Courtesy Thank You Guidelines and Information

Generous support for the Friends of the MCA Stage Pooja and Peter Vukosavich/ As one of the nation’s largest multidisciplinary museums devoted to Courtesy Guidelines 2011–12 season of MCA Stage Studio V Design the art of our time, the Museum of Contemporary Art offers and Information is provided by Elizabeth A. Amphion Foundation, Inc. The Weasel Fund exhibitions of the most thought-provoking art of today. The museum’s Liebman, David Herro and Jay Katherine A. Abelson and Angel Ysaguirre and Bob Webb Parking Franke, Susan and Lew Manilow, Robert J. Cornell Anonymous performing arts program, MCA Stage, is the most active presenter of Validate your ticket at coat check Ellen Stone Belic, Lois and Janet Alberti and for $11 parking in the MCA garage theater, dance, and music in Chicago, featuring leading performers Steve Eisen and The Eisen Fred Schneider As of September 13, 2011 (220 E. Chicago Avenue) and from around the globe in our 300-seat theater. Bernardin garage (747 N. Wabash). Family Foundation, The Weasel Leigh and Henry Bienen The $11 parking is limited to six Fund, Carol Prins and John The Boeing Company hours on date of performance. Hart/The Jessica Fund, and Teddy Dean Boys Become a Friend of the MCA MCA Stage is committed to presenting groundbreaking performances Richard and Ann Tomlinson. Greg Cameron Stage that focus on collaboration; working closely with artists; converging Lost and found The Consulate General of To inquire about a lost item, with the larger programming of the museum; and offering a contem- Foundation Season Sponsor Poland in Chicago Support the voices and call the museum at 312.280.2660. Pamela Crutchfield visions of our time by porary view of the traditional roots of performance. Unclaimed articles are held for Shawn M. Donnelley and directly investing in the 30 days. Christopher M. Kelly work of living artists. Our Seating Lois and Steve Eisen and Friends of the MCA Stage Mary Ittelson, Performance Programs The Eisen Family Foundation receive exclusive benefits Chair of the Board of Trustees Peter Taub, Director Switch off all noise-making de- Gale and Ric Fischer such as recognition in MCA Madeleine Grynsztein, Yolanda Cesta Cursach, vices while you are in the theater. Pritzker Director Associate Director Official Airline David Herro and Jay Franke Stage program notes, Janet Alberti, Deputy Director Surinder Martignetti, Manager Late arrivals are seated at the Terri and Stephen Geifman exclusive ticket offers, and Chief Operating Officer Kevin Brown, management’s discretion. Food and Bill and Vicki Hood invitations to receptions with Michael Darling, House Management Associate open beverage containers are not Mary E. Ittelson the artists, and access to James W. Alsdorf Chief Curator Alicia Graf, allowed in the seating area. In-Kind Equipment Sponsor Anne and John Kern behind-the-scenes rehearsals. House Management Associate Lisa Yun Lee Performance Committee Eboni Senai Hawkins, Intern Reproduction Unauthorized recording and re- Elizabeth A. Liebman Become a Friend of the MCA Lois Eisen, Chair Susan and Lew Manilow Stage today by calling Katherine A. Abelson Theater Management production of a performance is Nancy Lauter McDougal and 312.397.3864. Ellen Stone Belic Dennis O’Shea, prohibited. Pamela Crutchfield Manager of Technical Production Hotel Partner Fred McDougal Ginger Farley Richard Norwood, Museum of Contemporary Art Chicago Susan Manning and Gale Fischer Theater Production Manager 220 E. Chicago Avenue Doug Doetsch Jay Franke Chicago, Illinois 60611 Maecenas Timothy A. Herwig Box Office mcachicago.org Charles L. Michod and John C. Kern Matti Allison, Manager Susan A. Michod General information 312.280.2660 Lisa Yun Lee Phongtorn Phongluantum, Herbert R. and Paula Molner Elizabeth A. Liebman Assistant Manager Maya Polsky Lewis Manilow Molly Laemle, Coordinator Box office 312.397.4010 Sarai Hoffman and Alfred L. McDougal Sarah Aguirre, Associate Paula Molner Pablo Anaya, Associate Volunteer for performances Stephen Pratt D. Elizabeth Price Angela Lopez, Associate 312.397.4072 Elizabeth Price and Carol Prins [email protected] Lou Yecies Cheryl Seder Carol Prins and John Hart/ Patty Sternberg Contact the Performance department The Jessica Fund [email protected] Richard Tomlinson MCA Chicago is a proud Mr. and Mrs. John Seder Pooja Vukosavich partner of the National Mr. and Mrs. Dan Sternberg Museum hours Performance Network. Tuesday: 10 am–8 pm Mr. & Mrs. Thomas C. Wednesday–Sunday: 10am–5pm Sheffield Jr. Program notes compiled by Closed Mondays, Thanksgiving, Ms. Patricia F. Sternberg Yolanda Cesta Cursach Christmas, and New Year’s Day Ellen Stone Belic Richard and Ann Tomlinson remixed/ Lucky Plush Productions reimagined Season Supporters

On June 23, 2011, MCA Chicago Sylvia Neil and Dan Fischel Lisa M. Key and Kevin Lint The Better Half Supporters Linda & Tome Heagy Bobbie and Sheldon Zabel celebrated the achievements of Joseph G. Nicholas Foundation Suzanne Lovell, Inc. Audience Architects’ MetLife Christine Huge Susan Zimmer MCA Stage with the remixed/ Donna and Howard Stone Stephen and Karen Malkin New Stages in Dance Mary Ialongo reimagined Performance Jamie and Rob Taylor Susan Manning and The Boeing Company The Joyce Family Lucky Plush Productions is a The Elizabeth F. Cheney Foundation Jason Kaiser nonprofit organization. Your Benefit. This innovative Danielle and Martin E. Doug Doetsch Clarice Smith Performing Bethany Kaufmann and family contributions are greatly appreci- evening was cochaired by MCA Zimmerman Barbara and Kent Manning Arts Center Barbara Koenen ated and are tax deductible to Trustee Sara Albrecht and MCA Marquis and Pamela Miller The Richard H. Driehaus Foundation Jeanne Kramer-Smyth the extent allowed by law. Performance Committee member Spotlight Supporters Herbert R. and Paula Molner Museum of Contemporary Chris Lahann Jay Franke. Our sincere Katherine A. Abelson and Abby O’Neil Art Chicago Jo Ann Larimore Lucky Plush Productions thanks to all who contributed Robert J. Cornell Terry and Cynthia Perucca National Performance Network Katie & Jason Leander 301 Olmsted Road to the event and to all who Jennifer Aubrey Maya Polsky and Creation Fund Mary Lebbin Riverside, IL 60546 continue to support MCA Stage Leigh and Henry Bienen Nicholas Bridon New England Foundation for the Becca Lemme 773.862.9484 in its 15th season. Julie and Larry Bernstein Elizabeth Price and Arts’ National Dance Project Marcia and Virginia Lohner luckyplush.com James Lupo StealThisDance.com Deborah A. Bricker Lou Yecies Foundation, Government & Jessie Marasa remixed/reimagined Host Suzette and Sally and Ellis Regenbogen Corporate Supporters Jennifer Meek Lucky Plush Board of Directors Committee Allan E. Bulley III Cheryl and John Seder Alphawood Foundation Raquel Monroe Elaine Adams, President Evening Benefactors Maureen and Scott Byron Irving Stenn, Jr. Gaylord & Dorothy Donneley Martha Mulligan and Johan Tabora Marcia Lohner, Secretary Sara Albrecht Meg and Tim Callahan Dorie Sternberg Foundation Susan O’Connell Kay Vee Rhoads, Treasurer Lois and Steve Eisen Marcia Cohn Patty Sternberg The Richard H. Driehaus Foundation Amy Ornée Julie Englander Jay Franke and David Herro Marge and Lew Collens Peggy and Jim Swartchild The Grover