1. "Inside The Circle" is a dynamic dance with two dancers pushing the limits of what they can do inside a circle, tied together by rope. The performance in this video is from the 2011 New York Aerial Dance Festival.

    Choreographer: Cherie Carson
    Performers: Ashley Foster and Kiran Haithcox
    Music: Bill and John Storch
    Video: Fred Hatt (http://fredhatt.com/blog/)


    # vimeo.com/35224685 Uploaded 1,157 Plays 1 Comment
  2. The ideas behind Confabulator have to do with neuroscience and mythology. The archetype of the three-tiered world, this earth plus heaven and hell, is related to the levels of the brain that filter incoming sensory data and make sense of it by turning it into stories, or “confabulating”. Here the underworld is seen as an intestinal tangle, the heavenly world is portrayed by a looping video image of blissful fluidity, and the terrestrial realm is depicted by a block of resin slowly melting into an oozy pool, attended by industrious dung beetles.

    Confabulator is on display at PS122Gallery in New York City through April 19, 2009.

    # vimeo.com/3872765 Uploaded 166 Plays 0 Comments
  3. Experience the morphing of one person slow dance in the Inwood Park in New York City.
    Danced, edited, and music by Kayoko Nakajima,
    videotaped by Fred Hatt

    # vimeo.com/14408370 Uploaded 20 Plays 0 Comments
  4. Passages -
    An evening-length multidisciplinary work that premiered NYC at Manhattan Movement and Arts Center.

    Passages is an exploration of our relationship with mortality and how it impacts the phases of our lives. It portrays the ways that human ties become laced with anger, love, forgiveness and compassion and it combines Aerial Dance, Contemporary Theater, Film and Commissioned Live Music.

    This video is an excerpt of the work - Sibling Portrait - Children

    Conceived and Directed by Julie Ludwick
    Dancers Janet Aisawa, Kirstin Dahmer, Julie Ludwick, Michael Fulvio
    Composer/Arranger Ken Pierson
    Musicians - Ken Pierson, James Seeley, Joe Tucker
    Composer/Arranger Ken Pierson
    Costumes Jane Cathryn Shaw

    Passages was made possible in part with public funds from the Fund for Creative Communities, supported by New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and administered by Lower Manhattan Cultural Council. Fly-by-Night also receives support from: NoMAA (Northern Manhattan Arts Alliance), The Frances Alexander Family Fund, The Kath

    video by Fred Hatt

    # vimeo.com/81946183 Uploaded
  5. Fred Hatt, photographer and videographer, shot this video documentation in the studio prior to installation.

    Joyce Yamada created the installation, including the video within it. The site specific installation is showing at The Church of St. Paul the Apostle, Manhattan, NY from Sept 13- October 25, 2013 as part of the show 1).All of the Above.

    "Mnemosyne" (ni-mos’-ih-nee) the installation is inspired by contemporary science of the mind, a coming together of neuroscience, molecular biology, and cognitive psychology which seeks to elucidate how our brains work.

    "Mnemosyne" the goddess is the ancient Greek goddess of memory, the inventress of language, mother of the Muses, and a goddess of time; she is a perfect mishmash of the mental attributes that give us language and the arts, features that most distinguish us humans from other animals.

    The installation is a tongue in cheek memento mori, a nod to artistic tradition and to the
    often dark emotions and sense of mortality that lead to poetry. The head is disembodied as a comic wink to abstract symbolic thought, which some people think is uniquely human. Our minds are so vivid to us that we sometimes forget we are bodies, animals subject to natural laws.

    The under-table is a wink at abstract thought, language, mathematics, digital memory, anxiety, and fear of death. As you move your head, the scene moves and changes, refracted by the multitude of lenses.

    The video imagery represents jumbled raw data as it hits the eye. We don’t consciously see the vast majority of what enters our eyes-- we see what we expect to see, and our perception is also defined by our long evolutionary past-- we see movement best, we unconsciously complete outlines, our brains devote much space to face recognition, characteristics related to our origins as social prey animals. We learn facts by tedious repetition, but images and scenes when emotionally resonant effortlessly enter consciousness and memory, becoming part of our sense of self. Memory itself depends on the amygdala, an ancient processing center of the emotions and of memory.

    We are discovering how mutable and creative are all steps of our mental lives. Vision, perception, and memory are all creative acts-- none are faithful representations of external reality. We are truly not cameras or computers-- we invent, we lie, we tell stories, often unconsciously. Every time we remember, we re-create the chemical bonds in our brains wherein lie memories, and the act of remembering is deeply connected to our primitive emotional centers. Memories do not reside in a crystalline Truth Center, they are blood and emotion. We are not pure abstract thinkers.

    Memory and its child, History (Clio, an often forgotten Muse) are necessary to a sense of both past and future. Science does give us many tools; we can predict future problems based on an understanding of the past. But on the whole we are not fully rational. By default we are not much different from our cats and dogs, and as influenced by social pressure as a troop of chimps. But, ever flexible, we COULD certainly improve our understanding.

    Joyce Yamada

    # vimeo.com/74527382 Uploaded 56 Plays 0 Comments

Videography by Fred Hatt

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