for Bill Morrison’s Shooting Gallery, premier at BAM’s Next Wave Festival, November 2012; Plant Interaction Design for Jim Findlay’s Botanica (3LD, 2012).
Ryan was nominated for the 2011 Hewes Design Award for sound design of 31 Down’s Here At Home, presented by the Bushwick Starr. 31 Down was awarded a Best Of New York 2007 by the Village Voice for their interactive telephone murder mystery set in the New York Subway system called Canal Street Station, co-produced by free103point9 Transmission Arts.
Ryan has performed and designed sound for all of 31 Down’s performances including: Here At Home (Bushwick Starr), Red Over Red (Incubator Arts Project), The Assembler Dilator (PS122), That’s Not How Mahler Died (Ontological Theater).
Ryan has taught radio communication at the College of Staten Island and is a graduate of NYU’s Interactive Telecommunications Program.
31 Down is an experimental theater company based in Brooklyn, New York. 31 Down’s work is darkly themed performance with a heavy emphasis on complex sound design, imagery and mood. Custom interactive systems are developed to create and control the performances. Works have been produced in various parts of the performance spectrum, from the stage and location-based shows, to the virtual arena including Internet based work that uses live streaming, chat-rooms, networked surveillance cameras, public telephones and radio transmissions. Works have been presented by The Bushwick Starr, Performance Space 122, the Incubator Arts Project and free103point9 Transmission Arts.
About Gibney Dance
Gibney Dance brings the possibility of movement where it otherwise would not exist. Through three interrelated fields of action—Center, Company, and Community Action—Gibney Dance is “Making Space for Dance” in studios, on stages, and in underserved shelters and schools.
Gibney Dance Centers are a powerhouse of cultural support for the performing arts community and the City itself. In 1991, Gibney Dance began leasing a studio in the historic 890 Broadway building to house Company rehearsals, and by 2011 the organization’s presence at that location had expanded to comprise an expansive eight-studio creative center. Today, with the addition of 280 Broadway, the organization directs a performing arts complex with two facilities: the Choreographic Center at 890 Broadway and Performing Arts Center at 280 Broadway. These remarkable spaces enable a robust roster of events designed to meet the needs of the dance field by fostering the creative process, encouraging dialogue, and providing professional development opportunities.
Gibney Dance Company is the Centers’ acclaimed resident dance ensemble, led by choreographer Gina Gibney. Since its founding in 1991, the Company has developed a repertory of over thirty works that have been performed throughout the US and abroad. Gibney is known for using weighted, spiraling phrases to craft interpersonal dynamics between the dancers. These carefully calibrated relationships reflect the dancers’ experiences as community activists. As observed by writer Deborah Jowitt: “(t)hat Gibney’s troupe has long worked for the empowerment of battered women is reflected in the dancers’ struggles, their uncommon resilience, the support one readily offers another.” Highly sought-after by a wide range of performing arts institutions, the Company has been featured in recent years at Danspace Project (New York), White Bird (Oregon) the Yale Repertory Theater (Connecticut), L’Agora de la Danse (Montreal, Canada), and Internationale Tanzmesse (Dusseldorf, Germany).
Gibney Dance Community Action provides New York City domestic violence shelters with over 500 free movement workshops each year. At these workshops Company members share activities that draw from artistic practices to address issues of choice and self-expression. Community Action was initiated in 2000 in collaboration with Sanctuary for Families and Safe Horizon, two of the country’s most prominent domestic violence organizations. Widely regarded as a model in the field, Community Action’s methods for integrating arts and social action are distributed nationally—via our Institute for Community Action intensive that annually hosts dancers from across the US—and internationally—through Global Community Action Residencies, most recently in Cape Town, South Africa.
dataPurge has been commissioned by PS122 with an exploration grant from the Doris Duke Charitable Foundation for the Building Demand for the Performing Arts Program and is supported in part by an award from the National Endowment for the Arts. Art Works.