Hermann Foundation Heather Overbeck Katie Leander Susan and Lew Manilow Patricia Cox Kathy Taslitz Illinois Arts Council, Jennifer and Robin Pastore James Lupo Cari and Michael Sacks Pam Crutchfield Richard and Ann Tomlinson a state agency Elizabeth Press Heather Overbeck The Morrison-Shearer Foundation Tony Randazzo and Kathleen Mary Carpenter Rechner Nora Daley Conroy Kay and Craig Tuber Peter G. & Elizabeth Mitchell Julia Rhoads Patron Sponsors and Sean Conroy Peter and Pooja Vukosavich/ Torosian Foundation Bea Rashid Andrew Suprenant W. George and Margot Greig Dana and Stan Day Studio V Design Mary Rechner Paul Rhoads (advisory) Mary Ittelson Ted and Julia DeNapoli Trudy and Jim Westerman Individual Supporters Ed Reed Anne Kaplan Dirk Denison and David Salkin Donna Aylesworth Tim Reid Sally Meyers Kovler and Dan and Nicole Drexler Gloria Baird Alice and Gurrie Rhoads Jonathan Kovler Laura and Scott Eisen Anne Biberman Nicole and Geoff Rhoads Rocco and Roxanne Martino Sidney and Sondra Will Bond and Marianne Kim Christopher Richardson Photo: Agathe Poupeney Agathe Photo: Carol Prins and John Hart Berman Epstein Robert and Frances Boardman Sarah Rigdon Lia Bonfilio Stefen Robinson UBS Ginger Farley and Bob Shapiro Jamie Breeck Marcia Rosenthal Helen and Sam Zell Gale and Ric Fischer DanceAmanda Burr Exchange Nana Shineflug Thursday–Sunday, Terri and Stephen Geifman Seiji Carpenter Jenny Shore Spotlight Sponsors Nicholas and Nancy Giampietro/ LizMichael Lerman’sClaypool Julie Shore November 10–13, 2011 Mary Jo and Doug Basler Reyes Holdings Margi Cole Scott Silberstein Ellen Stone Belic Paul and Linda Gotskind ThePamela Crutchfield Matter of OriginsMark Shevitz and Amy Jacksic Robert and Sheryl Bellick Paul Gray and Hillary Curtis Jeannine Schutz Marlene Breslow-Blitstein Dedrea Armour Gray Laura Dixon Jan Shurtz and Berle Blitstein Rachel and David Grund Joan P Emery Patricia Sigurdson Julie Englander and Frank Hill Mary Smith Stefan Edlis and Gael Neeson Caryn and King Harris Patti Eylar Ron and Cindy Stein Larry and Marilyn Fields Bill and Vicki Hood Michael Estanich Andrew Suprenant Walter and Karla Cynthia Hunt and Ginger Farley and Robert Shapiro Nancy Watson Goldschmidt Foundation Philip Rudolph Nancy P Genoar Amy Page Wilhelm Jack and Sandra Guthman Susie Karkomi and Joe Germuska Marian Wilkinson Gretchen and Jay Jordan Marvin Leavitt Jared Gerstenblatt Susanne and Richard Wren Kim and Brad Keywell Anne and John Kern Matthew and Kristin Glavin Lisa Wymore Robert M. and Diane v.S. Levy Linda Kinzelberg Dan Goldman Jacob Yarrow Family Foundation Ron and Fifi Levin Carrie Hanson Cheryl Yuen Welcome Dance Exchange Liz Lerman’s The Matter of Origins

It is a tremendous pleasure to welcome you MCA Stage, has been similarly adventurous Liz Lerman, Direction/Conception Provocateurs Motrya Kozbur to one of the highlights of this year’s Chicago when it comes to probing the role of technology Holly Burnell, Stage Manager Lindsey Barlag Thornton Susan Lyon Humanities Festival. When the festival con- in the artistic field. Amelia Cox, Production Manager Leslie Baum Sasha Manuylenko ceived the 2011 theme of tech·knowledge —tech- Kate Freer, Video Programmer Amy Bretz Donna Nails nology with knowledge at the center—we knew With that in mind, the presentation of Liz Sarah Gubbins, Dramaturge Marianna Buchwald Sabri Reed that MCA Stage would be a crucial partner. Lerman and Dance Exchange was a natural Matt Hubbs, Associate Kristen Cox Bonnie Romano choice. Her groundbreaking Matter of Origins Sound Designer Amanda Denham Selena Roque Since its founding in 1967, MCA Chicago has takes us from Marie Curie’s lab to Los Alamos Meg Kelly, Assistant Deb Durham Alicen Sonja Schade been on the cutting edge when it comes to the to the Large Hadron Collider at CERN in order Stage Manager Karen Faith Marie Janine Socha intersection of art and technology. One of its first to explore the technology of particle physics Logan Kibens, Projection Designer Cassie Hamrick Janet Schmidt exhibitions was the legendary Art by Telephone, in the idiom of modern dance. It’s a stunning Lisa LaCharité-Lostritto, Axel Hoffman Michelle Vasquez for which artists phoned in their works to be cre- conceit whose avant-garde spirit and sense of Tea Graphics Designer Jackie Intres ated on-site (and which we revisited in a festival interdisciplinary adventure melds perfectly with Michael Mazzola, Scenic Maggie Kast Dance Exchange: event with participating artist IAIN BAXTER&). the mission of both MCA Stage and Chicago and Lighting Designer David Lakein Liz Lerman’s The Matter of Other early classics that pushed the techno- Humanities Festival. Please enjoy this remark- Naoka Nagata, Costume Designer Lisa Leszczewicz Origins is a copresentation logical limits were Christo and Jean-Claude’s able evening! Erin B. Tinsley, Lighting Supervisor Heather Lindahl of MCA Stage and Chicago 1969 wrapping of the MCA’s former building Keith Thompson, Onye Ozuzu Humanities Festival. (the first such action in the US) and Gordon Peter Taub Rehearsal Director Barbara Pool Support for this project is Matta-Clark’s mind-bending 1978 building cut Director of Performance Programs, Darron L West, Chris Preissing generously provided by the of a structure neighboring the museum’s former MCA Chicago Soundscape Designer Elvia Rodriguez Ochoa Boeing Company. site that was scheduled for renovation into new Ari Rudenko

galleries. Since the move to the new building Matti Bunzl Performing Ensemble Bryan Saner in 1996, the museum’s performing arts program, Artistic Director, Chicago Humanities Festival Ami Dowden-Fant Sarah Schnadt Leo Erickson Performances of The Matter of Origins Myah Shein are generously underwritten in part by Ted Johnson Annie Shuminas-Nelson Golda and Henry Buchbinder and Carol Sarah Levitt Rosofsky and Robert B. Lifton. The Tamara Silverleaf MCA Stage and CHF copresentation is Paloma McGregor in partnership with the Institute for Emily Stein the Humanities at the University of To our audience Tamara Pullman Art matters. Science matters. And your experi- To do this we are asking you to share your Gwen Terry Michigan. Shula Strassfeld ence matters to us as we observe what results responses through paper questionnaires you Jacqui Ulrich The dances for this performance are Keith Thompson the result of collaborative processes when art meets science. will receive at three points during the course of Benjamin Wegman developed at Dance Exchange over a span your Origins experience. Participation is optional, of more than three decades. The artis- Martha Wittman Tea servers tic director acknowledges that company Dance Exchange is privileged to receive a grant of course, but we hope you will take part. The Rachel Berg members, as well as artistic collabora- tors, both past and present, contribute from the National Science Foundation in support reflections you offer will be very instructive to Cohost: Dr. Eric Landahl, Dominique Boyd greatly to the creation of these works. of The Matter of Origins. The grant is helping us the Dance Exchange, to our generous funders, Assistant Professor of Physics, Kaley Marissa Cross The Matter of Origins employs Isadora® research what happens for an audience when a and to the fields of art and science as they DePaul University Alyssa Diaz graphic programming software developed dance contains some scientific ideas and when continue to seek meaningful ways to collaborate. Aundrea Frahm by Troika Ranch. people have a chance to talk about it. Thank you. Marta Juaniza Artist Up Close From the artist

