An ambitious new project by New York-based Peter Burr, CAVE EXITS is a multimedia narrative set inside a 4-channel video cube. Recalling the way we interact with online media – clicking, zooming, scrolling – it turns the visual archetype of the labyrinth into a circuit board for lost, anxious feelings. By Peter Burr in collaboration with Porpentine (text and story), John Also Bennett (music and sound), Mike Heavers (software engineering), Brandon Blommaert (animation), Brenna Murphy (animation), Developed at 3LD Art & Technology Center as a project of The 3-Legged Dog Liminal Stage Residency Program. Learn more here.
3-Legged Dog Special Projects Group
As a creative service provider for government, large-scale and commercial projects, the 3LD Special Projects Group has singular access to the best talent and unique methods that allow us to maximize value at whatever budget level a commissioned or commercial project allows. Learn more HERE.
3-Legged Dog joins QA Ring
3-Legged Dog is proud to join Taiwan's Ministry of Culture, the Quanta Arts Foundation, Ars Electronica and Culture Yard in the creation and establishment of an ongoing development and touring consortium. Learn more at QA Ring.
This is an image of the 3-Legged Dog original production Fire Island. Like many of our productions, Fire Island was developed in a multi-step process. Starting with a five camera simultaneous glide-cam film shoot on location on Fire Island, with a cast and crew of 102, and ending with a completely immersive surround performance installation in Studio A. We even flew Tuvan rocker and shaman Albert Kuvezin in from Mongolia to front our live band. Check out some more of our production history on our 3-Legged Dog Production Archive
Arts & Technology
This is an example of some of the intuitive interactive art we create and encourage. We prefer interactive art that is triggered by everyday human activity without helmets, headsets or surgically implanted jacks.
This still from our co-production with Affinity Company Theater of Sheila Schwarz’s Spy Garbo looks spooky, but really, it's just a full-stage holographic image. Using Musion's Eyeliner™ in combination with panoramic multi projector design, we create custom solutions for organizations, artists and productions breaking into the arts of the future, no longer bound by the laws of nature.
TroikaTronix & Isadora
What ties all of our technology and playback together can be summed up in one-word: Isadora. Isadora is real time cueing and audio / visual performance tool that has the ability to communicate with endless devices; software and hardware. DMX, Midi, Infrared: you name it. One 100% customizable interface to tie together both the static and the interactive elements. It's obvious that we love it and you should try it out, too.
Show control for the future designed by Mark Coniglio.
Non-Profit Arts surpasses cultural tourism and rivals the TV and Film industry in combined economic impact. Lower Manhattan’s shift from financial center to a residential neighborhood requires grassroots community cultural development. The arts and culture generated by non-profits are the international face of New York City. Media and technology development are our future. Recent studies also show that an artistic ecosystem has a much broader and more rapidly accelerating effect on community than one central large-scale arts facility. 3LD has already begun turning Lower Manhattan into a 24/7 neighborhood. We bring major institutions like Columbia University, NYU, The New Yorker Festival, Under the Radar and The Public Theater as well as 300,000 audience members and 700 artists year from 23 countries to a formerly blighted neighborhood.
The artists who run 3LD have created a new kind of facility focused on a cooperative international community of artists; on rethinking how resources are gathered, distributed and used; on new technologies and methods that help artists to do MORE with LESS. We have virtually eliminated the cost of equipment by working cooperatively with our residents on everything from production planning to fundraising. We do this in order to mitigate the cost of space so that more money goes to making art and to paying artists. We have seen productions double their scale, artist pay, and audience share while decreasing costs 30- 60%.