Posts Tagged ‘berkeley’

Solar Sunday

Sunday, March 1st, 2009

Solar Sunday is my weekly roundup of renewable energy and energy efficiency news from around the web.

Berkeley Goes Solar

Two Berkeley homeowners received checks for their new solar panels on Friday, becoming the first to flip the switch on the city’s much-ballyhooed, closely watched solar financing program.

“I’m a guinea pig, but there’s no way I could have afforded solar otherwise,” said Jeanne Pimentel, an editor who has 11 solar panels on her Allston Way home. “Because of this, I can help solve our energy problem without putting any money up front.”

Berkeley’s program allows property owners to pay for solar panels through a 20-year assessment on their property taxes. Pacific Gas and Electric Co. rebates and new tax breaks guaranteed in the federal stimulus package reduce the cost further, so most homeowners begin saving on electric bills immediately.

Twelve states, including New York, Washington and Colorado, and 50 California cities, including San Francisco and San Diego, are following Berkeley’s model and are closely watching how the program unfolds.

NYPD Hybridizes

Should you ever find yourself being pursued by the NYPD, now you can rest assured that the carbon footprint of your chase around the city will be just a little bit greener. As part of New York’s efforts to go green, the NYPD is rolling out 40 2009 Nissan Altima Hybrids for use during regular patrol. The vehicles get around 35 miles per gallon, which is about twice of the range of the current fleet of Chevy Impalas and Ford Crown Victorias.

More Solar Phones

Just last week we brought you news of the Blue-Earth, Samsung’s new solar powered touch phone. Well, it turns out that they are not the only company with solar dreams. Chinese mobile manufacturer ZTE recently revealed the Coral-200, a solar-powered handset with one very unique characteristic that sets it apart from its competitor: it will only cost 40 dollars!

Largescale Wind Power Proven Viable

Research by TU Delft proves that Dutch power stations are able to cope at any time in the future with variations in demand for electricity and supply of wind power, as long as use is made of up-to-date wind forecasts. PhD candidate Bart Ummels also demonstrates that there is no need for energy storage facilities. Ummels will receive his PhD on this topic on Thursday 26 February.

Wind is variable and can only partially be predicted. The large-scale use of wind power in the electricity system is therefore tricky. PhD candidate Bart Ummels MSc. investigated the consequences of using a substantial amount of wind power within the Dutch electricity system. He used simulation models, such as those developed by Dutch transmission system operator TenneT, to pinpoint potential problems (and solutions).

His results indicate that wind power requires greater flexibility from existing power stations. Sometimes larger reserves are needed, but more frequently power stations will have to decrease production in order to make room for wind-generated power. It is therefore essential to continually recalculate the commitment of power stations using the latest wind forecasts. This reduces potential forecast errors and enables wind power to be integrated more efficiently.

Regionalisms

Tuesday, July 24th, 2007

The summer has been crazy with all the travel. I got back from California Monday morning and went, more or less, right into tech. Today we load-in for the dance piece I am working on at Joyce Soho with choreographer Trebien Pollard. I am very excited about this project, I think it will be a lot of fun. I have lit around ten or so of his dances but never a full evening piece, so this should be interesting. And then on Sunday I fly to Edinburgh.

Quite a time!

I just got off the phone with a company in Virginia and it looks like I will be lighting two plays in repertory there this September. It is an interesting pairing, Dracula and Driving Miss Daisy. This promises to be a curious few weeks of tech. At least they tech sequentially so I do not have to bounce my brain back and forth from one to the next.

I really enjoy working in differing locations. Spending time in a new or just different city or town really helps with theatre work. Theatre, and by that I include dance and opera, is at its core about human beings and human relationships. The more different types of people one knows and interacts with the greater depth and breadth of experience there is to draw from when working on a show.

So far this year I have worked in four states and one foreign country. By the end of the year I will be adding at least one of each to that list. Not to say that the quality of the experience is based upon its frequency or volume, because it is not, but something for me really gets animated being in new and different places. Returning to familiar locations, like Berkeley, is wonderful as well and provides its own satisfactions.

Working in the theatre is, in many ways, like a perpetual homecoming. Friends and coworkers recombine and move about and are encountered in varying situations. The lead tenor in Aida sang the role of the Mother in The Seven Deadly Sins. The safety coordinator at Glimmerglass was the TD when I worked at Virginia Opera. Different show, different city, same people.

This fall is shaping up nicely with shows in Virginia, California and New York. It will be nice to get a good dose of American regionalisms after spending three weeks in Europe and the UK.

But in the meantime, come see my play, opera, or dance.

Thursday work-a-day

Thursday, June 21st, 2007

It has been a busy day. I have been catching up on my preparatory paperwork for Aida. I have also begun some preliminary work on Lovers and Executioners, a play I will be lighting next November in California. Its a little early yet to begin any real work on that play, but I do like to get some of the initial organizational stuff out of the way early so I can focus more on the artistic aspects of the piece later on.

I have worked on so many new scripts recently that it will be nice to work on something published, whose scene structure is known and will not be shifting around much during rehearsals. It can be difficult working on new scripts because quite often one does not know until the piece is up what you have in your hands. It takes a lot of guesswork.

At the same time the trouble with well known works is the trap of falling into a rote response. The trick in both instances then is to come in with a strong idea about the work, but then to remain open and flexible to what the piece can be. It is quite impossible to know before you have actors on stage, in costume and under lights what anything will look like. Or to be more specific, if any of it will work.

Changes to the placement and focus of lighting instruments can at times be interpreted as a lack of preparation on the part of the designer, when in fact the issue is much more subtle than that. Theatre exists in time. And as a temporal artfom one cannot know if a particular gesture is the right one until one sees it in the context of the piece in motion.