In making The Matter of Origins, our curiosity question of origins—not so much how things are the same. But I did find that spending time in Artist Up Close began with wonder about the universe and what begin as the emotional ways that advances their world, with their writings and conversations, This series brings together MCA Stage artists and the public for a variety of it is made of. This led my collaborators and me in science affect us. I was stimulated to think offered a kind of sacred feel: an opportunity to intimate conversations and training to to a giant task, but with the help of scientists that art is one of the ways we get to live these be away from the ordinary. provide insight into the creative process. interpreting the particle world revealed by the changes and feel our way around what they supercollider at CERN and those probing the might mean to us. Tonight’s Tea is inspired by tea house gather- November 9 MCA visitors were invited to view Dance farthest reaches of the cosmos through the ings of Edith Warner, and the question of what Exchange at work on the stage during Hubble Space Telescope, we have had wonder- It happened that the summer before meeting could happen if we combined the active minds regular museum hours. ful guides. Gordy I’d read a wonderful book, Kai Bird and of you, the audience, in a convivial atmosphere Martin J. Sherwin’s American Prometheus, with a few stimulants: tea, cake, a team of table “Seeking the Source of The Matter of After taking our dance about the human genome about J. Robert Oppenheimer, who directed hosts (we call them provocateurs) from diverse Origins” to cities all over North America, I wasn’t the atomic weapons research activities at backgrounds ... along with a few surprises. It is Saturday, November 12, 11:30 am–12:30 pm expecting to make another piece centered on Los Alamos during World War II. In it, one a laboratory of its own, so find your table setting Presented by Chicago Humanities Festival the forces that drive contemporary science. sentence in particular caught my eye and my and join us for this experiment, a chance to con- Thorne Auditorium, 375 E. Chicago Ave. But then I went to the University of Michigan to inner ear: the mention of Edith Warner, whom verse, react, muse, listen, or just observe, and For tickets call 312.494.9509 or visit give a keynote on creativity and science where Oppenheimer had hired to feed some of his fel- enjoy Edith’s own chocolate cake recipe. chicagohumanities.org. we showed some excerpts from that dance, low physicists on the secret project a few nights Liz Lerman and physicist Gordon Kane have Ferocious Beauty: Genome. As we were leaving a week at her desert tea house. In an instant I Liz Lerman found benefits to the exploration of the theater, I met Gordon Kane, Director of the imagined these people in her little space, eating, each other’s fields. Kane, director of the Michigan Center for Theoretical Physics, Michigan Center for Theoretical Physics (MCTP), talking, questioning, wondering, and I mused on encouraged Lerman to visit CERN and who commented on the genetics theme and the possibility of the same for an audience. the scientists at the Large Hadron said with a smile, “We want one, too.” Collider. These visits provided inspira- tion for The Matter of Origins. At this Charmed as I was, that wouldn’t have been One of the recurring threads in my work is the event, Lerman and Kane discuss insights enough to start me contemplating a new piece search for what sustains us through hard times. from their ever-evolving explorations. focused on physics. Stories on this theme have emerged in dances about shipyards, slavery, history, and contempo- Origins Matter blog But the next day we had a meeting with a group rary events. Stumbling along at this stage of To learn more and join the conversation, of MCTP physicists and three things happened. my own life, the extremely complicated and driv- visit The Origins of Matter project blog First, they were all on time. This was impressive, en lives of theoretical and experimental physi- at mcachicago.org/originsmatter and tweet during Act II using #originsmatter. as I believe dancers and choreographers have a cists surprised me by their poetry. Partnering certain respect for time that grows out of our dis- brains and machines, they are devising compli- cipline; I wondered if physicists did too. Second, cated experiments to answer our oldest ques- Gordy and his colleagues talked with excitement tions. I found making the piece a kind of refuge about CERN and encouraged me to make a visit. from the contemporary political world I live in. Finally, Gordy described how the researchers at I know that most of these thinkers don’t like to CERN would re-create the conditions in the sub- be mentioned in the same sentence as religion, seconds after the Big Bang, which led me to the and by doing so I don’t mean in any way they Bibliography About the performance

A bibliography of in-print Gribbin, John. The Origins of Mazur, Joseph. The Motion A brief guide to some of the sights, soundsm, everything? This notion is challenged by the references used by Dance the Future: Ten Questions of Paradox: The 2,500-Year and speculations that helped inspire The Matter Cyclic Model, which theorizes that such a sud- Exchange in developing The the Next Ten Years. New Haven: Old Puzzle Behind All the of Origins. den expansion was merely one episode in an Matter of Origins Yale University Press, 2007. Mysteries of Time and Space. Hawking, Stephen and Leonard New York: Dutton Adult, 2007. ever-cycling evolution of the universe involving Bird, Kai and Martin J. Mlodinow. A Briefer History “When heaven and earth were still one, the multiple big bangs. This model further poses Sherwin. American Prometheus: of Time. London: Bantam, 2008. Overbye, Dennis. Einstein in entire universe was contained in an egg-shaped that the key events shaping the structure of the The Triumph and Tragedy of J. Love: A Scientific Romance. Robert Oppenheimer. New York: Kane, Gordon. The Particle New York: Penguin Books, 2001. cloud. Deep within its swirling chaos slept present universe occurred during a phase of A. A. Knopf, 2005. Garden: Our Universe As the giant Pan Gu. One day after 18,000 years, slow contraction before the bang. Understood By Particle Preston, Diana. Before the he awoke and stretched, cracking the egg to Burns, Patrick, ed. In Physicists. New York: Basic Fallout: From Marie Curie to the Shadow of Los Alamos: Books, 1996. Hiroshima. New York: Berkley release the matter of the universe.” Selected Writings of Edith Trade, 2006. —The Classic of Mountains and Seas, classical “Scientific models ... should always be regarded Warner. Albuquerque: ———. Supersymmetry: Unveiling Chinese text as approximations and aids to the imagina- University of New Mexico the Ultimate Laws of Nature. Primack, Joel R. and Nancy tion, rather than as the ultimate truth. When Press, 2008. New York: Basic Books, 2001. Ellen Abrams. The View From the Center of the Universe: The Science of Origins