“GLOWING Up - ail be Midwest left a lot to the imagination. Since there’s nothing there but blue sky. Nowhere to go but up.” (poet, musician, dancer, sculp- tor, photographer, singer, and techno-freak!) Laurie Anderson uses her multi-talented inves- tigations as a language, to com- municate her extreme fascination and wonderment with seeing. “I Spelt=.a i .ot -of time in my fort smoking oak leaf cigarettes and Gry Go think Ot Situations that could never have existed - extremely complicated scenarios with com- pletely implausible plots and characters.” Using both still and moving cam- eras, Anderson collects images from the world around her. With reference to her dreams and speculations, she manipulates these collections digitally to give them a stark and somewhat removed look. Anderson also re- arranges and translates language; she is known for her multimedia performances where she often segregates words or phrases, projects them onto a screen, and works with them on multiple lev- els, 1 thank the ehrill of creation is making something out of noth- ing. There are some things you don’t re- ally need to manipu- tare. Art 21s: about paying attention. For more than twenty years Laurie Anderson has been performing on stage. She has produced sev- eral videos and books, which mainly seem to be documents of her performance work. Around the world, Anderson has taken her stories, mer inst miments,, her effects and her gadgets. This woman is blasting with vibrant and remarkable energy. Anderson is probably the most widely rec- ognized and admired performance artist of the late 20th century. "Her ideas are based on a kind feeling towards people, a sense efat delight: and -aeeectien >for them.” says Brian Eno (poet,artist musician and com- poser - Anderson’s present pro- ducer) “She displays both per- sonally, and in her work, a kind of tolerance for, and fascina- tion with, whatever people actu- ally do.” Anderson’s work seems to talk a lot about the language of politics;not by clarifying issues or offering solutions but looking at problems and using them for her own purposes. She is interested in facts, images, and theory. Moving through ideas of both the conscious and the subconscious mind, she questions the notion of reality: and its Significance within our world. Anderson believes in the sensa- tion of personal power’ and the | motivation established by chal- lenging ones own strength. She has a voice which she often al- ters to. tate of -dafrerent personas;including that of a man. This is all about her explora- tion with both the notion of power, and of seeing from mul - tiple points. of view. pic O— rytelling has always been about people hud- aqfing “around]a Tire. Technology today is the campfire around which we tell our sto- ries. There is an at- traction to light and to this kind of power, which is both warm and destructive. Many of the images of tech- nology are about mak- ing us more powerful, extending what we can do. Unfortunately, -95 percent of it is hype, because I think we’re powerful without it.” Having just recently released her new CD Bright Red, and her “twenty-year retrospective book, ” Stories from the Nerve Bible, Anderson is now on her way with another major multimedia perform- ance The Nerve Bible. Premier- ing on the West Coast (In Van- couver: Wednesday,February 8,at the Orpheum Theatre) and then later touring the United States and Europe, The Nerve Bible will be a culmination of’ three years of work using large scale visual montages, animation and digital gadgetry, as well as fea- turing songs from her new album Bright Red. “AS an artist I have always tried to connect the two worlds:the so called real world and the other world, an alter- nate world. of possi- bility and chance: a dream world.” “Growing up. in the Midwest left a lot to the imagination. Since there’s nothing there but blue sky. Nowhere to go but up.” (poet, musician, dancer, sculp- tor, photographer, singer, and techno-freak!) Laurie Anderson uses her multi-talented inves- tigations as a language, to com municate her extreme fascination and wonderment with seeing. “TI spent a lot of time in my fort smoking oak leaf cigarettes and tryingesto: think of situations that could never have existed - extremely complicated scenarios with com- pletely implausible plots and characters.” Using both still and moving cam- eras, Anderson collects images from the world around her. With reference to her dreams and speculations, she manipulates these collections dig: y to give them a stark and somewhat removed look. Anderson also re- arranges and translates language; she is known for her multimedia performances where she 0 segregates words or phrases, projects them onto a screen, and works with them on multiple lev- els. 1 think the thrill of creation is making something out of noth- ing. There are some things you don’t re- ally need to manipu- late. Art is about paying attention. For more than twenty years Laurie Anderson has been performing on stage. She has produced sev eral videos and books, which mainly seem to be documents of her performance work. Around the world, Anderson has taken her stories, her instruments, her effects and her gadgets. This woman is blasting with vibrant and remarkable energy. Anderson is probably the most widely rec- ognized and admired performance artist of the late 20th century. “Her ideas are based on a kind feeling towards people, a sense of delight and affection for them.” says Brian ° (poet,artist musician and com- poser - Anderson’s present pro- ducer) “She displays both per sonally, and in her work, a kind of tolerance for, and fascina tion with, whatever people a ally do." Anderson’s work seems to talk a lot about the language of politics;not by clarifying issues or offering solutions but looking at problems and° using them for her own purposes. She is interested in facts, images, and theory. Moving through ideas of both the conscious and the subconscious mind, she questions the notion of reality and significance within our world. Anderson believes in the sensa tion of personal power’ and the motivation established by chal enging ones own strength has a voice which she often al ters to take personas; including that of a man. This is all about her explora tion with both the notion of power, and of seeing from mul tiple points of view. “Sto rytelling has always been about people hud- dling around a fire. Technology today is the campfire around which we tell our sto- ries. There.is an at- traction to light and to this kind of power, which is both warm and destructive. Many of the images of tech- nology are about mak- ing us more powerful, extending what we can do. Unfortunately, 95 percent of it is hype, because I think we’re powerful without it.” Having just recently released her new CD Bright Red, and her “twenty-year retrospective book,” Stories from the Nerve Bible, Anderson is now on her way with another major multimedia perform- ance The Nerve Bible. Premier- ing on the West Coast (In Van- couver: Wednesday, February 8,at the Orpheum Theatre) and then later touring the United States and Europe, The Nerve Bible will be a culmination of: three years of work using large scale visual montages, animation and digital gadgetry, as well as fea- turing songs from her new album Bright Red. “AS an artist I have always tried to connect the two worlds:the so called real world and the other world, an alter- nate world of possi- bility and chance: a dream world.” its on different