This is one of the reasons I do not like technical rehearsals that do a “Cue to Cue.” For the non-Theatre people a Cue to Cue is a horrid situation wherein everyone sits around static and the lighting and sound designers build cues, then, once the cues are written everyone moves on to the next scene or Cue and it is all done again. It is boring for everyone involved. The actors lose a day or two of rehearsal, and the designers work in a static environment that bears no relationship to the actual work.

Far better than the Cue to Cue is to light the show over rehearsal. In this situation the actors and director and whoever else(choreographer etc.) rehearse the play and the lighting designer writes light cues independent of them. The benefit of this is seeing the light in motion as well as the people in motion under the lighting. The cueing and timing is stronger because the light is built with the time sense of the play in mind.

I spent a little time this afternoon cleaning up my lighting design portfolio. A few things were out of date like the upcoming shows as well my resume. I am glad to have taken care of all that. Overall it has been quite a productive day.

In a bit of funny news I saw the UC Berkeley Theatre Department Alumni newsletter today. It has a section where alums can put in a short blurb about what they are doing. I had sent mine in months ago and decided to take a look at it. It turns out that there was more there than I had put in the blurb. So my hunch is that someone involved there reads this blog. I wonder who it is. I am so used to bios and things having to be cut, that it never crossed my mind one would be extended like that. How funny!

inter/national design

Sunday, March 18th, 2007

This summer is looking to be quite exciting on the travel front. I will be working outside of New York for several months on a variety of projects. I find traveling to different cities for work to be truly invigorating. The new and changing locales help to give new life to the work I am doing and cause me to think much more fundamentally about the choices I am making in the various works.

In June I will be in Rumania working on the Antigona. This one woman adaptation of the Antigone story is very powerful and I think will be quite exciting. The text is very engaging as is the space we are performing in. I have never been to Rumania so this is quite a new adventure for me. Not only are we performing in Sibiu in the chapel of a fortress, but we might be performing in a bar in Bucharest. There are a few days between these dates, so there will be some nice opportunity for sight seeing. Perhaps even a little bit of travel can be arranged depending upon how the final dates work out.

After that I return to New York to work upstate at Glimmerglass Opera, assisting lighting designer Robert Weirzel. They are doing an entire season of operatic versions of the Orpheus Myth. We are doing Gluck’s Orpheo. I studied with Robert at NYU and have assisted him a number of times in the last few years. Its always fun, so I am greatly looking forward to this.

After Cooperstown I will be traveling to Berkeley, CA to light an opera of my own. I will be lighting a production of Verdi’s Aida with the Berkeley Opera directed by my friend Yuval Sharon. Being from Berkeley it will be a wonderful chance to spend some time with family and friends as well as having the opportunity to work on this rather compelling take on an operatic classic.

After that it is a bit of a mystery. August and September have some interesting prospects although nothing yet is settled. I am in discussions about projects in Scotland and Ireland, but there are still a lot of logistics to figure out. I may have another project in the Bay Area in November, but that too is still in the process of working through logistical questions.

All this travel is certainly thrilling, but before we get there we have a very New York series of shows what with assisting at New York Theatre Workshop, lighting the New York Theatre Ballet, and lighting a play for Gotham Stage Company.

I must say, I really am enjoying 2007.

Versione Italiano

Friday, September 22nd, 2006

I had a meeting yesterday for a Site Specific piece I will be lighting in January. It is a new translation of a work by composer Salvatore Sciarrino. The piece will be performed in the Teatro at the Columbia University Italian Academy. While the space has a traditional proscenium theatre in the room, we will not be using it. At least not for performers. We may configure the room placing the audience on the stage, although that is still under discussion.

The project looks to be quite exciting. Very “unconventional” in style. I enjoy the site specific works. I have done a fair number of them. It always poses its own challenges. One can not put lights where one may ideally want them, so different solutions must be arrived at. Plus, one of the greatest things about a site specific project, is the site itself. The production must negotiate with the space in a wholly different manner than in traditional theatrical endeavors. It is a kind of dialog between the work and the space, whereas traditional theatre spaces serve more as framing devices for monologues.

I know the director from Berkeley, although we have never worked together before. We have a number of friends in common from the Berkeley Ex-Pat Theatre community and run into each other every so often. The set and costume designers are both friends of mine from NYU.

The show goes up in January for only two performances. A short run, but should be quite the experience. January looks like it will be a busy month for me. This project, then I will be assisting on an Opera down in Virginia. I am lighting a ballet in New York right when I get back from Virginia. After that I have a small Off-Broadway play, unless the dates change again, after that. So much variety, I can hardly contain myself!

What I am doing in the interim I wrote about here, in case you want to catch any of my shows. I am quite excited about my upcoming projects. It is very nice to have such a positive feeling about the work one is doing. Especially when, as a freelancer, one has no real control over what the work is.

Overlap

Wednesday, August 23rd, 2006

I think I spend as much time dealing with scheduling as I do actually working on my projects. The next few months are going to be hectic.

Berkeley is an amazing little town. Birthplace to many notable characters including myself. It has, across the street from each other, my favorite record shop and bookstore in the whole wide world. They are not the largest by any streatch of the imagination, but as for pure quality I really do not think they can be beat. And any bookstore that, following one wall, you go from Buddhism, to Theater, to Dance, to Film, to Philosophy is all right by me.

If you like DJ Music this is highly worth listening to. Smart and funny scratch DJ’s are the way to go. Because “ignoring the DJ in Hip-Hop is like ignoring the guitar in Rock&Roll.”

I was thinking about the Caribean, so I give you this picture from my Medea from last August.

Medea with Chorus


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