scientists tell you that, say, the nucleus of an Cole, K. C. The Universe and Kane, Gordon and Aaron Discovering Our Extraordinary Every culture has its tradition of how the world atom is made up of particles called protons and the Teacup: The Mathematics of Pierce, ed. Perspectives on Place in the Cosmos. New and its contents came to be. Over the course neutrons, what they should really say is that Truth and Beauty. Boston: LHC Physics. Singapore: World York: Riverhead Trade, 2007. Mariner Books, 1999. Scientific Publishing Company, of history the question of the origins of the uni- the nucleus of an atom behaves, under certain 2008. Randall, Lisa. Warped verse was taken up by philosophy and then by circumstances, as if it were made up of protons Cox, Brian and Jeff Forshaw. Passages: Unraveling the science, where it has become the domain of and neutrons.” Why does E=mc2?: (And Why Kelly, Cynthia C., ed. The Mysteries of the Universe’s Should We Care?). Cambridge, Manhattan Project: The Hidden Dimensions. New York: modern physics. Cosmology, which employs —John Gribbin, The Origins of the Future MA: Da Capo Press, 2009. Birth of the Atomic Bomb in Harper Perennial, 2006. instruments like the Hubble Space Telescope, the Words of Its Creators, allows us to track evidence of past events in the Manhattan Project, Los Alamos, and Ferris, Timothy. The Whole Eyewitnesses, and Historians. Rhodes, Richard. The Making universe’s currently observable activity. Particle Shebang: A State-of-the- New York: Black Dog & of the Atomic Bomb. New York: Edith Warner Universe(s) Report. New York: Leventhal, 2009. Simon & Schuster, 1995. physics, using such tools as CERN’s Large The Manhattan Project was the code name for a Simon & Schuster, 1998. Hadron Collider, studies the scatter and decay project conducted by the United States and its Lederman, Leon and Dick Segrè, Gino. Faust in of subatomic particles, observing their behavior allies to develop the first atomic bombs during Gleiser, Marcelo. The Dancing Teresi. The God Particle: If Copenhagen: A Struggle for Universe: From Creation Myths the Universe Is the Answer, the Soul of Physics. New York: for what it can tell us about the early formation World War II. With scientific research under the to the Big Bang. Hanover, NH: What Is the Question? Boston: Penguin Books, 2008. of the universe and matter. With regard to both direction of physicist J. Robert Oppenheimer, Dartmouth, 2005. Mariner Books, 2006. space and time, these two branches of phys- the project’s central laboratory was based at Singh, Simon. Big Bang: The ———. A Tear at the Edge Lindley, David. Uncertainty: Origin of the Universe. New ics observe phenomena at vastly contrasting Los Alamos in the desert of New Mexico. This of Creation: A Radical Einstein, Heisenberg, Bohr, York: Harper Perennial, 2005. extremes of scale. research culminated in the atomic weapons New Vision for Life in an and the Struggle for the Soul that were deployed at Hiroshima and Nagasaki, Imperfect Universe. New York: of Science. New York: Anchor Steinhardt, Paul J. and Neil The universe as we know it began with the Big killing hundreds of thousands of civilians and Free Press, 2010. Books, 2008. Turok. Endless Universe: Beyond the Big Bang—Rewriting Bang, meaning that at some finite point in the triggering the surrender of the Japanese, swiftly Livio, Mario. Is God a Cosmic History. New York: past it was extremely hot and concentrated, ending the war. Mathematician? New York: Broadway Books, 2008. and has since cooled by expanding to its pres- Simon & Schuster, 2009. ent diluted state. But was a bang the start of The moral, philosophical, political, and scien- fundamental nature of matter. The LHC could On the Nature of Measurement tific implications of the Manhattan Project have also yield evidence as to the existence of dark “Dark matter and dark energy are two of the In 1927 German theoretical physicist Werner since been the stuff of nonfiction and fictional- matter, multiple dimensions, and the Higgs most mind-boggling ingredients in the universe. Heisenberg published his Uncertainty Principle, ized treatments in literature, film, theater, and Boson—a theoretical particle that transforms Ever since these concepts were first proposed, which is expressed in the above equation. In the opera. Among many other things, the Manhattan energy into matter. some astronomers have worked feverishly words of David Lindley, writing in Uncertainty: Project was significant as an early example of to figure out what each thing is, while other Einstein, Heisenberg, Bohr, and the Struggle the collaboration between big government and astronomers have tried to prove they don’t exist, for the Soul of Science, Heisenberg’s principle big science, setting the stage for such current- “All philosophy is based on two things only: curi- in hopes of restoring the universe to the more posits that “You can measure the speed of a day endeavors as the Hubble Space Telescope osity and poor eyesight. ... The trouble is we understandable place many would like it to be.” particle, or you can measure its position, but and the Large Hadron Collider at CERN. want to know more than we can see.” —Clara Moskowitz, Science.com you can’t measure both. Or: the more precisely —Bernard le Bouvier de Fontenelle, French you find out the position, the less well you can The Manhattan Project also holds a human story, author (1657–1757) Dark Matter, Dark Energy know its speed. Or, more indirectly and less embodied in The Matter of Origins by Edith The gravitational pull that holds galaxies togeth- obviously: the act of observing changes the Warner, operator of a small tea house and inn The Hubble Space Telescope er cannot be explained by observable matter thing observed.” at Los Alamos. Warner was requisitioned by Operating above the Earth’s atmosphere, which alone. And something needs to account for the Oppenheimer to serve regular dinners to some distorts and blocks the light that reaches our accelerating rate of the universe’s expansion Revolutionizing the emerging science of quan- of the physicists working on the secret project. planet, the Hubble Space Telescope produces as revealed by the Hubble Telescope. Such tum physics, Heisenberg’s principle challenged extremely sharp images of astronomical objects enigmas have led scientists to postulate the the prevailing assumption that phenomena were and phenomena near and far. Placed in orbit in existence of two quantities: dark matter and precisely knowable. A probabilistic model sup- “Our imagination is stretched to the utmost, not, 1990 through a partnership between NASA and dark energy. Together they are proposed to planted the determinism that had characterized as in fiction, to imagine things which are not the European Space Agency, Hubble has cap- constitute 96 percent of the mass/energy in the science since the age of Newton. As current- really there, but just to comprehend those things tured the public imagination with its breathtaking universe—meaning that the kind of matter that day theoretical physicist Lisa Randall states, which are there.” photographs of deep space objects, some of is directly observable and currently measur- “no measurement achieves infinite accuracy, —Richard Feynman, American physicist which are seen in The Matter of Origins. Beyond able constitutes a mere 4 percent of the stuff despite the advances that have occurred over (1918–88) the visual thrill of pillared nebulae and pinwheel of the universe. This realm of speculation and time. Some systematic error, characteristic of galaxies, Hubble’s observations have led to research—much of it focused on measurement the measuring device itself, always remains. ... The Large Hadron Collider (LHC) breakthroughs in astrophysics, such as the of the cosmic microwave background, a dimly Measurements therefore always have some Built by the European Organization for Nuclear discovery that our universe is expanding at an glowing vestige of the Big Bang that pervades probabilistic component. Research (CERN), the LHC occupies a subter- accelerating rate of speed. space—constitutes one of the most volatile are- ranean place beneath the French/Swiss border, nas in contemporary physics. We can say a quantity fits in a narrow range where its ring-shaped tunnel measures more with 95 percent probability, but in the absence than 17 miles in circumference. Seen in video of an infinitely accurate measuring device, we components of The Matter of Origins, the LHC is “One can look at the world with the p-eye and can never state a unique value with 100 percent attempting to re-create the conditions that exist- one can look at the world with the q-eye, but odds.” ed in the sub-seconds after the Big Bang. By when one would like to open both eyes, then accelerating protons (also known as hadrons) one gets dizzy.” Notes compiled by Sarah Gubbins, Production at 99.99 percent the speed of light to a colli- —Wolfgang Pauli, Austrian physicist (1900–58) Dramaturge, and John Borstel, Dance sion point, an intense amount of energy will be Exchange Senior Advisor/Humanities created. The energy will then convert into new (or previously undetected) particles. Physicists expect that the data recorded from these colli- sions will begin to answer questions about the About Chicago About the artists Humanities Festival (CHF)

The 22nd annual festival, tech•knowledge , Liz Lerman (direction/conception) es “in praise of” topics vital to their communities. Holly Burnell (stage manager) explores technology with knowledge at its center. is a choreographer, performer, writer, educator, She created Ferocious Beauty: Genome, pre- received her bachelor of fine arts in Stage and speaker. Described by the Washington miered in 2006, with the participation of more Management and Lighting Design from the CHF creates opportunities for people of all ages Post as “the source of an epochal revolution in than 30 scientists, and toured it to sites through- University of Arizona in 2008. Since then she to support, enjoy, and explore the humanities. the scope and purposes of dance art,” her out North America, including MCA Stage has worked for companies including the The organization accomplishes this by creating dance/theater works have been seen throughout (September 2006), the Mayo Clinic, and the Milwaukee Repertory Theater, the Utah annual fall and spring festivals, by presenting the United States and abroad. Her aesthetic Ontario Genomics Institute. Shakespearean Festival, Glimmerglass Opera, programs throughout the year that encourage approach spans the range from abstract to per- and Dance Exchange. the study and enjoyment of the humanities, sonal to political, while her working process Lerman addresses arts, community, and busi- and by maintaining an online home for the emphasizes research, translation between artis- ness organizations both nationally and interna- Amelia Cox (production manager) humanities community on its website. tic media, and intensive collaboration with danc- tionally, with recent speaking engagements at has been working in performance since 1989. ers, communities, and thinkers from diverse dis- the Abbey Theatre in Dublin, the Big Intensive at For several years post-college she worked This year’s festival, tech•knowledge , offers ciplines. She founded Liz Lerman Dance Sadler’s Wells in London, and Harvard nationally and internationally with Double Edge more than 80 events at 19 venues in and around Exchange in 1976 and has cultivated the compa- University. She is the author of Teaching Dance Theater (MA) and the Gardzienice Center for Evanston and Chicago’s Loop and Hyde Park ny’s unique multigenerational ensemble into a to Senior Adults (1983) and Liz Lerman’s Critical Theatre Practices (Poland), making theater hap- neighborhoods, and features concerts, dance leading force in contemporary dance. On July 1, Response Process (2003). This spring, her col- pen in spaces from a 19th-century barn in performances, exhibitions, discussions, gallery 2011, she handed the artistic leadership of the lection of essays, Hiking the Horizontal: Field Massachusetts to a hilltop medieval fortress in tours, lectures, and more. For more information Dance Exchange over to Cassie Meador and Notes from a Choreographer, was published by Romania. She came to the mid-Atlantic region and tickets, visit www.chicagohumanities.org or the next generation of Dance Exchange artists. Wesleyan University Press (2011). She has writ- as the technical director of Baltimore Theatre call the box office at 312.494.9509. ten articles and reviews for publications such Project. From 2005 to 2011 she worked at Dance Lerman is pursuing new projects, first as artist in as Faith and Form, Movement Research, Exchange, leading production for the premieres Have you visited our online home? residence at Harvard University and then a and Washington Post Book of Small Dances About Big Ideas; Ferocious The CHF website offers lectures, slideshows, series of fresh partnerships. She has been the World. Co-commissioned by the University of Beauty: Genome; Man/Chair Dances; Funny and materials from CHF’s 20-year archive, recipient of numerous honors, and a 2002 Maryland and Montclair State University, her Uncles; Imprints on a Landscape: The Mining as well as blogs, ongoing conversations, MacArthur “Genius Grant” Fellowship. Her work newest work, The Matter of Origins, examines Project; 613 Radical Acts of Prayer; The Farthest and commentary. Join the conversation at has been commissioned by Lincoln Center, the question of beginnings through dance, Earth from Thee; Drift; and The Matter of chicagohumanities.org. American Dance Festival, BalletMet, the media, and innovative formats for conversation. Origins. She is working as Projects Manager for Kennedy Center, and Harvard Law School, Born in Los Angeles and raised in Milwaukee, Liz Lerman LLC. Cox holds a BA in Theatre Join us for Stages, Sights & Sounds among many others. From 1994 to 1996, in col- Lerman attended Bennington College and from Hope College (MI), and an MFA in Creative CHF’s nationally-recognized spring festival laboration with the Music Hall of Portsmouth, Brandeis University, received her BA in dance Writing from Warren Wilson College (NC). appeals to a wide audience, including children New Hampshire, she directed the Shipyard from the University of Maryland, and an MA in and families. The 13th Stages, Sights & Sounds Project, which has been widely noted as an dance from George Washington University. She Ami Dowden-Fant (performing ensemble) festival takes place in May 2012 at venues in example of the power of art to enhance such is married to storyteller Jon Spelman. was born in Richmond, Virginia and recently Chicago and Evanston, including the MCA. values as social capital and civic dialogue. pursued her BFA in Dance and Choreography at Check the CHF website at chicagohumanities. From 1999 to 2002 she led Hallelujah, which Virginia Commonwealth University. She has org for more information in early 2012. engaged people in 15 cities throughout the worked with Doug Varone, Robert Moses, United States in the creation of a series of danc- Joanna Mendl Shaw, and Bebe Miller and for Starr Foster Dance Project, Charles O. Face Theatre, , Next Theatre Mortar (Capital Fringe 2008). She serves as the Madden Emerging Artist Award upon graduation. Anderson, and Gesel Mason with Mason/ Company, and Collaboraction. stage manager for Drift, Blueprints of Relentless Levitt has danced in the work of Robert Battle, Rhynes Performance Projects. She is in the lab Nature, Running with the Wind, and numerous Liz Lerman, Gesel Mason, Cassie Meador, with her company hersouldances (hersouldanc- Matt Hubbs (associate sound designer) keynotes, company concerts, and community PearsonWidrig DanceTheater, and Keith es.org) working on new projects. recently designed Telephone for the Foundry projects. She has worked at the Shakespeare Thompson. She began working with the Dance Theatre, 1001 at Mixed Blood Theatre, Blueprints Theatre Company and Round House Theatre Exchange in 2007, became a full-time artist in Leo Erickson (performing ensemble) of Relentless Nature and 613 Radical Acts of and holds a BFA in theater design and technolo- 2010, and is a Resident Artist. Her teaching resi- most recently appeared with the Washington Prayer for Dance Exchange, and 100 Saints You gy from the University of Arizona. dencies include the Kohler Arts Center, Harvard Stage Guild as Darwin in Darwin In Malibu. At Should Know at Playwrights Horizons. A com- University, and St. Elizabeths Hospital. She is the Studio Theatre, he has appeared in The pany member of the TEAM, he has designed Logan Kibens (projection design) an original member of Liz Lerman’s The Matter Solid Gold Cadillac, Guantanamo, The Life of Architecting, Particularly in the Heartland, A is a Los Angeles-based filmmaker. Her work as of Origins. In 2009 and 2010, she received Galileo, A Class Act, and Prometheus. His Thousand Natural Shocks, and Mission Drift. As a video designer includes projects in Chicago Individual Artist Awards from the Maryland State regional theatre roles include Cyrano in Cyrano an associate designer, he has recently worked for Steppenwolf Theatre, the , Arts Council in Solo Performance and De Bergerac; George in Who’s Afraid of Virginia at MTC’s Friedman Theatre, the Ethel Lucky Plush, and Lookingglass Theatre, and in Choreography and in 2011, with collaborator Woolf; and Honeyman in A Walk in the Woods. Barrymore Theatre, New York Theatre Washington, D.C. at The Washington Opera. Her Benjamin Wegman, received a Local Dance International work includes Lee Blessing’s Two Workshop, Playwrights Horizons, The Public films have screened at venues such as the Commissioning Project award from the Kennedy Rooms at the Sibiu Theatre Festival (Romania) Theater, Manhattan Theatre Club, and La Jolla Chicago International Film Festival, the Center for Hammock, which premiered at the and the Merlin Theatre in Budapest. Playhouse. He has also toured with SITI Brooklyn Museum of Art, and REDCAT Theater Kennedy Center in September 2011. Company and the rachel’s band. Los Angeles. Her film Recessive, a narrative/ Kate Freer (video programmer) documentary hybrid, is touring festivals. She Michael Mazzola (scenic and lighting is a Brooklyn-based video artist and theatrical Ted Johnson (performing ensemble) holds an MFA in Film Directing from CalArts. designer) designer. She has worked the past two is a long-standing member of Dance Exchange. has designed critically lauded lighting for ven- years with projection designers Logan Kibens He was a member of Bebe Miller Company Lisa LaCharité-Lostritto ues in the United States and Europe, ranging and Maya Ciarrocchi, and assisted on Red (1995–2003) and Ralph Lemon Company (1994– (tea graphics designer) from opera houses to circus tents to outdoor Hot Patriot (Suzanne Roberts Theater, directed 95). He has worked with choreographers Amy is degreed in architecture and her design work amphitheaters. A three-time Bessie Award win- by David Esbjornson) and The Devil You Sue Rosen, David Alan Harris, Sarah Pogostin, is based in the Boston area. Her research, prac- ner, he has designed lighting and scenery for Know (La Mama, directed by Ping Chong). Eun Me Ahn, Cheng-Chieh Yu, and, more tice, and teaching focuses on harvesting history, National Ballet of Finland, Oregon Ballet Her theatrical designs include John Faustus recently, Colleen Thomas and Bill Young, culture, and collective human consciousness in Theatre, North Carolina Dance Theatre, Bebe and the Overclocked Death Drive (45th Street among others. His improvisational work has the experimental shaping of visual environ- Miller Company, Rumpus Room, Royal Ballet of Theater, directed by Andrew Scoville), Seed been featured in collaborative ventures onstage ments. She is cofounder of 0095b6, a collabora- Flanders, and Dance Exchange. In the past two (Hip Hop Theater Festival, Classical Theater with Kirstie Simson, Gabriel Forestieri and tion providing services in graphic, media, and years he has received awards for lighting of of Harlem, directed by Nigel Smith), Wanted Kayoko Nakajima. Johnson has a background in architectural design. musical theater and drama on the West Coast. (PS 122, directed by Kamilah Forbes), visual arts (drawing, photography, painting, and and The Footage (The Flea, directed by design), theater, and voice. He was a student of Sarah Levitt (performing ensemble) Paloma McGregor (performing ensemble) Claudia Zelevansky). Klein/Mahler Technique with Barbara Mahler is a dancer, choreographer, and teacher based is a New York–based dancer, choreographer, and and Susan Klein for over a decade, and contin- in Maryland. She received her early dance train- cofounder of Angela’s Pulse, a collaborative per- Sarah Gubbins (dramaturge) ues a practice in contact improvisation (CI). ing from Gene Kelly via VHS, Barton & Williams formance company. Her choreography has been is a Chicago playwright whose most recent play, School of Dance, and Ilona Kessell. These for- presented throughout New York, including at The Fair Use, was produced at Actor’s Express in Meg Kelly (assistant stage manager) mative experiences led to a Creative and Kitchen, Harlem Stage, EXIT Art, the Brecht Atlanta after being developed at the Steppenwolf joined Dance Exchange full time in December Performing Arts Scholarship in Dance from the Forum, Tribeca Performing Arts Center, and Theater Company. Her plays have also been 2008 after stage managing The Farthest Earth University of Maryland, where she received a Bronx Academy of Art and Dance. She toured read or developed at the Public Theater, About from Thee (Capital Fringe 2007) and Muscle and BA in Dance and was honored with a Dorothy internationally for five years with the critically acclaimed Urban Bush Women dance company. University, and at the professional schools of SCRAP Performance Group, The Pillow Project, er she danced with the Juilliard Dance Theatre McGregor earned a BS in Journalism (Florida A Canadian Ballet Theatre, Ballet Creole, and the Troika Ranch, Meyer Chaffaud Dance, under the direction of Doris Humphrey and in & M University) and MFA in Dance (Case Kibbutz Dance Company. She joined Dance Washington National Opera, and the Liz Lerman the companies of Ruth Currier, Joseph Gifford, Western Reserve University). She joined Dance Exchange in 2007 and is a Resident Artist. Dance Exchange (2006–11). He is an Associate and Anna Sokolow. For many years she was an Exchange as a Resident Artist this October. Artist with the Dance Exchange, working with associate choreographer with the Dances We Erin B Tinsley (lighting supervisor) the company on collaboratively created dances Dance Company directed by Betty Jones and Naoko Nagata (costume design) has been working in theatre and dance in the with communities across the United States and Fritz Ludin. Her awards include three National started her career as a biochemist in Japan. In DC metro area since 2007. As a freelance elec- internationally in Canada, France, Ireland, Endowment for the Arts fellowships, the Doris 1998 with no formal training, Nagata created her trician, lighting supervisor, and lighting designer, Japan, and Switzerland. He has taught at the Humphrey Fellowship from the American Dance first costume for Jeanine Durning. She has cre- she has worked for a variety of companies American Dance Festival, University of Festival, Individual Artist Awards from the ated for numerous choreographers and dancers, including the Washington Ballet, the Suzanne Maryland, Towson University, International Maryland Council on the Arts, and two awards notably Amanda Loulaki, Bebe Miller, David Farrell Ballet, and at the Kennedy Center. She Festival of Arts and Ideas, the Japan from Dance/USA’s National College Dorfman Dance, Doug Elkins, David Neumann, has toured with The Matter of Origins to Contemporary Dance Network’s Dance Life Choreography Initiative. She was a longterm Ellis Wood, Gina Gibney, Liz Lerman, Nina Augusta, Georgia, and holds a BFA in Lighting Festival, and Indiana University where he is a member of the Bennington College dance facul- Winthrop, Nora Chipaumire, Reggie Wilson, Design from Millikin University. visiting lecturer at present. He had the honor of ty in Vermont, and has been a guest artist, Tiffany Mills, Urban Bush Women, and Zvi codirecting the premiere of Hidden Snow teacher, and choreographer in numerous colleg- Gotheiner. Keith Thompson (performing ensemble and Memory with Keith Thompson in Sapporo, es, universities, and summer dance programs rehearsal director) Japan and Tour Starts Here at the Corcoran around the country. This summer 2011, Wittman Tamara Hurwitz Pullman is a choreographer, performer, and educator. He Gallery of Art. In 2011, he choreographed and completed 15 years as a company member with (performing ensemble) completed his MFA Research Fellowship in directed still we keep, a daylong, performative Dance Exchange. She is continuing as an has danced with companies José Limón Dance Dance from Bennington College in 2003. He gallery installation incorporating movement, Associate Artist with the new Dance Exchange. Company, Ann Vachon Dance Conduit, Pacific performed with Dance Company video, and 100 pounds of Legos, in collaboration Dance Ensemble and Rosanna Gamson for ten years, the last three of which he also with the National Building Museum. He and col- Dance Exchange Worldwide. As a dance educator, she has taught served as rehearsal director. He has worked laborator Sarah Levitt received a Local Dance breaks boundaries between stage and audience, dance to people of many ages and abilities in dif- with Bebe Miller Company, Creach/Koeser Commissioning Project award from the Kennedy theater and community, movement and lan- ferent settings ranging from dance conservato- Company, and Danny Buraczeski. As a chore- Center for Hammock, which premiered at the guage, tradition and the unexplored. Founded in ries to YMCAs. She received her BFA from ographer and teacher, Thompson has been on Kennedy Center in September 2011. 1976 by Liz Lerman and now under the artistic UMass Amherst and MFA from Temple University. the faculties of American Dance Festival, direction of Cassie Meador, Dance Exchange The Matter of Origins is Pullman’s second project Shenandoah University, George Mason Darron L. West (soundscape) stretches the range of contemporary dance with Dance Exchange. She lives in Los Angeles. University, and Temple University and is current- has created sound for dance and theater in through explosive dancing, personal stories, ly on faculty at Rutgers University. He creates more than 400 productions nationally and inter- humor, and a company of performers whose Shula Strassfeld (performing ensemble) choreography for his company danceTactics nationally. His awards for sound design include ages span six decades. The work consists of began dance relatively late and has trained with performance group, formed in 2005. He is an the 2006 Lortel and AUDELCO Awards, 2004 concerts, interactive performances, community members of the José Limón Company and Associate Artist with Dance Exchange. and 2005 Henry Hewes Design Awards, the residencies, and professional training in com- Collete Barry and Susan Klein. She has lived in HE ARTISTS Princess Grace, The Village Voice Obie Award, munity-based dance. Dance Exchange employs the United States, Israel, and Canada, and Benjamin Wegman (performing ensemble) and the Entertainment Design magazine Eddy a collaborative approach to dance making and danced for choreographers Susan Rose, Joy is from Normal, Illinois and a performer, chore- Award. He is the sound designer and a founding administration. Recent and current projects Kellman, Flora Cushman, Mirali Sharon, Jan ographer, and teacher in the media of move- member of Anne Bogart’s SITI Company. include explorations of coal mining, genetic Van Dyke, and Sandra Neels. She has an MA in ment, text, geography, and rhythm. He has research, human rights, particle physics, ecolo- Dance Education from Columbia University and danced with Jeanne Ruddy Dance, Kun-Yang Martha Wittman (Performing Ensemble) gy, land use, and rest in a hyper-driven society. has taught at Trinity College (Hartford), Rubin Lin/Dancers, Keith Thompson’s danceTactics, has been teaching, dancing, and choreograph- Academy of the Hebrew University, York Headlong Dance Theater, CityDance Ensemble, ing for more than 50 years. As a young perform- Dance Exchange Support

Dance Exchange thanks Dr. Mario Livio, Although he is not a modern The Matter of Origins was John Borstel, Senior Advisor, Foundation, National the following scientist- astrophysicist, director dancer, and has certainly co-commissioned by the Humanities Endowment for the Arts, collaborators whose expertise of Public Outreach at the never performed in the Clarice Smith Performing Meg Kelly, New England Foundation for and insights contributed to Space Telescope Science past, he sees parallels Arts Center at Maryland Production Manager the Arts, National Science the development of The Matter Institute (home of the between the fast atomic and Peak Performances at Sarah Levitt, Foundation, AJ Pietrantone, of Origins. Hubble project), Johns motions he observes using Montclair State University. Resident Artist/ Raymond Family Foundation, Hopkins University lasers and X-rays and the Additional support comes Communications Coordinator Reinisch Family Foundation, Dr. Andrew Baden, Dr. Christopher Monroe, behavior of modern dancers from the National Endowment Shula Strassfeld, Elliot Rosen & Sharon Cohen, professor and chair, Bice Zorn professor, as they evolve from an for the Arts, Richard and Resident Artist/Healthy and the USDA Forest Service. physics department, physics department, initially excited state to Linda Greene and Kay Logan, Living Coordinator University of Maryland University of Maryland reach new configurations and the National Dance Brian Buck, Board of Directors Dr. William Dorland, Dr. Lisa Randall, and expressions. Dr. Landahl Project of the New England Facilities Coordinator Sarah Anne Austin experimental physicist, theoretical physicist, received his PhD in Applied Foundation for the Arts, Wayles Haynes, Ellen Coren Bogage University of Maryland Harvard University Science from the University with lead funding from Youth Programs Coordinator Theresa Cameron Dr. Michael Doser, Dr. Alvaro de Rujula, of California, Davis and the Doris Duke Charitable Liz Lerman, Inés Cifuentes, PhD, Cochair theoretical physicist, theoretical physicist, worked as a physicist at Foundation. Additional Founder and Choreographer Charles Gravitz, Treasurer CERN CERN several national laboratories funding for National Dance Emerita Martha (Marti) S. Head, Dr. Eli Dwek, Dr. Maria Spiropulu, before joining DePaul Project is provided by the Cochair astrophysicist, NASA experimental physicist, University in 2008. He Andrew W. Mellon Foundation, Elliot Maxwell, Secretary 2011–12 Associate Artists Dr. Fabiola Gianotti, CERN (CMS experiment) and has published more than the Ford Foundation, and the Christy Swanson Margot Greenlee experimental physicist, Caltech 50 scientific papers, and Community Connections Fund of John Urciolo Elizabeth Johnson CERN (director of ATLAS Dr. James Wells, teaches several courses for the MetLife Foundation. Lew Winarsky Michelle Pearson experiment) theoretical physicist, both physics students and Keith Thompson Dr. James Gillies, CERN nonscientists at DePaul Special thanks EE Balcos, Benjamin Wegman CERN, head of University. John Boesche, Meghan Bowden, Martha Wittman communication and CERN Special thanks to Dr. Eric Alice Chapman, Robbie Cook, spokesman Landahl, Assistant Professor Elizabeth Johnson, Matt Dance Exchange gratefully Dr. Marcelo Gleiser, of Physics, DePaul University Mahaney, Cassie Meador, Tom acknowledges support from the physicist and astronomer, Nelis, James Ross, Florian following major funders: Arts Dartmouth College Dr. Landahl makes his debut Rouiller, Ashley Searles, and Humanities Council of Dr. Robert Harriss, with Dance Exchange for Samantha Speis, Ruth Waalkes, Montgomery County, Diane & geochemist and this performance. He studies and Nina Watt for their Norman Bernstein Foundation, sustainability expert, the origins of everyday support and encouragement Ellen and Barry Bogage, The director of the Houston phenomena, tracking the during the development of Morris and Gwendolyn Cafritz Advanced Research Center motion of matter at the this project. Foundation, The Covenant Dr. Gordon Kane, first and fastest times Foundation, Dallas Morse theoretical physicist, when outcomes are still Dance Exchange Coors Foundation for the University of Michigan, uncertain, and many different 7117 Maple Avenue Performing Arts, Donors and Director of the behaviors are still possible. Takoma Park, MD 20912 InVesting in Arts (DIVAs) Michigan Center for Examples of phenomena he 301.270.6700 of the Montgomery County Theoretical Physics studies include the initial www.danceexchange.org Community Foundation, Doris Dr. Lawrence Krauss, harvesting of light by solar Duke Charitable Foundation, theoretical physicist, cells, or the first motions Resident Artists and Staff Meyer S. Frucher, Lorraine Director of the Origins undertaken by biological Cassie Meador, Gallard & Richard Levy, Initiative at Arizona molecules on their way to Artistic Director Harman Family Foundation, State University becoming part of active, Ellen Chenoweth, Martha S. Head, Samuel M. living systems. Managing Director Levy Family Foundation, The Emily Macel Theys, Marpat Foundation, Maryland Communications and State Arts Council, MetLife Development Director Foundation, Nathan Cummings Courtesy Guidelines and Information

As one of the nation’s largest multidisciplinary museums devoted to Parking the art of our time, the Museum of Contemporary Art Chicago offers Validate your ticket at coat check for $11 parking in the MCA exhibitions of the most thought-provoking art of today. The museum’s garage (220 E. Chicago Avenue) performing arts program, MCA Stage, is the most active presenter of and Bernardin garage (747 N. theater, dance, and music in Chicago, featuring leading performers Wabash). The $11 parking is limited to six hours on date from around the globe in our 300-seat theater. of performance.

Lost and found MCA Stage is committed to presenting groundbreaking performances To inquire about a lost item, that focus on collaboration; working closely with artists; converging call the museum at 312.280.2660. Unclaimed articles are held for with the larger programming of the museum; and offering a contem- 30 days. porary view of the traditional roots of performance. Seating Switch off all noise-making Mary Ittelson, Performance Programs devices while you are in the theater. Chair of the Board of Peter Taub, Director Late arrivals are seated at the Trustees Yolanda Cesta Cursach, management’s discretion. Food Madeleine Grynsztein, Associate Director and open beverage containers are Pritzker Director Surinder Martignetti, Manager not allowed in the seating area. Janet Alberti, Kevin Brown, Deputy Director House Management Associate Reproduction Michael Darling, Alicia M Graff, Unauthorized recording and James W. Alsdorf Chief House Management Associate reproduction of a performance Curator Quinlan Kirchner, is prohibited. House Management Associate Museum of Contemporary Art Performance Committee Eboni Senai Hawkins, In- Chicago Lois Eisen, Chair ternKitty Huffman, Intern 220 E. Chicago Avenue Katherine A. Abelson Chicago, Illinois 60611 Ellen Stone Belic Theater Management mcachicago.org Pamela Crutchfield Dennis O’Shea, Ginger Farley Manager of Technical General information 312.280.2660 Gale Fischer Production Jay Franke Richard Norwood, Box office 312.397.4010 Timothy A. Herwig Theater Production Manager Volunteer for performances John C. Kern 312.397.4072 Lisa Yun Lee Box Office [email protected] Elizabeth A. Liebman Matti Allison, Manager Lewis Manilow Phongtorn Phongluantum, Contact the Performance department Alfred L. McDougal Assistant Manager [email protected] Paula Molner Molly Laemle, Coordinator D. Elizabeth Price Sarah Aguirre, Associate Museum hours Carol Prins Jena Hirschy, Associate Tuesday: 10 am–8 pm Wednesday–Sunday: 10am–5pm Cheryl Seder Lucy Pearson, Associate Closed Mondays, Thanksgiving, Patty Sternberg Program notes compiled by Christmas, and New Year’s Day Richard Tomlinson Yolanda Cesta Cursach